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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.  

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6 min read

The elegies that fail the forgotten places

Storytelling’s not about giving people a voice, it's about listening to what they’re singing.

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

A book's front cover beside a portrait of the author, JD Vance
J.D. Vance book promotion, 2017.

Does it matter who tells the story of a place? It’s a question I’ve sat with as a writer, a community worker, and as someone who returned to my native West Country after a long time away. My departure and return to this place brought with it a sharper awareness of the labels this rural region could invite; of the way its people could be portrayed; of how easily they can be reduced to a one-dimensional stereotype that fosters little understanding.  

And I am both reducer and reduced. I am a proud Devonian, rooted in soil thick with my ancestors, whilst also craving the culture and variety of elsewhere. My story of life in this place is complex. It’s a story that’s mine to tell, and not representative of anyone else from here – just as the people I’ve worked with in communities here and across sub-Saharan Africa taught me too: this person is not this place. This story is not this people.  

Stories matter – stories told; stories hidden. They shape our identity, our opinions, our possibilities. John Steinbeck wrote that:  

“A man who tells secrets or stories must think of who is hearing or reading, for a story has as many versions as it has readers. Everyone takes what he wants or can from it and thus changes it to his measure. Some pick out parts and reject the rest, some strain the story through their mesh of prejudice…”  

Stories told reflect stories carried, like light refracted through a prism. A story’s colours tell us something about who tells the story and how they see the world. Which is one reason perhaps that JD Vance’s memoir Hillbilly Elegy: A Memoir of a Family and Culture in Crisis came under scrutiny, especially since he was named Donald Trump’s vice-presidential running mate in the forthcoming US election.  

Hillbilly Elegy tells the story of Vance’s white working-class family, from his grandparents in the Appalachia region of Kentucky to his own coming of age in Middletown, Ohio. Vance raises questions about how local people, including his own family, are responsible for their own misfortunes, including poverty and addiction. His book came out in 2016, at just the right time to give many Americans an insight into why so many people like Vance’s relatives and past neighbours had voted for Donald Trump. It was painted as the voice of a forgotten community, and it became a bestseller, admired by some for its portrayal of Appalachian culture by someone from the inside. But reading people who know the places he talks of, it becomes clear that the book is “rife with stereotypes and classic Republican talking points peddled under the guise of lived experience,” as one commentator said.  

Sarah Smarsh, author of books including Bone on Bone: Essays in America by a Daughter of the Working Class, said in a Guardian piece published in 2016,  

“that the media industry ignored my home for so long and left a vacuum of understanding in which the first glimpse of an economically downtrodden white is presumed to represent the whole.”  

A Bitter Southerner article responding to Hillbilly Elegy said that generalisation means that “…complexity gets simplified, the edges get rounded out[…]Appalachia has been written about and photographed in such a compelling (if fabricated) way that the descriptions of passersby took on more weight than the lived experiences of the people being described. What remains is a concept of a place that is both wildly romantic in its natural beauty and backward enough to justify the destruction of that very nature.”  

We live in divided times, but often I find it hard to discern real division versus the media-created story of division. Theirs is a story that gets things wrong. Smarsh reflects how “countless images of working-class progressives…are rendered invisible by a ratings-fixated media that covers elections as horse races and seeks sensational b-roll. This media paradigm created the tale of a divided America…” This is why it matters that we hear stories that do not fit that paradigm. A many-voiced 2019 publication Appalachian Reckoning: A Region Responds to Hillbilly Elegy offered some of those stories in response to Vance’s painting of Appalachia.  

Vance thought he could write the story of a 13-state region, but many Appalachians were unhappy about him becoming their spokesperson, especially when he seemed to blame the poor for their poverty. Appalachian Reckoning is a graceful counter to this: not silencing Vance’s own story but offering many more views and stories from Appalachia. Its co-editor Meredith McCarroll said she wanted to “complicate any singular view simply by including multiple ones. I wanted to create a chorus of voices, “each singing what belongs to him or her and to no one else,” to borrow from Walt Whitman’s view of place.” The publication offers cultural nuance, emotional connection, and a “context for some of the claims Vance makes in his book when it moves beyond memoir, and to pass the mic to a wider range of writers, poets, photographers, activists, and artists who make Appalachia a place far too complex to capture and far too dynamic to die.” 

This approach feels important now, in the world as is it, with a media that often overlooks nuance, and with a culture that has become so visual that the way things are styled and framed and presented to us online can often be quite different to the reality. It is important to know the difference, and stories can help us discern that.  

This symphony of existence can, if we give each voice its space, subvert paradigms of division and fear. 

There are stories that are easy to peddle and easy to buy into. In charity work, I saw how the story of the benevolent professional outsider could shape things, leaving little room for local stories and experience. In politics I saw how the story of opposition got in the way of all the people getting on with the everyday work of restoring and caring for their communities across lines of difference. We can, unknowingly, make a place and a people shrink or even disappear with the stories we carry or amplify, or ignore.  

Stories wielded unwisely can shrink faith as well as people and places. The Jesus who I did not grow up with but came to know slowly as an adult is a Jesus of nuance, compassion, and deep listening. He would not, I think, recognise the brand of Christianity that can be used to justify particular politics. That religion and politics have in places become so intertwined is perhaps a reflection of the reduction of the vastness of the Bible and the many diverse voices it contains into one story that serves a particular group of people. Jesus again and again subverted what empire and hierarchy and tradition expected of him. He invited people into his story over and over, curious about their own story but never using it as a reason to include or exclude.  

When I think about who tells the story of a place – or of a people, a time, a faith – I see that really, there is never one story anyway. There is a chorus of voices, each a little different, each part of a vast harmony that – if we have the ears and heart to hear it – sings a song of challenge and joy, of despair and illumination. Former US president Woodrow Wilson said, “the ear of the leader must ring with the voices of the people”. Storytelling is not about giving people a voice – something I heard a lot in charity work. It is about listening to what they’re already singing. This symphony of existence can, if we give each voice its space, subvert paradigms of division and fear, of biased framing and selective storytelling. It can sing us back to ourselves, helping us see each other. And isn’t that what softens hearts, isn’t that why we tell stories? Author Kazuo said in his Nobel acceptance speech that “stories are about one person saying to another: This is the way it feels to me. Can you understand what I'm saying? Does it also feel this way to you?” Stories are not tools of manipulation or power, but pathways to encounter, to relationship, to understanding. They are, perhaps, the only way through divided times.