March 25, 2015 § Leave a comment
Ilan Pappe talks to Frank Barat about the Israeli elections and “On Palestine” his book with Noam Chomsky.
February 8, 2015 § Leave a comment
Since Israel’s latest attack on the besieged Gaza Strip, last summer, I’ve been researching the issue of Israel’s genocide [1,2,3,4]. I quickly found out that I’m not the only one, and although the subject has been addressed by scholars, politicians, UN bodies, and Palestinian civil society since 1982, this attack has prompted an unprecedented amount of criticism and study.
The sudden popular resurgence of the term, especially coming from President Mahmoud Abbas, has already prompted many independent articles, rejecting not only the terminology, but mostly the users of the term. From Liberal Zionists calling those who charge genocide “the loony left” and “antisemitic”; to hard-core right-wingers like government- funded StandWithUs with the help of fox news, with the tried-and-true “what about Syria, Iran, Iraq” and anything else that isn’t the issue of discussion and furthers Islamophobia; to AIPAC with the ironic claim that naming the crime hinders peace, and quotations from none other than Benjamin Netanyahu that “we warned them” and after we bombed the hell out of them, we gave them “tons of humanitarian aid.” That said, I’ve yet to see an organised government initiative on the subject. Until now.
Never Again Unless We Did It
Israelpolitik, the Neocons and the Long Shadow of the Iraq War—A Review of Muhammad Idrees Ahmad’s book ‘The Road to Iraq: The Making of a Neoconservative War’
January 30, 2015 § Leave a comment
This essay first appeared in The Drouth (‘The Thirst’), a quarterly magazine published in Glasgow (Issue 50, Winter 2014/2015). I wrote it in December 2014.
The Road to Iraq: The Making of a Neoconservative War
By Muhammad Idrees Ahmad
Edinburgh University Press
Reviewed by Danny Postel
I was reluctant to review this book. With all the dramatic developments in the Middle East today—the ISIS crisis, the siege of Kobanê, the deepening nightmare in Syria, the escalating repression in Egypt, the fate of Tunisia’s democratic transition, the sectarianization of regional conflicts driven by the Saudi-Iranian rivalry—delving back into the 2003 invasion of Iraq seemed rather less than urgent. It’s hard enough just to keep up with the events unfolding day-to-day in the region. Reading—let alone reviewing—a detailed study of the internal processes that led to the United States toppling Saddam Hussein over a decade ago seemed remote, if not indeed a distraction.
But I’m glad I set these reservations aside and took the assignment. This forcefully argued and meticulously researched (with no fewer than 1,152 footnotes, many of which are full-blown paragraphs) book turns out to be enormously relevant to the present moment, on at least three fronts:
- ISIS emerged from the ashes of al Qaeda in Iraq, which formed in the immediate aftermath of the 2003 invasion and occupation of Iraq. Without the 2003 invasion, there would be no ISIS as we know it—and the region’s political landscape would look very different.
- The US Senate report on CIA torture has brought back into focus the rogues gallery of the Bush-Cheney administration—the same cast of characters who engineered the 2003 Iraq invasion. This book shines a heat lamp on that dark chapter and many of its protagonists.
- There is talk of a neoconservative comeback in Washington. This thoroughly discredited but zombie-like group are now angling for the ear of Hillary Clinton, who might be the next US president. Ahmad’s book provides a marvelously illuminating anatomy of the neocons, which has lessons that apply directly to this movement’s potentially ominous next chapter.
The central question Ahmad attempts to answer is: Why did the 2003 Iraq War happen? In one of the book’s most valuable sections, felicitously titled ‘Black Gold and Red Herrings’, he goes through several prevalent explanations/theories and takes them apart one by one: « Read the rest of this entry »
November 13, 2014 § Leave a comment
When I first set out to prove that Israel is committing the crime of genocide against the Palestinian people, I focused mostly on its genocidal acts. While there’s consensus between pretty much anyone that bothered to examine the Convention of Prevention of Genocide [1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16] on the fact that Israel is committing the first three out of five genocidal acts:
(a) Killing members of the group;
(b) Causing serious bodily or mental harm to members of the group;
(c) Deliberately inflicting on the group conditions of life calculated to bring about its physical destruction in whole or in part;
A debate remains about Israel’s intent to bring about the Palestinian people’s “destruction in whole or in part”. The Russell Tribunal, in its latest “Extraordinary Session on Gaza” and the 2009 “Fact Finding Committee On Gaza” chaired by John Dugard, both illustrate a narrative of colonialist destruction of the social fabric and a partial wiping out of the indigenous population. Frustratingly enough, both stop short of ruling genocide. While the Russell Tribunal simply says “it would be for a criminal court to determine”, the Dugard report goes into much greater detail.
Palestine in Whole or in Part
November 9, 2014 § Leave a comment
There’s drama stirring in the Oslo National Theatre, but not the kind most cultural institutions expect. Under the auspiciousness of The Union of Theaters of Europe, the Oslo National Theatre has committed to a two-year project titled “TERRORisms”:
From 2013 to 2015, theatres from Oslo, Stuttgart, Belgrade, Tel Aviv, London and Reims will get closer to their TERRORisms. They will elaborate different points of view, exploring different aspects likely to determine fundamentally our societies… dealing with the issue of terrorism and its appropriation by artists.
I’ve just come back from Oslo, and to be honest, Norwegians- as individuals and as a society- didn’t strike me to be particularly “determined fundamentally” by “their” “terrorisms”. Admittedly, I’m not an expert on European contemporary art, but it doesn’t seem to me like there’s a lot of artistic appropriation of terrorism being done in the European cultural sphere, and the notion is rather- let’s just say- foreign.