Armchair Warriors: Why Are Conservatives the Biggest Warmongers?
Continued from previous page
But if the ban on torture must be maintained, what is a nation to do with the torturers who have violated it, who have, after all, broken the law? Naturally the nation must put them on trial; “the interrogator,” in Elshtain’s words, “must, if called on, be prepared to defend what he or she has done and, depending on context, pay the penalty.” In what may be the most fantastic move of an already fantastic discussion, several of writers on torture—even Henry Shue, an otherwise steadfast voice against the practice—imagine the public trial of the torturer as similar to that of the civil disobedient, who breaks the law in the name of a higher good, and throws himself on the mercy or judgment of the court. For only through a public legal proceeding, Levinson writes, will we “reinforce the paradoxical notion that one must condemn the act even if one comes to the conclusion that it is indeed justified in a particular situation,” a notion, he acknowledges, that is little different from the comment of Admiral Mayorga, one of Argentina’s dirtiest warriors: “The day we stop condemning torture (although we tortured), the day we become insensitive to mothers who lose their guerrilla sons (although they are guerrillas) is the day we stop being human beings.”
By now it should be clear why we use the word “theater” to denote the settings of both stagecraft and statecraft. Like the theater, national security is a house of illusions. Like stage actors, political actors are prone to a diva-like obsession, gazing in the mirror, wondering what the next day’s—or century’s—reviews will bring. It might seem difficult to imagine Liza Minnelli playing Henry Kissinger, but I’m not sure the part would be such a stretch. And what of the intellectuals who advise these leaders or the philosophers who analyze their dilemmas? Are they playwrights or critics, directors or audiences? I’m not entirely sure, but the words of their greatest spiritual predecessor might give us a clue. “ I love my native city more than my own soul,” cried Machiavelli, quintessential teacher of the hard ways of state. Change “native city” to “child,” replace “my own soul” with “myself,” and we have the justification of every felonious stage mother throughout history, from the Old Testament’s rule-breaking Rebecca to Gypsy’s ball-busting Rose.