Barbara Ehrenreich: The Ecstasy of War

We read this in class (American Studies) as part of our The Things They Carried unit. It’s an excerpt from Blood Rites: Origins and History of the Passions of War. It’s also something you should read.

Different wars have led to different theories of why men fight them. The Napoleonic Wars, which bore along with them the rationalist spirit of the French Revolution, inspired the Prussian officer Carl von Clausewitz to propose that war itself is an entirely rational undertaking, unsullied by human emotion. War, in his famous aphorism, is merely a “continuation of policy … by other means,” with policy itself supposedly resulting from the same kind of clearheaded deliberation one might apply to a game of chess. Nation-states were the leading actors on the stage of history, and war was simply one of the many ways they advanced their interests against those of other nation-states. If you could accept the existence of this new super-person, the nation, a battle was no more disturbing and irrational than, say, a difficult trade negotiation—except perhaps to those who lay dying on the battlefield.

World War I, coming a century after Napoleon’s sweep through Europe and northern Africa, led to an opposite assessment of the human impulse to war. World War I was hard to construe as in any way “rational,” especially to that generation of European intellectuals, including Sigmund Freud, who survived to ponder the unprecedented harvest of dead bodies. History textbooks tell us that the “Great War” grew out of the conflict between “competing imperialist states,” but this Clausewitzian interpretation has little to do with the actual series of accidents, blunders, and miscommunications that impelled the nations of Europe to war in the summer of 1914. At first swept up in the excitement of the war, unable for weeks to work or think of anything else, Freud was eventually led to conclude that there is some dark flaw in the human psyche, a perverse desire to destroy, countering Eros and the will to live.

So these are, in crude summary, the theories of war which modern wars have left us with: That war is a means, however risky, by which men seek to advance their collective interests and improve their lives. Or, alternatively, that war stems from subrational drives not unlike those that lead individuals to commit violent crimes. In our own time, most people seem to hold both views at once, avowing that war is a gainful enterprise, intended to meet the material needs of the groups engaged in it, and, at the same time, that it fulfills deep and “irrational” psychological needs. There is no question about the first part of this proposition—that wars are designed, at least ostensibly, to secure necessaries like land or oil or “geopolitical advantage.” The mystery lies in the peculiar psychological grip war exerts on us.

In the 1960s and ’70s, the debate on the psychology of war centered on the notion of an “aggressive instinct,” peculiar to all humans or only to human males. This is not the place to summarize that debate, with its endless examples of animal behavior and clashes over their applicability to human affairs. Here I would simply point out that, whether or not there is an aggressive instinct, there are reasons to reject it as the major wellspring of war.

Although it is true that aggressive impulses, up to and including murderous rage, can easily take over in the heat of actual battle, even this statement must be qualified to take account of different weaponry and modes of fighting. Hand-to-hand combat may indeed call forth and even require the emotions of rage and aggression, if only to mobilize the body for bursts of muscular activity. In the case of action-at-a-distance weapons, however, like guns and bows and arrows, emotionality of any sort can be a distinct disadvantage. Coolness, and the ability to keep aiming and firing steadfastly in the face of enemy fire, prevails. Hence, according to the distinguished American military historian Robert L. O’Connell, the change in the ideal warrior personality wrought by the advent of guns in the fifteenth and sixteenth centuries, from “ferocious aggressiveness” to “passive disdain.” So there is no personality type—“hot-tempered,” “macho,” or whatever—consistently and universally associated with warfare.

Furthermore, fighting itself is only one component of the enterprise we know as war. Wars are not barroom brawls writ large, or domestic violence that has been somehow extended to strangers. In war, fighting takes place within battles—along with much anxious waiting, of course—but wars do not begin with battles and are often not decided by them either. Most of war consists of preparation for battle—training, the organization of supplies, marching and other forms of transport—activities which are hard to account for by innate promptings of any kind. There is no plausible instinct, for example, that impels a man to leave his home, cut his hair short, and drill for hours in tight formation. As anthropologists Clifton B. Kroeber and Bernard L. Fontana point out, “It is a large step from what may be biologically innate leanings toward individual aggression to ritualized, socially sanctioned, institutionalized group warfare.”

War, in other words, is too complex and collective an activity to be accounted for by a single warlike instinct lurking within the individual psyche. Instinct may, or may not, inspire a man to bayonet the first enemy he encounters in battle. But instinct does not mobilize supply lines, manufacture rifles, issue uniforms, or move an army of thousands from point A on the map to B. These are “complicated, orchestrated, highly organized” activities, as social theorist Robin Fox writes, undertaken not by individuals but by entities on the scale of nations and dynasties. “The hypothesis of a killer instinct,” according to a commentator summarizing a recent conference on the anthropology of war, is “not so much wrong as irrelevant.”

In fact, throughout history, individual men have gone to near-suicidal lengths to avoid participating in wars—a fact that proponents of a warlike instinct tend to slight. Men have fled their homelands, served lengthy prison terms, hacked off limbs, shot off feet or index fingers, feigned illness or insanity, or, if they could afford to, paid surrogates to fight in their stead. “Some draw their teeth, some blind themselves, and others maim themselves, on their way to us,” the governor of Egypt complained of his peasant recruits in the early nineteenth century. So unreliable was the rank and file of the eighteenth-century Prussian army that military manuals forbade camping near a woods or forest: The troops would simply melt away into the trees.

Proponents of a warlike instinct must also reckon with the fact that even when men have been assembled, willingly or unwillingly, for the purpose of war, fighting is not something that seems to come “naturally” to them. In fact, surprisingly, even in the thick of battle, few men can bring themselves to shoot directly at individual enemies. The difference between an ordinary man or boy and a reliable killer, as any drill sergeant could attest, is profound. A transformation is required: The man or boy leaves his former self behind and becomes something entirely different, perhaps even taking a new name. In small-scale, traditional societies, the change was usually accomplished through ritual drumming, dancing, fasting, and sexual abstinence—all of which serve to lift a man out of his mundane existence and into a new, warriorlike mode of being, denoted by special body paint, masks, and headdresses.

As if to emphasize the discontinuity between the warrior and the ordinary human being, many cultures require the would-be fighting man to leave his human-ness behind and assume a new form as an animal. The young Scandinavian had to become a bear before he could become an elite warrior, going “berserk” (the word means “dressed in a bear hide”), biting and chasing people. The Irish hero Cuchulain transformed himself into a monster in preparation for battle: “He became horrible, many-shaped, strange and unrecognizable,” with one eye sucked into his skull and the other popping out of the side of the face. Apparently this transformation was a familiar and meaningful one, because similarly distorted faces turn up frequently in Celtic art.

Often the transformation is helped along with drugs or social pressure of various kinds. Tahitian warriors were browbeaten into fighting by functionaries called Rauti, or “exhorters,” who ran around the battlefield urging their comrades to mimic “the devouring wild dog.” The ancient Greek hoplites drank enough wine, apparently, to be quite tipsy when they went into battle; Aztecs drank pulque; Chinese troops at the time of Sun Tzu got into the mood by drinking wine and watching “gyrating sword dancers” perform. Almost any drug or intoxicant has served, in one setting or another, to facilitate the transformation of man into warrior. Yanomamo Indians of the Amazon ingest a hallucinogen before battle; the ancient Scythians smoked hemp, while a neighboring tribe drank something called “trauma,” which is believed to have induced a frenzy of aggression. So if there is a destructive instinct that impels men to war, it is a weak one, and often requires a great deal of help.

In seventeenth-century Europe, the transformation of man into soldier took on a new form, more concerted and disciplined, and far less pleasant, than wine. New recruits and even seasoned veterans were endlessly drilled, hour after hour, until each man began to feel himself part of a single, giant fighting machine. The drill was only partially inspired by the technology of firearms. It’s easy enough to teach a man to shoot a gun; the problem is to make him willing to get into situations where guns are being shot and to remain there long enough to do some shooting of his own. So modern military training aims at a transformation parallel to that achieved by “primitives” with war drums and paint: In the fanatical routines of boot camp, a man leaves behind his former identity and is reborn as a creature of the military—an automaton and also, ideally, a willing killer of other men.

This is not to suggest that killing is foreign to human nature or, more narrowly, to the male personality. Men (and women) have again and again proved themselves capable of killing impulsively and with gusto. But there is a huge difference between a war and an ordinary fight. War not only departs from the normal; it inverts all that is moral and right: In war one should kill, should steal, should burn cities and farms, should perhaps even rape matrons and little girls. Whether or not such activities are “natural” or at some level instinctual, most men undertake them only by entering what appears to be an “altered state”—induced by drugs or lengthy drilling, and denoted by face paint or khakis.

The point of such transformative rituals is not only to put men “in the mood.” Returning warriors may go through equally challenging rituals before they can celebrate victory or reenter the community—covering their heads in apparent shame, for example; vomiting repeatedly; abstaining from sex. Among the Maori, returning warriors could not participate in the victory celebration until they had gone through a whaka-hoa ritual, designed to make them “common” again: The hearts of slain enemies were roasted, after which offerings were made to the war god Tu, and the rest was eaten by priests, who shouted spells to remove “the blood curse” and enable warriors to reenter their ordinary lives. Among the Taulipang Indians of South America, victorious warriors “sat on ants, flogged one another with whips, and passed a cord covered with poisonous ants, through their mouth and nose.” Such painful and shocking postwar rites impress on the warrior that war is much more than a “continuation of policy … by other means.” In war men enter an alternative realm of human experience, as far removed from daily life as those things which we call “sacred.”

Read more here

  1. yosb a publié ce billet
Updates

watching: les revenants
reading: a world of ice and fire
next convention: ctn expo | los angeles
working on:

dreamworks animation intern | ctn expo | currently in los angeles