Arquivo mensal: outubro 2023

The Machine Breaker (Harper’s Magazine)

Illustrations by Nicole Rifkin

[Report]

by Christopher Ketcham

Inside the mind of an “ecoterrorist”

In the summer of 2016, a fifty-seven-year-old Texan named Stephen McRae drove east out of the rainforests of Oregon and into the vast expanse of the Great Basin. His plan was to commit sabotage. First up was a coal-burning power plant near Carlin, Nevada, a 242-megawatt facility owned by the Newmont Corporation that existed to service two nearby gold mines, also owned by Newmont.

McRae hated coal-burning power plants with a passion, but even more he hated gold mines. Gold represented most everything frivolous, wanton, and destructive. Love of gold was for McRae a form of civilizational degeneracy, because of the pollution associated with it, the catastrophic disruption of soil, the poisoning of water and air, and because it set people against one another.

Gold mines needed to die, McRae told me years later, around a campfire in the wilderness, when he felt that he could finally share his story. “And the power plant too. I wanted it all to go down. But it was only that summer I got up the balls to finally do it.”

He was compelled at last to act because of what he had seen in the conifer forests of Washington and Oregon that summer. They were hot and dry when they should have been cool and lush, rich with rain. He saw few of the birds that he had thought of as his companions in the Pacific Northwest—the flycatchers and vireos, the hermit warbler, the Pacific wren, the varied thrush. Even the most common birds, say the dark-eyed junco with its flashing white tail and sharp trilling, were nowhere to be found. Living out of the back of his car, camping on public lands, he stomped about at night before his fire with fists clenched, enraged at the loss.

As far as authorities know, McRae had committed industrial sabotage only once before, in San Juan County, Utah, on April Fools’ Day 2015. It was an attack on an electrical substation, a crime for which, had he been caught and convicted, he could have faced imprisonment under terrorism enhancement statutes for as many as twenty years, even though no human life had been endangered by the act. This was an essential point for McRae. “They called me a terrorist with anarchist intentions,” he would later explain. “But my hatred is for machines, not people.” He referred to the complex of machines and its technocratic tenders as the “megamachine,” after the formulation of the social historian Lewis Mumford, who warned against the takeover of society by technologies that would make us its dependents and, at long last, its servants—technologies that have now deranged the climate because they are fueled by burning carbon. “Down with the megamachine” was McRae’s motto.

Now he struck as opportunity arose, on his way across northern Nevada, headed east on I-80, bound for the Newmont power plant and mines. On the evening of August 30, 2016, while driving down a dirt road to his campsite in the foothills of the Montana Mountains in Humboldt County, some hundred and fifty miles northwest of the Newmont site in Carlin, he happened upon the Quinn River substation, a 115-kilovolt node of the sort that typically serves large industrial customers.

At 8 am the next day, he pulled up near the substation in his rickety purple Isuzu truck. The long shadows of the Nevada morning stretched across the desert. McRae scanned the horizon for traffic or pedestrians. Seeing no one, he raised his .30–40 Krag, a rifle known for its power and accuracy, and fired a single round from inside the truck. The bullet pierced the cooling fins of the transformer, as intended, causing mineral oil to gush onto the sagebrush.

The noise of the shot was tremendous, and for a moment it stunned him. He looked around as though finally awake to what he was doing. It was then that he asked himself something he would end up asking a lot, which was how it had come to this, how had he stooped so low.

McRae had once been a successful entrepreneur, the head of a high-end carpentry business in Dallas that catered to wealthy clients and brought him a six-figure income. At the height of his success, he oversaw ten journeymen, but the 2008 financial crash killed the business. Now he no longer had a cell phone, credit card, or bank account. He lived hand to mouth, working odd jobs. He had been married and in love, his wife a backpacker like him, smitten with wild places. But she was long gone, like everything else that had been stable and orderly in his life.

For one at the bottom of society’s rungs, who had given up on the doomed American dream, nomadism in the wide-open West was the way to go. He relieved his anger and despair and sadness in the solace of his campsites, where at least there were trees to talk to, stars immense and cosmic, and, if he was lucky, a purling stream running down from snowmelt high in the mountains, above the burning desert. There was room to be a bum with a degree of dignity, to disappear in the enormous backcountry, beyond the eyes of the cops and the reach of what McRae called in his diary “the Corporate Police State.” Here he declared himself a “madly matriarchal, tree-hugging, godless feminist with a gun.”

He ejected a single cartridge as he shot the Quinn River substation, and he noted where it fell in the truck so that he could quickly dispose of the evidence. (Always shoot from inside the truck, he advised, so there are no ballistics or shoe prints at the site.) Satisfied that the transformer would fail within the hour, he turned east into the sun on Nevada State Route 140, bound for the Newmont power plant.

But the Newmont attack never happened, for the stupidest of reasons: he got a flat. He knew he would have to drive on a spare over many dirt roads to escape, and he didn’t dare attempt taking out the facility on three good tires alone.

I first met McRae—and first appeared in his FBI case records—not long after the aborted assault on the Newmont site. On October 7 that same year, I stopped by the home of a friend in Escalante, Utah, where I was living that fall. The friend was Mark Austin, a sixty-five-year-old contractor who built homes for wealthy transplants. He could see I was rattled, and welcomed me in for a drink. A deer—a large buck—had charged across a field as I motored slowly into town and had rammed its antlers into my driver’s side window, shattering glass in my face and hair before fleeing. McRae was at Austin’s house for dinner when I arrived, and he thought my story was funny. The beasts of the earth are coming for you, he said. “It’s your New York plates.”

I was in no mood for joking. McRae seemed to be a big, aggressive, silver-haired Southerner, above six feet in height, with enormous shoulders, hands about the size of my head, and a broad smile that revealed a hollow space of molars gone from lack of care. A steak-fed Fort Worth or Dallas specimen, I figured, who made up with body mass what’s lacking in mind. This first impression, needless to say, was all wrong.

We ended up drinking a lot of wine, then tequila. We bonded over his love of English literature and Russian despair, the Brontës and Dostoevsky. He seemed quick to hate and quick to love, his disposition a mix of mania and menace. He said he was a follower of Native American cultures, enamored especially of the Apache, their chiefs Geronimo and Cochise, the last and fiercest of indigenous leaders in the lower forty-eight to resist white invasion. He fancied himself their ally, and he soon declared with adolescent glee his intention to destroy the white man’s industrial civilization. His most important targets were fossil fuel infrastructure and the energy grid. We discussed taking down the enemy—the Fortune 500 CEOs, say—and how the world would be a better place if they were all beheaded. “Would you really have a problem with me killing the Koch brothers?” he asked.

His eyes gleamed. He shouted over us. (The other participants in the conversation were Viva Fraser, my girlfriend; Erica Walz, publisher of the local newspaper; and Mark.) We talked about animals getting vengeance on Homo sapiens, attacking our cars en masse, cars that had killed so many of them. “Organize the animals!” cried McRae. He stood up and paced and sat down and stood up again. We drank more, and I mentioned to him that I had been a writer for this magazine. He hooted and smiled a half-toothless smile and said, “Harper’s! Goddamn!”

I have a copy of the FBI’s recording of this conversation courtesy of the Department of Justice. It goes on for another four or so hours. Much of it is garbled, the sound quality so lousy it’s unintelligible. There’s a dramatic moment around hour three, when McRae and I, barely acquainted, consider heading out the next morning to target the “infrastructure that makes industrial capitalism work,” because, he said, it “is very weak at certain points.” He harangued us, saying, “I hate everything about this culture.” We listened. I tried to get a word in. He shouted me down. According to the FBI transcript, which I’ve distilled slightly, the conversation went as follows:

McRae: I’m willing to die for what I believe. I’ve committed fifty fucking felonies against the corporate state in the last sixty days.

Ketcham: Really?

McRae: Yeah, that are called terrorism. Because I hate ’em.

Austin: I hope to God that you haven’t been killing people, dude.

McRae: I don’t have to kill people.

Ketcham: If you actually have been committing such felonies, you should be quiet about it.

McRae: I don’t care.

Ketcham: In fact, I’m inclined to think that because of your bloviating about it, that you haven’t been doing any of it.

McRae: You think I’m a fuckin liar? You’re gonna call me a fuckin liar? Come on, come get in my fuckin truck! In an hour we’ll commit five felonies.

(McRae starts yelling and cursing.)

Austin: Steve, Steve, relax!

McRae: Come get in my truck with me, in one hour, we can make five felonies. I’m not fuckin scared of the Goddamn NSA, the FBI, or any of those motherfuckers.

Walz: But Steve, what’s the point?

McRae: To teach the world how to destroy industrial capitalism. I have a political agenda to destroy industrial capitalism. I don’t want to hurt people. I’ve never hurt people. And I will try to avoid that at all costs. I know how to shut down huge mining operations costing millions and millions of dollars, by myself, for weeks. I know how to shut them down. Do I need to go on? I’m serious as a fuckin heart attack. Think I’m lying?

Ketcham: Let’s go out and do it.

McRae: You think I’m full of shit. You don’t believe me. Okay, we’ll go tomorrow, okay, is that cool? I’ll do it in broad daylight, that’s when they don’t expect it . . . You question my integrity, man.

Walz: You know what, I don’t want to hear this conversation. I prefer you not have this conversation in front of me at all.

McRae: Relax, I’m a fuckin liar, okay, fuckin lies. So anyway, do you want to meet me here in the morning?—well then, just tell me when and where.

Ketcham: We’ll talk tomorrow.

McRae: I’ll be around tomorrow . . . And if you really are a journalist you could help out my political cause. I think we can beat them. Enough of us can beat them.

Tomorrow never came, of course, because I thought he was a blowhard and a liar. I figured he’d read The Monkey Wrench Gang too many times. (He had.) The 1975 novel by Edward Abbey—the literary father of ecological sabotage—features a quartet of citizen defenders of the sandstone wilderness in southern Utah, so-called monkey wrenchers, who, like their hero Ned Ludd, the mythical eighteenth-century English weaver who rebelled against the machines overtaking the textile industry, vow to throw a spanner in the works. (Ludd’s forebears in fourteenth-century Holland are said to have used wooden shoes called sabots to smash the weaving machines that were putting them out of business.) Armed with gasoline, explosives, and rifles, Abbey’s saboteurs burn bulldozers and other road-building equipment, blow up bridges, and send coal trains into canyons, all the while pursued by local authorities. McRae, it seemed to me, was playacting in some cartoonish Abbeyite pulp fiction.

After that encounter, I had no contact with McRae for several weeks. We met again at a raucous Halloween party in Escalante, where I was dressed as a terrorist. McRae sat motionless in a chair, without a costume, alone and apart. He cast me a dour look. My face was mostly hidden in a balaclava and a kaffiyeh, and I pulled away the covering and smiled at him in what I imagine now was a dismissive way. Later he told me that it hurt his feelings to be doubted by a journalist from his favorite magazine. He had been serious about taking me along to commit felonies.

Measured against the march of machine civilization, the history of ecological sabotage has been one of petty local victories, scorched-earth retreats, and, ultimately, abject failure. The movement dates to the Seventies, when Abbey’s fictional monkey wrenchers inspired a generation of young Americans to coalesce into the direct-action group Earth First! “It is time for women and men, individually and in small groups, to act heroically and admittedly illegally in defense of the wild, to put a monkeywrench into the gears of the machine,” wrote Dave Foreman, a former Wilderness Society lobbyist and co-founder of Earth First!, and Bill Haywood in their 1985 how-to book Ecodefense. “We will not make political compromises,” the group had earlier announced in a 1980 newsletter. Saboteurs using their methods, they promised, could be “effective in stopping timber cutting, road building, overgrazing, oil & gas exploration, mining, dam building, powerline construction.” Members of Earth First! organized to defend old growth forests in the Northwest, spiking trees with sixty-penny nails to ward off chainsaw crews, blockading roads to stop logging trucks, and sitting in the crowns of ancient fir and pine to prevent their felling. They were occasionally successful, but mostly not.

The Earth Liberation Front, ideological heirs to Earth First!, arrived on the scene in the Nineties with new and improved acts of ecodefense. The elves, as they called themselves, set fire to ski resorts, SUVs on dealer lots, and labs where animals were believed to be abused. Their stated intent was to harm no living being, and to their credit, they maintained that standard. The rising militancy of the ELF produced consternation in U.S. law enforcement circles, and enough financial trouble to turn the heads of a few corporate leaders. Their crowning achievement was the daring and intricate 1998 arson of the Vail Ski Resort, undertaken with the Animal Liberation Front, which caused an estimated $24 million in damage. This led the FBI to call the two groups “the most active criminal extremist elements in the United States.” By 2006, dozens of ELF members had ratted one another out under the tremendous pressure of terrorism statutes enacted in the wake of 9/11. The FBI proclaimed victory, but writ large the government’s work was much ado about very little. The sum of the damages from arson, vandalism, and animal releases over decades of activity totaled a mere $45 million.

The growing understanding of ecosabotage as a serious endeavor coincided with an era of expansive plunder and spoliation, referred to by some historians as the Great Acceleration, a period in which human enterprise under capitalism kicked into overdrive, taxing the earth in unprecedented ways. Almost every measure of ecological health suggested decline. The problem was the seeming inevitability of the juggernaut, the constancy of its forward motion, and the inefficacy of mere individuals in the face of such odds.

Given these trends, it’s unsurprising that the movement would turn to catastrophism. At the vanguard of this shift was a group called Deep Green Resistance, the brainchild of the authors Derrick Jensen, Lierre Keith, and Aric McBay, self-described ecophilosophers and activists who had published numerous books of remonstrance against industrial society. The three asserted that our civilization was untenable and would render the earth uninhabitable. Jensen in particular exhorted his readers to

put our bodies and our lives between the industrial system and life on this planet. We must start to fight back. Those who come after, who inherit whatever’s left of the world once this culture has been stopped . . . are going to judge us by the health of the landbase, by what we leave behind. They’re not going to care how you or I lived our lives. They’re not going to care how hard we tried. They’re not going to care whether we were nice people.

His was an apocalyptic vision: the longer we waited to dismantle the machine, the more its progress would undermine the planet’s carrying capacity, and the greater our ultimate suffering would be. The American public had encountered this thinking before, of course, as it was popularized in the Nineties by the homicidal maniac Theodore Kaczynski, whose manifesto inveighed against industrial society and called for its violent overthrow. “In order to get our message before the public,” Kaczynski wrote, “we’ve had to kill people.” He addressed himself to those

who will be opposed to the industrial system on a rational, thought-out basis, with full appreciation of the problems and ambiguities involved, and of the price that has to be paid for getting rid of the system.

A majority of people will appreciate, on a rational basis, that the price is too high. As unsustainable as the megamachine may be, we must maintain it because hundreds of millions, perhaps billions, of people would likely suffer without its provisioning. To his credit, Jensen, who has Crohn’s disease and depends on high-tech drug treatments, admits that he’ll be among the first to go. (“I am also aware,” he writes, “that the fact that these drugs will probably save my life is not a good enough reason to not take down civilization.”) McRae likened our state of affairs to life on the Death Star. The Death Star succors, energizes, feeds, clothes, medicates, houses, warms, and cools us with its throbbing complexity—woe to the planets in the way of its progress. There are jobs galore paying good money to make sure the Death Star is oiled and functioning. “More money for more gadgets, gizmos, gewgaws, baubles,” McRae told me in an email. “The endless fascination with more, more, more shiny objects to continue a life of tending machines.”

After abandoning the attack on the Newmont gold mine, McRae pulled off I-80 into Carlin to get his flat fixed. He was paranoid to the point of delirium. Traffic cameras might catch his truck, cops might take random notice of him. Then there was the awfulness of visiting a Nevada town, the hideous, twisted faces of the people, the heat bearing down, the sky a burning chromium white, every interaction a kind of torture.

From Carlin he headed south in a zigzag on rough dirt roads, avoiding cops and people, feeling the pit in his gut grow. He had his eye on a substation in White Pine County two hundred miles away, not far from a favorite place replete with good memories, Great Basin National Park. As a young man he had climbed the mountain meadows with his wife. They slept under whispering bristlecone pines on a midsummer night. When he shot the Baker substation in White Pine County on September 14, 2016, he had expected, naïvely he now realized, that at some point he would have experienced an affirmation similar to the feeling he got when he climbed a mountain or smelled pines in the breeze, that is, a sense of joy, purpose, a vision of truth and beauty and meaning. But this never came. And it never would.

Every lesson from his good middle-class upbringing told him there was something wrong with what he was doing. He looked for rationalizations in the perpetual muttering of troubled people on the verge of breakdown. He spoke aloud before a lonely campfire. He thought of the peace-loving water defenders in the Dakotas, the Native Americans at Standing Rock who hoped to block the Dakota Access Pipeline, and who were attacked and beaten that summer by hired thugs from the oil companies. What had the togetherness of locked hands accomplished in defense of Mother Earth?

He had tried peaceful resistance for most of his life, volunteering for conservation groups and contributing what he could. But it was nonsense, a waste of time and money and, worse, spirit. It felt like a Ponzi scheme. He supported the right candidate, he thought: the Democrats, Hillary Clinton in particular. (He told friends and family that he was “gonna support a woman, because a woman is the only person who can lead us out of this mess.”) He tried to follow the example of his father, Jack, a civics teacher who taught in Dallas public schools for thirty years. Jack had been a socialist and later an LBJ Democrat. He believed in civic discourse, civil disobedience if necessary—but never rage and riot, never violence. When McRae was five years old, in 1964, his father traveled to Mississippi to join the Freedom Summer black voter drives.

McRae spent his late forties as caretaker to his ailing father, who died in 2008, at eighty-six, of congestive heart failure. He once told his dad that to be a pacifist was to be a fool. Jack had served in World War II, in the bloody campaigns in North Africa and Italy, so he knew violence. He was a quiet man who rarely raised his voice. But he became angry with his son. They argued for hours. McRae figured his father would be ashamed at what he had become.

It took him more than a week to cross Nevada, crawling on rutted back roads in his crummy old car, through the dust and tumbleweeds and the vast scorched salt basins and over the spines of mountains. He was heading toward the high country of the Colorado Plateau, the Canyonlands, where he found some carpentry work from Mark Austin. When McRae had visited Escalante in 2015 and first met Austin, he thought he had found a friend, a rare person he could trust. Their worldviews had seemed to align.

As the two got to know each other, Austin expressed sympathy with certain small acts of sabotage, such as toppling roadside commercial billboards. This delighted McRae. Better still, Austin was a fan of Abbey’s writing and a close friend of Doug Peacock, the Vietnam War veteran on whom Abbey based his wild-eyed saboteur George Hayduke in The Monkey Wrench Gang. McRae adored Hayduke, and was impressed that Austin knew the man who’d been the inspiration for him. He confided in Austin about Deep Green Resistance and spoke vaguely of sabotage he may or may not have committed. McRae also described, in what Austin said was an obsessive manner, taking down the energy grid. “He was maniacal,” Austin recalled. “There’s a big difference between cutting down illegal billboards and taking out infrastructure.” McRae worked several months on Austin’s job sites, drew a paycheck, hit the road, and Austin, who was mildly frightened by the man’s rhetoric, expected never to hear from him again.

On September 25, 2016, the power in Escalante went out for several hours. It had gone out, in fact, across much of southwestern Utah. It was a Sunday, and I was in Escalante at the time. The townsfolk wandered into the streets with wide eyes, wondering what had happened, as power tended to fail only in big winter storms. When Austin heard that the cause was rifle fire on a substation, he immediately suspected McRae. By the time McRae showed up to ask Austin for work two days later, Austin had already called the Garfield County sheriff to share his suspicions.

Sheriffs in White Pine and Humboldt counties had been mulling the similarities of the attacks in their jurisdictions, and now they reached out to Garfield County. Perhaps this suspect was tied to the 2014 strikes on the California electrical grid, including a rifle attack in Silicon Valley described by the New York Times as “mysterious and sophisticated.” The FBI also took an interest. The bureau suggested that Austin engage with the suspect and record their conversations. Within a few weeks of taking a job with Austin, McRae was revealing details of his recent crimes. He also began hinting at a grand plan that he was hatching for the fall. It involved taking out so many substations across the Southwest that a blackout would stretch from Las Vegas to the coast.

Though Austin considered the prospect alarming, ecosabotage now appears, in some circles, a reasonable response to the mad trajectory of the carbon machine. Even the conformist bozos in Hollywood have hinted at sympathy, with the film How to Blow Up a Pipeline, which takes after a book of the same name by Andreas Malm, a human ecologist at Lund University. Malm has advocated for organized attacks on fossil fuel infrastructure and the disruption of oil supplies. He says that he is inspired by the suffragettes of England, whose militancy centered on property destruction.

The suffragettes specialized in the “argument of the broken pane,” their enraged crews of well-dressed women mobbing central London to shatter storefronts and tear down statues and paintings with hammers and axes. Following the defeat of legislation that would have given them the vote, in 1913 the women embarked on “a systematic campaign of arson,” Malm writes, burning or blowing up “villas, tea pavilions, boathouses, hotels, haystacks, churches, post offices, aqueducts, theatres.” They burned cars and sank yachts. Over the course of a year and a half, they claimed responsibility for at least 337 attacks, which resulted in several deaths. So it should be, argues Malm, with the fight against fossil fuels: we need a critical mass of saboteurs willing to move beyond non-violence.

Or consider Kim Stanley Robinson’s 2020 novel The Ministry for the Future, in which a character clubs to death a wealthy man on a beach off of Lake Maggiore, and gets away with it, his murderous rage driven by having witnessed a heat wave in India that killed more people “than in the entirety of the First World War.” The book spans decades of climatic unraveling to chronicle the rise of the Children of Kali, a cabal that kills thousands of innocent people on Crash Day, sometime in the 2030s, by flying drones into the engines of dozens of commercial airliners. It’s a ruthless act of terrorism that Robinson’s omniscient narrator celebrates for causing the end of global aviation as we know it. No literary justice here: the saboteurs live on to fight another day, unpunished.

Here’s a novelist of no small renown—Barack Obama has endorsed Robinson’s book—who envisions an effective sabotage campaign by cells that operate in large numbers, coordinate on a global scale, and act with fanatical devotion and a code of absolute secrecy. “The War for the Earth is often said to have begun on Crash Day,” he writes. Thereafter, campaigns to sink container ships, poison the meat supply, and, not least, take out power plants and substations result in electricity outages, stock market crashes, and the end of globalization. The upside of Crash Day is that the many commercial flights felled “had been mostly occupied by business travelers.”

In the twenty-two hours of recordings that Mark Austin produced for the FBI, McRae does most of the talking. He is by turns irate, preacherly, vulgar, lyrical, sanctimonious, and cynical, but always inflamed with the belief that he can change the world. He glories in the abiding solitude of the Escalante canyons, with their curvaceous walls and hanging gardens, where in his youth he wandered for days on end. He hates that his only means of income is building homes for the rich.

McCrae, who was at one time a methamphetamine addict, also reveals that he did time in jail as a young man—imprisoned in Texas on felony charges of burglary and drug possession. Mostly he goes on tirades about the things and people he hates. These include roads, cars, fences, ranchers, cities, computers, cell phones, the rich but also the ignorant poor (most of all, white-trash Trump voters), Nazis, NPR’s Kai Ryssdal, technocrats, Apple, the internet, and monotheism. Austin listens to all this with seeming sympathy, and he chimes in at strategic moments to urge him on.

Most of the recordings were made in Austin’s pickup truck while the men drove to and from work sites, hauling construction materials across the canyons and plateaus of southwest Utah. It was during these winding sojourns that McRae began to speak in code, describing the “work” and “research” he had pursued in Nevada and his more recent “activities” in Utah.

After a long drive from Escalante to Kanab, Utah, in the third week of October, he and Austin visited a company that cut sandstone for home decor, and then drove east on Highway 89, familiar to McRae as the road he had traveled when he attacked the Buckskin substation three weeks earlier. Edward Abbey had considered this highway to be holy territory: there were the deep, remote canyons of the Paria River, and its tributaries that cut through the nearby wilderness to areas that no machine could reach. McRae, too, thought it sacred.

A construction crew was laying fiberglass cable along the highway. “What the hell is this right here?” asked Austin.

“They’re working on, that’s microfiber ca—God, now I’m tell—” said McRae, catching himself. Then he let go. “I know what all this shit is and exactly what they’re doing and I’ve got my eye on it, and I really want to fuck it up. How about that?”

He and Austin muttered back and forth. “This is Abbey’s country,” McRae went on. “Is there nothing sacred, nothing, fucking nothing? I bet you could take a gallon of gasoline and put it on that cable and burn it.”

On and on their conversations go for nearly four weeks, as Austin baits McRae and McRae bites, until at last he all but admits that he shot the Buckskin substation with his rifle. Still, Austin prods. He notes that McRae issued no communiqués, which made his effort meaningless. The Earth Liberation Front, by contrast, publicized every attack with well-written and occasionally charming statements. Austin goes on to wonder about McRae’s bizarre candor with “the journalist,” McRae’s term for me. Why risk exposing himself to a relative stranger? “I thought Ketcham was an anarchist bomb thrower,” he says. “Now I see he’s a coward.”

As the FBI prepared for an arrest, McRae described his plans for “putting Las Vegas in darkness.” He gloried in the vision of the death of the Luxor Hotel & Casino (the largest single source of light pollution on the planet) and of Caesars Palace (a monument to empire), and the quieting of the noise and febrile lights of the Strip. The air-conditioned, sunless tunnels of bright malls, the sprawl and traffic and smog, the whorehouses and strip clubs, the doomed Sodom in the desert—shut off the power and it would come to an end. Las Vegas once meant “the meadows,” but that sweet oasis was long gone, dried up and pounded under concrete. Of all the cities of the West, Vegas was most deserving of destruction.

Austin listened and nudged McRae for more information. McRae described “the grandmomma” of attacks, “five substations in a row,” by which he could produce a cascading and catastrophic energy failure across the southern regions of Nevada and California. The key was a substation facility near the town of Moapa. He expected to do $20 million in damage to the transformers alone. “If I had all the money and time, I would bring the world to its knees by myself,” he told Austin.

“This is the culmination of four years for me this week,” McRae said in a recording dated November 2, 2016. “I’m going to meet my destiny.” The next day, he awoke at 7 am to load his purple Isuzu with the camping gear he had stored in the basement of Austin’s house, where he had also stored his .30–40 Krag, a testament to how much he trusted Austin. He was headed to finish the job at Newmont and then hit Moapa. It was a lovely blue-sky day. As he emerged from the basement, seven FBI agents surrounded him. A SWAT team told him to put his hands up, which he did without resistance or complaint. He thought it laughable. Why would anybody point a gun at poor empty-handed Stephen Plato McRae? They cuffed him, and as he was being hauled away he looked over to Austin, who was also being cuffed. McRae knew instantly that Austin had betrayed him.

He was held first in Iron County in Utah, then in Salt Lake City, then put on a plane and transported to a federal pretrial holding facility in North Carolina. When three separate psychiatrists working with the U.S. Bureau of Prisons examined McRae in the years following his arrest, one concluded that he was not fit to stand trial and another questioned his fitness. McRae showed “psychotic symptoms,” including “thought disorganization, and pre-occupying persecutory delusions,” along with “depressive symptoms meeting criteria for a major depressive episode.” He also displayed “symptoms of mania.” The psychiatrists believed that he may have had bipolar disorder, possibly schizoaffective disorder, and also narcissistic personality disorder—which “makes him difficult to work with.”

While he awaited trial in the two years after his arrest, McRae and I spoke often on the phone and exchanged letters. Sometimes he shouted at me, demanding that I “do the right thing” by immediately publishing an article that came to his defense. His plan was to tell the prosecutors “to go fuck themselves,” as he would never take a plea deal. Sometimes his voice was resigned and trembled with sadness and fear. As the trial date approached, McRae’s lawyer, Robert Steele, informed me that I might be called as a witness for the defense. At the last minute, at Steele’s urging, McRae pleaded guilty to one count of industrial sabotage, the attack on the Buckskin facility in Utah, and admitted to three other attacks, against the substations in Humboldt County and White Pine County, Nevada, and in San Juan County, Utah, for which he was not prosecuted.

He was sentenced to eight years and placed in one of the nastiest institutions in the federal system, a medium-security facility in Florence, Colorado, near the supermax where the Unabomber was held until his death earlier this year. McRae saw cellmates get murdered and commit suicide. He was nearly killed in a race riot. His health, poor to begin with, took a dive with the stress of incarceration. He was infected three times with COVID-19, and was chronically infected with MRSA. Given time served, McRae wasn’t expected to get out a day before his sixty-third birthday. He suddenly felt very old.

There were few people McRae felt he could call who would answer, and often he spent hours waiting in line to spend his fifteen minutes of allotted daily phone time talking with me. His calls arrived randomly. Once, when I was with my daughter Josie, who was then nine years old, I put him on speakerphone; I had told her his story and she wanted to hear his voice.

“McRae, Josie is here, so you know,” I said.

“H-hi, Josie,” he stammered.

“Hi, McRae,” said Josie.

Then a long pause—rare for this motormouth. He knew that I’d told her what he had done, why he was in prison. “Josie, I just wanna . . . I just wanna say . . . I was thinking about . . . the youth when I did what I did. About you. I want nine-year-old girls to still be able to see a grizzly when they are grown up.”

“I want to see a grizzly, too,” replied Josie. It was the natural thing to say. Then his fifteen minutes were up and the line went dead.

Psychologists have come up with a term—solastalgia—for the feeling that occurs with the disappearance of what’s perceived as the normal, stable, healthy, natural world. The Australian philosopher Glenn Albrecht, who coined the term, identifies it as a suffering at the loss of solace, “a deep emotional response to the desolation of a loved home environment.” The condition of solastalgia, then, is primarily one of grief, environmental grief, mourning for the death of home, which is the place of solace. (“Stephen McRae seems to be a man who refused to ignore such emotion,” Albrecht told me.)

It may be that hypersensitivity to the ecological unraveling of the only home on earth we know, will ever know, is the necessary condition of an attuned few who can awaken the rest of us to the existential nature of the ecological crisis we face. If Steve McRae sounds to some like a madman, I’d suggest he’s ahead of the curve in feeling deeply the pain of solastalgia. Perhaps those of us who deny the seriousness of the crisis have had our senses dulled, our hearts hardened, and are not feeling enough.

I went to see McRae last December, two months after he got out of prison. An elderly Mormon couple who lived on a homestead in the remote Gila National Forest of southwestern New Mexico had taken him in. McRae worked as the caretaker of a little cabin they rented to elk hunters. In his emails to me, he was grateful that the family had welcomed him, but he was also deeply depressed. During my visit, I confronted him with the fact that his attacks on substations had not in any way altered the course of industrial civilization. He shattered a glass, stood up, and screamed at me. I thought he was ready to kill.

I stayed awhile in the cabin with him. We went camping in the Gila Wilderness. No machines are allowed in the protected area, no mechanized transport of any kind. We built a towering fire of pinyon and juniper and oak. It was the only time I saw him relax, happy that we were together in this sacred redoubt, beyond the reach of what he called Machine World. He spent most of the time talking about the forest. “When I walk these forests, I feel the trees’ antiquity and their beingness,” he said. He told me of the giant ponderosa pines in the high-elevation ciénaga wetlands unique to the region, where they mingle with pinnacles of rock and Gambel oaks and gray oaks as gray as the lichen-engulfed rocks that surround them. Fiery red blooming cactus at eight thousand feet—“Gorgeous!” he cried. He told me of cliff rose, and mountain mahogany, and wild yellow pea in green meadows with joyous miniature flowers of varied brilliance painting the broken land. And about the twisted, bleached, and sun-scorched ancient bonsai alligator juniper that cluster on steep cliffs. “No anthropo-meddling needed for those bonsai, praise Jesus! I’ll show you some really beautiful ones tomorrow,” McRae said. And in the morning he did.

From the

November 2023 issue

Christopher Ketcham’s most recent article for Harper’s Magazine, “The Business of Scenery,” appeared in the April 2021 issue.

Opinião – Dirce Waltrick do Amarante: Coleção mostra pioneirismo indígena no teatro brasileiro (Folha de S.Paulo)

www1.folha.uol.com.br

Caixa reúne 11 textos teatrais de representantes de povos de várias partes do Brasil

Dirce Waltrick do Amarante

7 de outubro de 2023


[RESUMO] Pioneiros do teatro feito no Brasil, ainda que suas práticas culturais não se enquadrem nos conceitos da estética ocidental, os indígenas encenaram suas narrativas em espetáculos que fundem, sem distinções, música, dança, religião e ritos, por exemplo. Caixa recém-lançada agrupa e mostra a variedade desses textos, compondo, segundo organizadores dos livros, uma visão descolonizadora a respeito das diferenças culturais entre os povos.

Uma das primeiras perguntas que faço nas minhas aulas no curso de artes cênicas da UFSC (Universidade Federal de Santa Catarina) é: “Onde nasceu o teatro?”. A resposta, ainda que titubeante, costuma ser: “Na Grécia”.

Essa provocação me permite citar um trecho de uma aula magna ministrada em 1992 pelo escritor Ariano Suassuna: “Em qualquer manual de teatro escrito no Brasil, vão encontrar que o teatro no Brasil surgiu com os jesuítas, o teatro de Anchieta no século 16. E encontra também que o teatro, em geral, nasceu na Grécia”. Suassuna prossegue: “Ora, o que nasceu na Grécia foi o teatro grego! Acho uma coisa tão lógica, mas o pessoal bota: o teatro nasceu na Grécia. Quer dizer, o teatro brasileiro nasceu na Grécia, o início do teatro chinês foi o teatro grego? O teatro brasileiro, olhe aqui, o teatro brasileiro nasceu […] aqui”.

O teatro brasileiro, concordo com Suassuna, nasceu aqui, e, acrescento, com os indígenas, ainda que as práticas artísticas e culturas indígenas não se encaixem facilmente em conceitos da estética ocidental. A palavra teatro, de origem grega, tem sido usada, porém, para nomear a arte extraocidental.

De acordo com Patrice Pavis, em “Dicionário de Teatro”, o conceito pode ser abrangente: “O teatro é mesmo, na verdade, um ponto de vista sobre um acontecimento: um olhar, um ângulo de visão e raios ópticos o constituem. Tão somente pelo deslocamento da relação entre olhar e objeto olhado é que ocorre a construção onde tem lugar a representação” (tradução de Maria Lúcia Pereira, J. Guinsburg, Rachel Araújo de Baptista Fuser, Eudinyr Fraga e Nanci Fernandes).

Uma das características da cultura indígena seria a não separação entre música, dança, pintura, rito, religião, história, política etc. Se essas práticas são classificadas em gêneros estanques, em espetáculos, exposições e publicações de obras dos povos originários, isso não provém dos próprios autores, mas obedecem à lógica que estrutura as instituições e também o mercado.

O termo mito, assim como o termo teatro, passa atualmente por revisão. No livro “As Línguas da Tradução”, organizado pelo Programa de Pós-graduação em Estudos da Tradução da UFSC e pela Universidade de Princeton, os pesquisadores Pedro Cesariano e Jamille Pinheiro Dias propõem o conceito de arte verbal na análise das narrativas indígenas. Já Joana Mongelo, doutoranda de etnia guarani, emprega, em outras publicações, a locução história viva no lugar de mito, para enfatizar o vigor e a atualidade dos relatos dos povos originários.

Tanto a arte verbal como a história viva poderiam se encaixar no conceito abrangente de teatro, tal como foi proposto por Pavis.

Pedro Cesarino, ao descrever o processo de tradução de “yawa shõka, canto para amansar os porcos do mato”, lembra que “esses cantos acompanham eventos que não acontecem dentro do corpo-maloca do xamã que os enuncia, mas sim em posições paralelas nas quais interagem as espíritas auxiliares Shoma e os demais agentes antagonistas (espíritos agressivos, por exemplo)”.

Quando Cesarino recolheu o canto, ele havia sido entoado na forma de um rito que poderíamos chamar de teatral e religioso, durante o convalescimento de um jovem caçador: “Enquanto o jovem era rezado, Antonio [Brasil Marubo], por sua vez, cantava outro shõki sozinho sobre um pote contendo fezes, pelos e pedaços de terra com os rastros das queixadas […]. Ao final, o pote seria então pendurado na porta da maloca, a fim de atrair os porcos que, de fato, se aproximaram da aldeia em grande número no dia seguinte, rendendo uma farta caçada”.

Por isso, a tradução da arte verbal impõe grandes desafios. Na versão de certos cantos bororos, Sérgio Medeiros propôs, em um de seus livros de poesia, uma recriação pessoal do “Canto de Caça às Antas”, com a seguinte observação: “Não pude traduzir o variado vocabulário bororo, em especial a minuciosa enumeração dos diversos gaviões. Meu ponto de partida é a versão ‘rústica’ de César Albisetti e Ângelo Jayme Venturelli. Os cantos de caça e de pesca, convém lembrar, são entoados sempre na choupana central, na noite que precede uma caçada ou uma pescaria coletiva”.

“Dessa cerimônia participam as mulheres da aldeia, que são então autorizadas a entrar na casa dos homens para louvar a beleza dos animais. Cada canto tem um chefe, o qual é, segundo os autores da enciclopédia bororo, o indivíduo que inicia e guia o ritual, postando-se de pé e marcando o ritmo com um par de pequenos maracás. Outros índios reforçam o ritmo com um tamboril e instrumentos de sopro.”

A pesquisadora Jamille Pinheiro Dias aconselha ser “preciso evitar ao máximo os empobrecimentos na recepção da performance ritual pela escrita alfabética”. É preciso também, diz Pinheiro, “tomar consciência de que muitas vezes se estará lidando com ‘textos-fontes’ que só se tornaram audíveis porque houve um árduo processo de aprendizado físico e intelectual, além de negociações com seres não humanos, donos dos cantos, espíritos mestres de diferentes patamares do cosmos, como nos ensinam os especialistas indígenas da Amazônia.

Por tudo isso, a seguinte afirmação recente do escritor e ator Daniel Munduruku causa consternação: “Eu que inventei a literatura indígena, isso não existia, sou pioneiro“. Não estaria ele reproduzindo o mesmo discurso do Ocidente em relação à “invenção” do teatro?

Nos palcos, os povos indígenas vão aos poucos ganhando protagonismo e canibalizando não só o conceito de teatro ocidental, como também o de dramaturgia, área em que colaboram com autores consagrados.

Zé Celso, por exemplo, trabalhava na adaptação de “A Queda do Céu”, a partir dos relatos de Davi Kopenawa, antes do acidente que o vitimou. A primeira leitura pública da peça foi apresentada em 2023 na terceira edição do TePI (Teatro e os Povos Indígenas), em São Paulo, com curadoria de Ailton Krenak e Andreia Duarte.

Na mesma ocasião foi lançada a “Caixa de Dramaturgias Indígenas“(n-1 edições), organizada por Trudruá Dorrico e Luna Rosa Recaldes. Ela contém 11 textos teatrais, assinados por indígenas de várias partes do Brasil, além de estrangeiros, oriundos do Chile e da Argentina. Algumas dessas peças trazem a colaboração de não indígenas.

Segundo as organizadoras, se trata do “primeiro compilado de dramaturgias dos povos originários publicado no Brasil, até onde sabemos”. Dorrico e Recaldes enfatizam o fato de o projeto ser político, uma vez que “o gênero teatro foi utilizado pelos jesuítas, sob o nome de auto, para moralizar e catequizar os povos indígenas. Sabemos que catequizar foi o mesmo que colonizar”.

Assim, a caixa “propõe uma descolonização acerca das diferenças culturais entre os povos, suas cosmogonias, transmutando a percepção equivocada do ser indígena como único e homogêneo”.

Reunindo pequenos livros muito diversos entre si, a caixa apresenta peças em que o português se mistura com línguas indígenas. A peça “Contra Xawara”, de Juão Nyn, é escrita em português, mas coloca o “português de ponta cabeça, transformando o Y em Oka”.

Uma boa parte das peças, para usar um conceito ocidental, poderia ser considerada pós-dramática, no sentido dado por Hans-Thies Lehmann: “O novo teatro, de acordo com o que ouvimos e lemos, não é isto, não é aquilo e nem é outra coisa: predomina a ausência de categorias e palavras para a determinação positiva e a descrição daquilo que ele é. Pretende-se aqui levar tal teatro um passo além e estimular métodos de trabalho teatrais que escapem da concepção convencional sobre o que o teatro é ou precisa ser” (tradução de Pedro Süssekind).

A segunda cena de “Silêncio do Mundo”, dramaturgia de Ailton Krenak e Andreia Duarte, é quase uma conferência de Krenak, recém-eleito para a academia brasileira de letras.

Ele conta que, com Davi Kopenawa Yanomami, visitou Atenas (o berço do teatro para muitos). Foram à Acrópole, ao Arco de Adriano e ao Templo de Zeus: “Chegamos lá perto do mar Egeu, numa ruína, com aquelas colunas quebradas, com pedra caída para todo lado, restos de antigos templos tombados no chão e um mar lindo à nossa vista”.

Eles contemplavam a paisagem quando lhes perguntaram o que haviam achado desse lugar. Kopenawa se adiantou e respondeu: “Eu gostei de vir aqui, porque agora eu sei de onde saíram os garimpeiros que vão destruir a minha floresta, fuçar a minha floresta como se ela fosse pó. O pensamento deles está aqui. Eles fizeram isso aqui e foram fazer o mesmo lá onde eu vivo. Eles reviram a terra, eles quebram tudo”.

Krenak então comenta que esse cenário em ruínas oferece “a completa compreensão daquele tempo mítico em que os antigos gregos viveram, quando o Olimpo era um lugar de trânsito de seres divinos, bem como da passagem daquele lugar para um lugar histórico, onde você faz monumentos, constrói templos, constrói cidades e faz guerras. É a transição do tempo do mito —tempo em que é possível tudo, em que é possível que os mundos se intercambiem— para um mundo chapado, com uma história linear”.

Talvez o rito indígena atualize o vigor das origens do teatro cada vez que um mito é encenado numa aldeia, numa praça, num palco.

Judith Butler: The Compass of Mourning (London Review of Books)

lrb.co.uk

Judith Butler

13 Oct 2023


The matters most in need of public discussion, the ones that most urgently need to be discussed, are those that are difficult to discuss within the frameworks now available to us. Although one wishes to go directly to the matter at hand, one bumps up against the limits of a framework that makes it nearly impossible to say what one has to say. I want to speak about the violence, the present violence, the history of violence and its many forms. But if one wishes to document violence, which means understanding the massive bombardment and killings in Israel by Hamas as part of that history, one can be accused of ‘relativising’ or ‘contextualisation’. We are to condemn or approve, and that makes sense, but is that all that is ethically required of us? In fact, I do condemn without qualification the violence committed by Hamas. This was a terrifying and revolting massacre. That was my primary reaction, and it endures. But there are other reactions as well.

Almost immediately, people want to know what ‘side’ you are on, and clearly the only possible response to such killings is unequivocal condemnation. But why is it we sometimes think that asking whether we are using the right language or if we have a good understanding of the historical situation would stand in the way of strong moral condemnation? Is it really relativising to ask what precisely we are condemning, what the reach of that condemnation should be, and how best to describe the political formation, or formations, we oppose? It would be odd to oppose something without understanding it or without describing it well. It would be especially odd to believe that condemnation requires a refusal to understand, for fear that knowledge can only serve a relativising function and undermine our capacity to judge. And what if it is morally imperative to extend our condemnation to crimes just as appalling as the ones repeatedly foregrounded by the media? When and where does our condemnation begin and end? Do we not need a critical and informed assessment of the situation to accompany moral and political condemnation, without fearing that to become knowledgeable will turn us, in the eyes of others, into moral failures complicitous in hideous crimes?

There are those who do use the history of Israeli violence in the region to exonerate Hamas, but they use a corrupt form of moral reasoning to accomplish that goal. Let’s be clear, Israeli violence against Palestinians is overwhelming: relentless bombing, the killing of people of every age in their homes and on the streets, torture in their prisons, techniques of starvation in Gaza and the dispossession of homes. And this violence, in its many forms, is waged against a people who are subject to apartheid rules, colonial rule and statelessness. When, however, the Harvard Palestine Solidarity Committee issues a statement claiming that ‘the apartheid regime is the only one to blame’ for the deadly attacks by Hamas on Israeli targets, it makes an error. It is wrong to apportion responsibility in that way, and nothing should exonerate Hamas from responsibility for the hideous killings they have perpetrated. At the same time, this group and its members do not deserve to be blacklisted or threatened. They are surely right to point to the history of violence in the region: ‘From systematised land seizures to routine airstrikes, arbitrary detentions to military checkpoints, and enforced family separations to targeted killings, Palestinians have been forced to live in a state of death, both slow and sudden.’ 

This is an accurate description, and it must be said, but it does not mean that Hamas’s violence is only Israeli violence by another name. It is true that we should develop some understanding of why groups like Hamas gained strength in light of the broken promises of Oslo and the ‘state of death, both slow and sudden’ that describes the lived existence of many Palestinians living under occupation, whether the constant surveillance and threat of administrative detention without due process, or the intensifying siege that denies Gazans medication, food and water. However, we do not gain a moral or political justification for Hamas’s actions through reference to their history. If we are asked to understand Palestinian violence as a continuation of Israeli violence, as the Harvard Palestine Solidarity Committee asks us to do, then there is only one source of moral culpability, and even Palestinians do not own their violent acts as their own. That is no way to recognise the autonomy of Palestinian action. The necessity of separating an understanding of the pervasive and relentless violence of the Israeli state from any justification of violence is crucial if we are to consider what other ways there are to throw off colonial rule, stop arbitrary arrest and torture in Israeli prisons, and bring an end to the siege of Gaza, where water and food is rationed by the nation-state that controls its borders. In other words, the question of what world is still possible for all the inhabitants of that region depends on ways to end settler-colonial rule. Hamas has one terrifying and appalling answer to that question, but there are many others. If, however, we are forbidden to refer to ‘the occupation’ (which is part of contemporary German Denkverbot), if we cannot even stage the debate over whether Israeli military rule of the region is racial apartheid or colonialism, then we have no hope of understanding the past, the present or the future. So many people watching the carnage via the media feel so hopeless. But one reason they are hopeless is precisely that they are watching via the media, living within the sensational and transient world of hopeless moral outrage. A different political morality takes time, a patient and courageous way of learning and naming, so that we can accompany moral condemnation with moral vision.

I oppose the violence that Hamas has inflicted and have no alibi to offer. When I say that, I am making clear a moral and political position. I do not equivocate when I reflect on what that condemnation presupposes and implies. Anyone who joins me in this condemnation might want to ask whether moral condemnation should be based on some understanding of what is being opposed. One might say, no, I don’t need to know anything about Palestine or Hamas to know that what they have done is wrong, and to condemn it. And if one stops there, relying on contemporary media representations, without ever asking whether they are actually right and useful, whether they let the histories be told, then one accepts a certain ignorance and trusts in the framework presented. After all, we are all busy, and we cannot all be historians or sociologists. That is a possible way to think and live, and well-intentioned people do live that way. But at what cost?

What if our morality and our politics did not end with the act of condemnation? What if we insisted on asking what form of life would release the region from violence such as this? What if, in addition to condemning wanton crimes, we wanted to create a future in which violence of this sort came to an end? That is a normative aspiration that goes beyond momentary condemnation. To achieve it, we have to know the history of the situation, the growth of Hamas as a militant group in the devastation of the post-Oslo moment for those in Gaza to whom promises of self-governance were never made good; the formation of other groups of Palestinians with other tactics and goals; and the history of the Palestinian people and their aspirations for freedom and the right of political self-determination, for release from colonial rule and pervasive military and carceral violence. Then we might be part of the struggle for a free Palestine in which Hamas would be dissolved, or superseded by groups with non-violent aspirations for cohabitation. 

For those whose moral position is restricted to condemnation alone, understanding the situation is not the goal. Moral outrage of this sort is arguably both anti-intellectual and presentist. Yet outrage could also drive a person to the history books to find out how events such as these could happen and whether conditions might change such that a future of violence isn’t all that is possible. It should not be the case that ‘contextualisation’ is considered a morally problematic activity, even though there are forms of contextualisation that can be used to shift the blame or to exonerate. Can we distinguish between those two forms of contextualisation? Just because some think that contextualising hideous violence deflects from or, worse, rationalises the violence, that doesn’t mean we should capitulate to the claim that all forms of contextualisation are morally relativising in that way. When the Harvard Palestine Solidarity Committee claims that ‘the apartheid regime is the only one to blame’ for the attacks by Hamas, it is subscribing to an unacceptable version of moral accountability. It seems that to understand how an event has come about, or what meaning it has, we have to learn some history. That means we have to widen the lens beyond the appalling present moment, without denying its horror, at the same time as refusing to let that horror represent all the horror there is to represent, to know, and to oppose. The contemporary media, for the most part, does not detail the horrors that Palestinian people have lived through for decades in the form of bombings, arbitrary attacks, arrests and killings. If the horrors of the last days assume a greater moral importance for the media than the horrors of the last seventy years, then the moral response of the moment threatens to eclipse an understanding of the radical injustices endured by occupied Palestine and forcibly displaced Palestinians – as well as the humanitarian disaster and loss of life happening at this moment in Gaza.

Some people justifiably fear that any contextualisation of the violent acts committed by Hamas will be used to exonerate Hamas, or that the contextualisation will take attention away from the horror of what they did. But what if it is the horror itself that leads us to contextualise? Where does this horror begin, and where does it end? When the press talks about a ‘war’ between Hamas and Israel, it offers a framework for understanding the situation. It has, in effect, understood the situation in advance. If Gaza is understood as under occupation, or if it is referred to as an ‘open-air prison’, then a different interpretation is conveyed. It seems like a description, but the language constricts or facilitates what we can say, how we can describe and what can be known. Yes, the language can describe, but it gains the power to do so only if it conforms to the limits imposed on what is sayable. If it is decided that we don’t need to know how many Palestinian children and adolescents have been killed in both the West Bank and in Gaza this year or over the years of occupation, that this information is not important for knowing or assessing the attacks on Israel and the killings of Israelis, then we have decided that we do not want to know the history of violence, mourning and outrage as it is lived by Palestinians. We only want to know the history of violence, mourning and outrage as it is lived by Israelis. An Israeli friend, a self-described ‘anti-Zionist’, writes online that she is terrified for her family and friends, that she has lost people. And our hearts should go out to her, as mine surely does. It is unequivocally terrible. And yet, is there no moment where her own experience of horror and loss over her friends and family is imagined to be what a Palestinian might be feeling on the other side, or has felt after the years of bombardment, incarceration and military violence? I am also a Jew who lives with transgenerational trauma in the wake of atrocities committed against people like me. But they were also committed against people not like me. I do not have to identify with this face or that name in order to name the atrocity I see. Or, at least, I struggle not to.

In the end, though, the problem is not simply a failure of empathy. For empathy mainly takes form within a framework that allows for identification to be accomplished, or for a translation between another’s experience and my own. And if the dominant frame considers some lives to be more grievable than others, then it follows that one set of losses is more horrifying than another set of losses. The question of whose lives are worth grieving is an integral part of the question of whose lives are worth valuing. And here racism enters in a decisive way. If Palestinians are ‘animals’, as Israel’s defence minister insists, and if Israelis now represent ‘the Jewish people’ as Biden insists (collapsing the Jewish diaspora into Israel, as reactionaries demand), then the only grievable people in the scene, the only ones who present as eligible for grief, are the Israelis, for the scene of ‘war’ is now staged between the Jewish people and the animals who seek to kill them. This is surely not the first time that a group of people seeking release from colonial shackles has been figured as animals by the coloniser. Are the Israelis ‘animals’ when they kill? This racist framing of contemporary violence recapitulates the colonial opposition between the ‘civilised ones’ and the ‘animals’ who must be routed or destroyed so as to preserve ‘civilisation’. If we adopt this framework in the course of declaring our moral opposition, we find ourselves implicated in a form of racism that extends beyond the utterance to the structure of everyday life in Palestine. And for that a radical reparation is surely in order.

If we think that moral condemnation must be a clear, punctual act without reference to any context or knowledge, then we inevitably accept the terms in which that condemnation is made, the stage on which the alternatives are orchestrated. In this most recent context, to accept those terms means recapitulating forms of colonial racism which are part of the structural problem to be solved, the abiding injustice to be overcome. Thus, we cannot afford to look away from the history of injustice in the name of moral certitude, for that is to risk committing further injustice, and at some point our certitude will falter on that less than firm ground. Why can’t we condemn morally heinous acts without losing our powers to think, to know and to judge? Surely we can, and must, do both.

The acts of violence we are witnessing in the media are horrible. And in this moment of heightened media attention, the violence that we see is the only violence we know. To repeat: we are right to deplore that violence and to express our horror. I have been sick to my stomach for days. Everyone I know lives in fear of what the Israeli military machine will do next, whether Netanyahu’s genocidal rhetoric will materialise in the mass killing of Palestinians. I ask myself whether we can mourn, without qualification, for the lives lost in Israel as well as those lost in Gaza without getting bogged down in debates about relativism and equivalence. Perhaps the wider compass of mourning serves a more substantial ideal of equality, one that acknowledges the equal grievability of lives, and gives rise to an outrage that these lives should not have been lost, that the dead deserved more life and equal recognition for their lives. How can we even imagine a future equality of the living without knowing, as the United Nations Office for the Coordination of Humanitarian Affairs has documented, that Israeli forces and settlers had killed nearly 3800 Palestinian civilians since 2008 in the West Bank and Gaza even before the current actions began. Where is the world’s mourning for them? Hundreds of Palestinian children have died since Israel began its ‘revenge’ military actions against Hamas, and many more will die in the days and weeks to come. 

It need not threaten our moral positions to take some time to learn about the history of colonial violence and to examine the language, narratives and frameworks now operating to report and explain – and interpret in advance – what is happening in this region. That kind of knowledge is critical, but not for the purposes of rationalising existing violence or authorising further violence. Its aim is to furnish a truer understanding of the situation than an uncontested framing of the present alone can provide. Indeed, there may be further positions of moral opposition to add to the ones we have already accepted, including an opposition to military and police violence saturating Palestinian lives in the region, taking away their rights to mourn, to know and express their outrage and solidarity, and to find their own way towards a future of freedom.

Personally, I defend a politics of non-violence, in the knowledge that it cannot possibly operate as an absolute principle to be applied on all occasions. I maintain that liberation struggles that practise non-violence help to create the non-violent world in which we all want to live. I deplore the violence unequivocally at the same time as I, like so many others, want to be part of imagining and struggling for true equality and justice in the region, the kind that would compel groups like Hamas to disappear, the occupation to end, and new forms of political freedom and justice to flourish. Without equality and justice, without an end to the state violence conducted by a state, Israel, that was itself founded in violence, no future can be imagined, no future of true peace – not, that is, ‘peace’ as a euphemism for normalisation, which means keeping structures of inequality, rightlessness and racism in place. But such a future cannot come about without remaining free to name, describe and oppose all the violence, including Israeli state violence in all its forms, and to do so without fear of censorship, criminalisation, or of being maliciously accused of antisemitism. The world I want is one that would oppose the normalisation of colonial rule and support Palestinian self-determination and freedom, a world that would, in fact, realise the deepest desires of all the inhabitants of those lands to live together in freedom, non-violence, equality and justice. This hope no doubt seems naive, even impossible, to many. Nevertheless, some of us must rather wildly hold to it, refusing to believe that the structures that now exist will exist for ever. For this, we need our poets and our dreamers, the untamed fools, the kind who know how to organise.

13 October 2023

14 October: An earlier version of this piece referred to ‘lives lost in Tel Aviv’. This has now been corrected.