Source: The Guardian

Everyone is to blame for the catastrophe in Afghanistan, except the people who started it. Yes, Joe Biden screwed up by rushing out so chaotically. Yes, Boris Johnson and Dominic Raab failed to make adequate and timely provisions for the evacuation of vulnerable people. But there is a frantic determination in the media to ensure that none of the blame attaches to those who began this open-ended war, without realistic aims or an exit plan, then waged it with little concern for the lives and rights of the Afghan people: George Bush, Tony Blair, John Howard and their entourages.

On the contrary, Blair’s self-exoneration and transfer of blame to Biden last weekend was front-page news, while those who opposed his disastrous war 20 years ago remain cancelled across most of the media. Why? Because to acknowledge the mistakes of the men who prosecuted this war would be to expose the media’s role in facilitating it.

Any fair reckoning of what went wrong in Afghanistan, Iraq, and the other nations swept up in the “war on terror” should include the disastrous performance of the media. Cheerleading for the war in Afghanistan was almost universal, and dissent was treated as intolerable. After the Northern Alliance stormed into Kabul, torturing and castrating its prisoners, raping women and children, the Telegraph urged us to “just rejoice, rejoice”, while the Sun ran a two-page editorial entitled “Shame of the traitors: wrong, wrong, wrong … the fools who said Allies faced disaster”. In the Guardian, Christopher Hitchens, recently sanctified by his conversion to US hegemony and war, marked the solemnity of the occasion with the words “Well, ha ha ha, and yah, boo. It was …. obvious that defeat was impossible. The Taliban will soon be history.”

The few journalists and other public figures who dissented were added to the Telegraph’s daily list of “Osama Bin Laden’s useful idiots”, accused of being “anti-American” and “pro-terrorism”, mocked, vilified and de-platformed almost everywhere. In the Independent, David Aaronovitch claimed that if you opposed the ongoing war, you were “indulging yourself in a cosmic whinge”.

Everyone I know in the US and the UK who was attacked in the media for opposing the war received death threats. Barbara Lee, the only member of Congress who voted against the government’s authorization for the use of military force, needed round-the-clock bodyguards. Amid this McCarthyite fervour, peace campaigners such as Women in Black were listed as “potential terrorists” by the FBI. The US Secretary of State Colin Powell sought to persuade the emir of Qatar to censor Al Jazeera, one of the few outlets that consistently challenged the rush to war. When he failed, the US bombed Al Jazeera’s office in Kabul.

The broadcast media were almost exclusively reserved for those who supported the adventure. The same thing happened before and during the invasion of Iraq. The war’s opponents received only 2% of the BBC’s airtime on the subject. Attempts to challenge the lies that justified the invasion – such as Saddam Hussein’s alleged possession of weapons of mass destruction and his supposed refusal to negotiate – were drowned in a surge of patriotic excitement.

So why is the media is so bloodthirsty? Why does it love bombs and bullets so much, and diplomacy so little? Why does it take such evident delight in striking a pose atop a heap of bodies, before quietly shuffling away when things go wrong?

An obvious answer is that if it bleeds it leads, so there’s an inbuilt demand for blood. I remember as if it were yesterday the moment I began to hate the industry I work for. In 1987, I was producing a current affairs programme for the BBC World Service. It was a slow news day (remember those?), and none of the stories gave us a strong lead for the programme. Ten minutes before transmission, the studio door flew open and the editor strode in. He clapped his hands and shouted “Great! 110 dead in Sri Lanka!”. News is spectacle, and nothing delivers spectacle like war.

Another factor is a continued failure to come to terms with our colonial history. For centuries the interests of the nation have been conflated with the interests of the rich, while the interests of the rich depended to a remarkable degree on colonial loot and the military adventures that supplied it. Supporting overseas wars, however disastrous, became a patriotic duty so ingrained as to be reflexive.

For all the breastbeating about the catastrophic defeat in Afghanistan, nothing has been learnt. The media still regales us with comforting lies about the war and occupation. It airbrushes the drone strikes in which civilians were massacred and the corruption permitted and encouraged by the occupying forces. It seeks to retrofit justifications to the decision to go to war, above all a determination to secure the rights of women.

But this issue, crucial as it was and remains, didn’t feature among the original war aims. Nor, for that matter, did overthrowing the Taliban. The ultra-conservative religious fundamentalists who helped secure George Bush’s presidency and promote his wars had more in common with the Taliban than with the brave women seeking liberation. In 2001, the newspapers now backcasting themselves as champions of women’s rights mocked and impeded them at every opportunity. The Sun was running photos of topless teenagers on Page 3; the Mail ruined women’s lives with its Sidebar of Shame; extreme sexism, body shaming and attacks on feminism were endemic.

Those of us who argued against the war possessed no prophetic powers. Twenty years ago, I asked the following questions in the Guardian not because I had any special information or insight, but because they were bleeding obvious. “At what point do we stop fighting? At what point does withdrawal become either honourable or responsible? Having once engaged its forces, are we then obliged to reduce Afghanistan to a permanent protectorate? Or will we jettison responsibility as soon as military power becomes impossible to sustain?”. But even asking such things made you a pariah.

You can get away with a lot in the media, but not with opposing a war, unless it’s for purely strategic reasons. If your motives are humanitarian, you are marked from that point on as a fanatic. Those who make their arguments with bombs and missiles are “moderates” and “centrists”. Those who oppose them with words are “extremists”. The inconvenient fact that the “extremists” were right and the “centrists” were wrong is being strenuously forgotten.

George Monbiot is the author of the best selling books Heat: how to stop the planet burning; The Age of Consent: a manifesto for a new world order and Captive State: the corporate takeover of Britain; as well as the investigative travel books Poisoned Arrows, Amazon Watershed and No Man's Land. He writes a weekly column for the Guardian newspaper.

During seven years of investigative journeys in Indonesia, Brazil and East Africa, he was shot at, beaten up by military police, shipwrecked and stung into a poisoned coma by hornets. He came back to work in Britain after being pronounced clinically dead in Lodwar General Hospital in north-western Kenya, having contracted cerebral malaria.

In Britain, he joined the roads protest movement. He was hospitalised by security guards, who drove a metal spike through his foot, smashing the middle bone. He helped to found The Land is Ours, which has occupied land all over the country, including 13 acres of prime real estate in Wandsworth belonging to the Guinness corporation and destined for a giant superstore. The protesters beat Guinness in court, built an eco-village and held onto the land for six months.

He has held visiting fellowships or professorships at the universities of Oxford (environmental policy), Bristol (philosophy), Keele (politics) and East London (environmental science). He is currently visiting professor of planning at Oxford Brookes University. In 1995 Nelson Mandela presented him with a United Nations Global 500 Award for outstanding environmental achievement. He has also won the Lloyds National Screenwriting Prize for his screenplay The Norwegian, a Sony Award for radio production, the Sir Peter Kent Award and the OneWorld National Press Award.

In summer 2007 he was awarded an honorary doctorate by the University of Essex and an honorary fellowship by Cardiff University.


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