Column
Comment
Middle East
War & peace
4 min read

Cynical twists that make wars unjust

The dodgy deals and human shields of a past war still disgust George Pitcher, who questions if just war criteria remain fit for today.

George is a visiting fellow at the London School of Economics and an Anglican priest.

A destroyed airliner lies on the apron of a war-torn airport.
A destroyed British Airways plane at Kuwait airport in 1991.
USN, Public domain, via Wikimedia Commons.

In the very early hours of Thursday 17th January 1991, I was despatched as a young journalist on The Observer to the dealing rooms of Smith New Court, a worthy firm of stockbrokers in the City of London, to witness how the markets reacted to the outbreak of the first Gulf War against Saddam Hussein’s Iraqi invasion of Kuwait. 

A yellowing newspaper cutting shows I reported that, a little before 8am, Smith New Court’s chairman, Sir Michael Richardson watched prime minister John Major declare war on a TV monitor and then said:  

“I had a nudge on the political line a little early, so I’ve been up all night. We have to keep things tightly under control.” 

He did indeed say those words, but it’s not the whole story. Walking up to him on the dealing floor, I asked how we were positioned in the markets for war. Mistaking me for one of his dealers, my notes showed that he replied:

"Number 10 called me last night, so we could adjust our positions in oil. So we should be okay.” 

It was a magnificent example of insider-dealing, in collusion with the government. A few minutes later a Smith New Court PR woman ran up to me to say that Sir Michael hadn’t meant that and even if he’d said it, I was a guest on the floor and everything said there was confidential. 

Kuwait was always about oil. This was an insight into where the UK’s political and financial priorities lay. Richardson had been at the heart of Margaret Thatcher’s Government as an unofficial adviser to the Treasury. This was his dividend. Eventually he was to lose his dealing licence for making unsafe loans to an American entrepreneur. He died in 2003. 

I’m reminded of this story today, Thursday 21st September, the United Nations’ International Day of Peace, because it reminds me of where governments’ priorities really lie, because these are the priorities that invariably threaten peace.  

And it matters because over 300 people on board were subjected to unimaginable suffering as “human-shield” hostages.

I’m also reminded that only last week passengers and crew aboard British Airways Flight 149 are preparing legal action against the government for being treated as “disposal collateral”, as the aircraft was used to plant special forces in Kuwait in the early hours of 2nd August 1990, as Iraqi forces crossed the border. 

Their claim is that the UK government and BA have “concealed and denied the truth for more than 30 years". The issue has come to a head now because documents released in 2021 show that the Foreign Office was warned of the invasion an hour before the plane touched down.  

And it matters because over 300 people on board were subjected to unimaginable suffering as “human-shield” hostages over the following five months. 

These stories have a common thread. Smith New Court, with the government’s help, was about money. The government, with BA’s help, was about protecting its Kuwait oil reserves. It’ll be proven that the lives of innocent people mattered much less against these priorities, if they win their case. 

That should make us very angry indeed. The sheer hypocrisy of rhetoric that spoke of defending the people of Kuwait is one thing. The idea that they could simultaneously serve God and Mammon is quite another. 

But it may be that just-war criteria have failed to keep up with the motivations of global late-capitalism. 

The principles of the “just war” have enjoyed a long tradition in Christian thought. The foundations that were laid in the classical Greek school by the likes of Aristotle were built upon to provide a moral architecture for armed conflict by the Italian Dominican friar and philosopher Thomas Aquinas in the thirteenth century. 

The just war tradition distils into two sets of criteria:  jus ad bellum (the right to go to war) and jus in bello (right conduct within war). The former set contains consideration of “just cause” and rules out war as a simple means of recapturing things or punishing people who have done wrong. The second includes matters of proportionality. By these clauses, combatants must ensure that harm caused to civilians or civilian property is not excessive in relation to military advantages gained.  

In the second war with Iraq, an adventure that prime minister Tony Blair started with US president George W Bush in 2003, neither of these criteria arguably were met, along with others besides. To paraphrase Wilde, they knew the price of oil and values counted for nothing. 

But it may be that just-war criteria have failed to keep up with the motivations of global late-capitalism. Economic dependence on oil is now more usually something we hear about in the context of the green movement’s war on the climate crisis. Dependence on oil actually has a firmer grip on political control of the cost of living in western democracies. 

These are not issues that occurred to hot-shot stockbrokers playing war games in 1991, nor to a privatised national airline allegedly being requisitioned for military purposes. But it’s surely not too much to hope that the senior actors in either instance should have summoned at least a religious folk memory to say: No, this isn’t right.  

Review
Art
Culture
Ethics
War & peace
5 min read

Can we stop killing each other?

How art, theology, and moral imagination confront our oldest instinct

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A 17th Century painting of Moses and the brazen cross.
Luca Giordano, The Brazen Serpent, c.1690, oil on canvas.
Compton Verney, photography by Jamie Woodley.

What more important question can there be for humanity, Jago Cooper, Executive Director of the Sainsbury Centre, asks than ‘Can we stop killing each other?’ The Sainsbury Centre’s radical exhibition programme explores the big issues in contemporary society (see my article ‘Life Is more important than art’) so has rapidly arrived at the point where it is exploring what has wrong with the world when killing occurs and how can we put it right. 

Cooper sets out the ground that this series of exhibitions seeks to cover: ‘From interpersonal violence to state level conflict, killing has spread its devastating impact throughout all human cultures across the centuries. Why does this violence occur? And can it be better prevented at a time when increased societal pressures of population growth, resource scarcity, human migration and rapid environmental change make the risk of conflict higher? Every day we read about horrifying acts playing out locally and internationally, but what is the answer to stopping them?’ 

Can we stop killing each other? includes an installation by Aotearoa/New Zealand artist Anton Forde, a series of new paintings reflecting on the refugee crisis by Ethiopian artist Tesfaye Urgessa; presentations of historical artworks such as Claude Monet’s ‘The Petit Bras of the Seine at Argenteuil’, and an exhibition spanning Shakespearean tragedy to Hitchcockian spectacle, which asks questions of violent stage and screen narratives, plus (from November) ‘Seeds of Hate and Hope’ highlighting personal artistic responses to global atrocities, such as genocides, ethnic cleansing, war crimes and crimes against humanity.  

It starts, however, with a room displaying Biblically themed explorations of this question. ‘Denunciation of Cain’ by G.F. Watts depicts the after-effects of the first murder with Watts viewing Cain as a symbol of ‘reckless, selfish humanity’. A pair of paintings by Luca Giordano then take us deeper into the ambiguities of our human responses to anger and violence. ‘The Brazen Serpent’, tells the story of the Israelites’ journey from Mount Sinai in Egypt to the Promised Land of Canaan. On this journey, a plague of poisonous serpents punishes the Israelites for their disobedience and lack of faith. Moses is instructed by God to make a bronze, or ‘brazen’, serpent that will heal those that repent. The curators ask, ‘Does this portrayal of killing as a punishment set a cultural precedent, or establish a moral code for right and wrong?’ Alongside is ‘The Judgement of Solomon’ in which two women both claim to be the mother of a living child and where the true mother is revealed by means of an order that the child to be cut in half with a sword and shared. The true mother reveals herself as the one who will give the baby away to protect the child’s life. Here, the threat of violence is used to bring about justice.  

William Hogarth’s print series The Four Stages of Cruelty, with verses by Reverend James Townley, reveals how violence escalates and shows how a lack of moral supervision can lead to a life of crime. Finally, Matt Collishaw’s series of thirteen photographic works entitled ’Last Meal on Death Row, Texas’ alludes to the number of apostles at the Last Supper while depicting the last meals chosen by condemned prisoners on death row in the state of Texas, United States. 

The curators suggest that: ‘The artworks in this gallery, and beyond, suggest that there is a choice between peace and conflict and that moral stories exist to guide us towards making ethical decisions in real life. Art provides a powerful connection through which to experience life at its most chaotic and incomprehensible, enabling us to pause and reflect on the darkest aspects of human existence. It can also create vital opportunities for society to mourn and remember victims of violence, and to come together in acts of healing and repair.’  

These images and the Bible stories on which they are based give us more than simple moral guidance, however. They also provide an explanation for the existence of conflict between human beings and reveal God’s subversion of that ingrained human tendency. 

In the story of Cain and Abel, Cain is jealous of Abel and kills him as a result. The anthropologist René Girard suggests that this story reveals the way in which we consistently act as human beings. We desire something that is possessed by someone else and become disturbed through our longing for what we don’t have. We resolve our disturbance by creating a scapegoat of the person or people who appear to have or prevent us from having what it is we desire. When the scapegoat is killed, we can gain what we desire and also release the sense of disturbance that we feel.  

This scapegoat mechanism becomes expressed in religions involving human sacrifices as scapegoats to appease their gods. In the story told within the pages of scripture, it is out of such religions that Abraham is called to form a people who do not sacrifice other human beings, but instead use animals as their scapegoats and sacrifices. Jesus is later born into this people who have subverted the existing practice of scapegoating and he further subverts this practice because, as he is crucified, God becomes the scapegoat that is killed. Once God’s Son has become the scapegoat, for those who follow him, the scapegoat mechanism is undermined and the scapegoating of others should no longer be possible. 

In ‘The Judgement of Solomon’, the threat of violence is used to reveal the desire of the woman who had taken the mother’s child and the self-sacrifice of the true mother. On the cross, the violence meted out to Jesus reveals the full horror of the scapegoating mechanism in the torture and violent death of the wholly innocent one.   

Jesus explicitly equated his crucifixion with the raising up of the bronze serpent that brought healing because in that story, when it is raised, as Jesus also was, the image of the source of the poison in the lives of human beings became the source of healing. That is also the promise that Christianity holds out to us in relation to the effect of Jesus’ crucifixion where he becomes sin for us. It heals us of our absolute need to scapegoat and harm others. 

 

Can We Stop Killing Each Other? Sainsbury Centre: 

  • Tiaki Ora ∞ Protecting Life: Anton Forde, 2 August 2025 – 19 April 2026 

  • Eyewitness, 20 September 2025 – 15 February 2026 

  • Roots of Resilience: Tesfaye Urgessa, 20 September 2025 – 15 February 2026 

  • The National Gallery Masterpiece Tour: Reflections on Peace, 20 September 2025 – 11 January 2026 

  • Seeds of Hate and Hope, 28 November 2025 – 17 May 2026 

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