Paul Revere: Superhero or Jihadist?

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Paul Revere died in 1818 and was reborn in 1861. His resurrection gave him the strength of three men and the power of bilocation: He was both in the church tower swinging a lantern and on his horse across the river receiving the message. Fellow riders, William Dawes and Samuel Prescott, stumbled and vanished into the white space between the stanzas of Henry Wadsworth Longfellow’s “Paul Revere’s Ride,” the poem that created the larger-than-life American hero. When the actual, human-sized Revere died, his obit writer didn’t even mention that not-yet-legendary midnight ride.

Paul Revere is one of several super-Americans Tarek Mehanna, a Pittsburgh-born pharmacist convicted of supporting Al Qaeda in 2012, named as his role models. Batman was at the top of the list. “When I was six,” Mehanna told his sentencing judge, “I began putting together a massive collection of comic books. Batman implanted a concept in my mind, introduced me to a paradigm as to how the world is set up: that there are oppressors, there are the oppressed, and there are those who step up to defend the oppressed.”
 

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After Batman, school field trips and high school history classes showed him “just how real that paradigm is in the world.” He admired the oppression-fighting Paul Revere, Tom Paine, Harriet Tubman, Nat Turner, John Brown, Emma Goldman, Eugene Debs, Rosa Parks, Malcolm X, and Martin Luther King. “Everything a man is exposed to in his environment becomes an ingredient that shapes his outlook,” Mehanna explained. “So, in more ways than one, it’s because of America that I am who I am.”

Judge O’Toole sentenced him to seventeen years. Glenn Greenwald calls that “one of the most egregious violations of the First Amendment’s guarantee of free speech,” one that history will condemn along with “the architects of the policies he felt compelled to battle.” It could be a while before history makes its ruling, so meanwhile O’Toole’s stands—a panel of judges rejected an appeal last month.

Like Henry Wadsworth Longfellow, Tarek Mehanna is a writer. He supported Al Qaeda by pen rather than than sword. Longfellow was the first American to translate Dante’s Divine Comedy into English. Mehanna translated “39 Ways to Serve and Participate in Jihad” and posted it online from his bedroom in his parents’ suburban Boston home. That sounds considerably less poetic than a midnight gallop, but like his hero, Mehanna is a messenger.

“I mentioned Paul Revere,” said Mehanna,  “when he went on his midnight ride, it was for the purpose of warning the people that the British were marching to Lexington to arrest Sam Adams and John Hancock, then on to Concord to confiscate the weapons stored there by the Minutemen. By the time they got to Concord, they found the Minutemen waiting for them, weapons in hand. They fired at the British, fought them, and beat them. From that battle came the American Revolution. There’s an Arabic word to describe what those Minutemen did that day. That word is: JIHAD, and this is what my trial was about.”

That’s not a definition most Americans know. The FBI, however, defines “Terrorism” as “acts dangerous to human life that violate federal or state law” and that are intended to “intimidate or coerce a civilian population” and/or “influence the policy of a government by intimidation or coercion.” There’s a Spanish word to describe that:

Zorro.

Johnson McCulley’s grasp of colonial history is even looser than Longfellow’s, but the pulp novelist knew what Americans loved: Champions of the Oppressed. Zorro waged his one-man war on the corrupt regime of Spanish California. His activities included whipping judges, disfiguring soldiers, and killing at least one military officer in open combat—all with the aim of coercing a tyrannous governor into reversing his abusive policies. Batman co-creator Bill Finger was six when The Mark of Zorro hit theaters in 1920. Finger included stills of the masked and swashbuckling Douglass Fairbanks in the scripts he handed Bob Kane to draw.

When Mehanna was collecting Batman comics in 1989, Michael Keaton was playing the caped crusader in theaters, but the paradigm was the same. “Muslims should defend their lands from foreign invaders – Soviets, Americans, or Martians,” Mehanna told Judge O’Toole. “This is not terrorism, and it’s not extremism. It’s what the arrows on that seal above your head represent: defense of the homeland.”

Whether you think Mehanna was unfairly convicted or not (my jury is still deliberating), he is a devout follower of American Superheroism. He, like many of his fellows Americans, likes things simple. He sees the world through a six-year-old’s eyes: the good guys and the bad guys they battle. That’s a black and white universe, with all the poetically inconvenient nuances dropped into the stanza breaks and panel gutters. Longfellow sacrificed Dawes and Prescott to preserve the simplicity of his heroic vision. Madeline Albright, argues Mehanna, sacrificed “over half a million children” who died due to “American-led sanctions that prevented food, medicine, and medical equipment from entering Iraq.”

The figures are contestable, but the Department of Defense considers “incidental injury” to non-military targets lawful “so long as it is not excessive in light of the overall military advantage.” So a Stanford Law School study, for example, estimates that drone attacks in Pakistan have killed up to 881 civilians, including 176 children. Such “collateral damage” differs from terrorism because the deaths, although premeditated, were not the overt goal—a distinction irrelevant to the victims.

Longfellow would leave the body count out of any poetic rendering of the War on Terrorism. We prefer our Paul Reveres heroically purified. Eugene Debs, another of Mehannna’s role models, was six when “Paul Revere’s Ride” was first published in Atlantic Monthly. Debs grew up to be a champion of oppressed laborers and was sentenced to ten years in prison under the Espionage Act of 1917 for speaking against U.S. involvement in the first World War. President Harding commuted the sentence after the war ended. Perhaps some future, post-War on Terror President will do the same for Mehanna, but I doubt it. America loves its Batman paradigm too much. It would take another Revolution to overthrow it.
 

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[A version of this piece first appeared in the Roanoke Times on November 30, 2013.]

The Hollywood Superhero vs. 9/11

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The culminating twist of Iron Man 3, declared Anthony Lane in The New Yorker, “signals both the making of Iron Man 3 and, with any luck, the possible unmaking of the genre.” It was an early review, so Lane had to be coy about specifics, but a few weeks and a few hundred million box office dollars later, we can take the spoiler gloves off and just say it:

“This war is not a means to any end but rather is the end in itself. Not only is it the end itself, but it is also its own fuel: it is precisely this endless war – justified in the name of stopping the threat of terrorism – that is the single greatest cause of that threat.”

Oh, wait, sorry, that’s not Iron Man 3. That’s Glenn Greenwald on Assistant Defense Secretary Michael Sheehan’s testimony before the Senate Armed Services Committee that the twelve-year-old foreign policy franchise formerly known as the War on Terror has another two decades of sequels left in it.

What I meant to write is completely different. That Iron Man 3’s supervillianous corporate  technology genius invented his own Osama Bin Laden to mask his R&D and drive up government demand for his ever-expanding arsenal of military products, locking American and the rest of the planet in a self-perpetuating cycle of unwinnable war. But that’s just a movie. The kind that now pretty much defines the Hollywood blockbuster. Director Shane Black even goes the extra metafictional mile and includes the villain’s blue screen movie studio, the same corporate tech keeping Tony and his pals alive.

Iron Man and War Machine without the CGI

“From here on,” writes Lane, “the dumb-ass grandeur around which superheroic plots revolve can no longer be taken on trust.” Greenwald thinks the same about Obama. The war on terror, like the Hollywood superhero, will never end on its own because so many “factions reap a bonanza of benefits from its continuation.” Black lifts the edge of the curtain, but that glimpse will hardly unmake or even marginally slow the onslaught of forthcoming productions. Captain America 2 is shooting in D.C. as I type. That’s D.C., our nation’s capital, and so not technically a Warner Bros or Marvel Entertainment branch office.

The modern superhero movie first took flight in 1978 with Superman: The Movie (the subtitle says it all), with the total number of productions tipping just over forty in 2001. How many since 9/11?  Fifty. In less than half as many years. So, no, 9/11 is not the box office superhero’s origin story. It’s merely the transformative accident that doubled his powers. Like the Golden Age’s Blue Beetle. When his comic book incarnation debuted in pre-war 1939, the Beetle was just another mystery man in a domino mask and fedora. Listen to his first radio broadcast a worn-torn year later and the guy’s ingesting the power-inducing 2-X formula from his pharmacist mentor.

Novelist Austin Grossman recently told my Superheroes class that when he started writing his supervillain-narrated Soon I Will Be Invincible in 2001, he had to ask himself, “Am I just writing about a terrorist?” Austin’s brother, The Magicians author Lev Grossman, penned his own superheroic response, “Pitching 9/11.” The short story is a sequence of failed pitches for adapting 9/11 to screen. Here’s my favorite:

“Lonely, misunderstood Dominican elevator repairman (John Leguizamo?) finds himself trapped by fire after the second plane hits. In agony from the heat and smoke, near death from asphyxiation he jumps from the 83rd Floor. Instead of falling he hover in midair, then rockets upward. The trauma of the attack, and of his impending certain death, has awakened latent superpowers he never knew he had. A handful of others have undergone similar transformations—they hover in a cluster over the collapsing buildings, like so many swimmers treading water. As the roof sinks away below them into nothingness, they choose colorful pseudonyms and soar away together in formation to take vengeance on evil everywhere.”

Lev’s other pitches include scifi thriller, Discovery Channel documentary, and a filmed performance piece, but superheroes are the ready-made absurdity 9/11 was meant for. Diverting the path of an airliner? That’s a job for Superman. The pre-emptive prequel would star Batman. According to The 9/11 Commission Report, President Clinton was so annoyed with the lack of options for taking out Bin Laden he said to one ofhis generals: ‘You know, it would scare the shit out of al-Qaeda if suddenly a bunch of black ninjas rappelled out of helicopters into the middle of their camp.’”

Substitute “ninjas” with the superhero team of your choice and you’ve got your very own dumb-ass grandeur plot.  But according to Blake Snyder (a friend leant me a copy of his Save the Cat! The Last Book on Screenwriting That You’ll Ever Need), the Superhero genre isn’t just about “guys in capes and tights.” It’s what happens when an extraordinary person is stuck in an ordinary world. In addition to Bruce Wayne and the X-Men, Russell Crow’s Gladiator and A Beautiful Mind are his go-to examples of misunderstood Gullivers shackled by Lilluputians.

I’m more than a little skeptical about Snyder (he argues Miss Congeniality is a better film than Memento), but he has a point. Especially when it comes to U.S. foreign policy. Superheroes soared after 9/11 because Hollywood cast America as the planet’s mightiest super being and the rest of the word population as those moron Lilluputians willfully misunderstanding him. Weren’t they listening when Bush Sr. explained the New World Order?

After the fall of the Soviet Union, the U.S. was the lone superpower, to be loved and respected by a planet of grateful mortals. When some of those ingrates go and topple the Fortress of Solitude, what choice does America have but to declare a War on Lilluputianism? “It is hard to resist the conclusion that this war,” laments Greenwald, “has no purpose other than its own eternal perpetuation.”

But then in his own superheroic plot twist, Obama, days after his Assistant Defense Secretary was arguing for an unlimited renewal of the 2001 Authorization for Use of Military Force, declared: “This war, like all wars, must end.” The Associated Press boiled the President’s 7,000- word speech down to a sentence: “Barack Obama has all but declared an end to the global war on terror.”

Congress is balking of course. And so is our Democracy’s fourth branch of government, Hollywood. While Obama declares war on perpetual war, Marvel has two superhero franchises in post-production (Wolverine, Thor), three filming for 2014 release dates (Captain America, Spider-Man, X-Men), and another four announced for 2015 (Guardians of the Galaxy, Fantastic Four, Avengers, Ant-Man). Throw in the S.H.I.E.L.D. TV show that premieres next fall, and the superhero war isn’t dialing back—it’s surging.

But all those capes and tights flying across our screen have been an inverse shadow of real troops on the ground. So what happens when we finally leave Afghanistan? What happens if the drone war on al Qaeda really does die down? I’m no pre-cog, but the pop culture tea leaves are telling me 2015 will be the last big year for dumb-ass superhero grandeur. Though I wouldn’t underestimate Hollywood’s shapeshifting powers either. Both Iron Man 3 and Star Trek Into Darkness were already in theaters, literally blowing up their representations of the U.S. drone armada, when Obama dropped his own policy bomb of a speech.

Box office superheroes will endure. Just scaled back to their pre-9/11 levels, where they belong.

Obama Is No Khrushchev

Prosecuting former administrations for crimes divides us from our friends, encourages our enemies, and distracts us from the pressing and difficult business of governance. As one high-ranking government official said of a liberal reformer bent on raking up the crimes of the past, “He’s just handing the sword to others, helping the tigers harm us.”

As the poetic idiom suggests, the high-ranking government official was not Dick Cheney — it was Chairman Mao. And the liberal reformer in question was not Glenn Greenwald; it was Khrushchev.

I recently read William Taubman’s massive biography Khrushchev: The Man and His Era, and the book was on my mind as I paged through Glenn Greenwald’s new volume With Liberty and Justice for Some: How the Law Is Used to Destroy Equality and Protect the Powerful. The parallels are fairly obvious. Greenwald argues that American elites have effectively and deliberately placed themselves above the law. Illegal activity by the wealthy or powerful — Nixon Watergate crimes; Reagan Iran-contra crimes; Bush-era illegal wiretapping and torture; Wall Street malfeasance which led to the financial collapse — is not so much ignored as deliberately sanctified. Democrats, Republicans, and the press corps all agree that prosecuting the powerful would be divisive and hurt America. Therefore, as Obama has often said, “we need to look forward as opposed to looking backwards.”

Mao, obviously, felt the same way about Stalin. So, for that matter, did many in the Soviet hierarchy. These people weren’t idiots; they had good reason not to want to expose the extent of Stalin’s crimes. Communism had many enemies, both internal and external. For those enemies open discussion of the hideous mass killings of the Stalin era would be a propaganda coup. Moreover, Stalin’s heirs were all implicated in his atrocities. Mao in China was, of course, wading through shoals of decaying bodies, and was using Stalin’s personality cult as a blueprint for his own. The Russian elite was more directly involved; all had, at Stalin’s behest, consigned innocent people to death; all had failed to speak out to protect the innocent. Khrushchev, who succeeded Stalin, had certainly signed death lists.

Yet, despite his own culpability, Khrushchev denounced his predecessor. Taubman in his biography calls this denunciation, delivered in a four hour speech, “the bravest and most reckless thing [Khrushchev] ever did.” It was certainly a braver thing, by many orders of magnitude, than any public act committed by Barack Obama, or by George W. Bush, or, for that matter by Clinton or even the sainted Reagan. We tend to think of Soviet rulers as absolute dictators who can govern with impunity, but the truth is that Khrushchev’s position at the top of the hierarchy was by no means entirely secure, and his decision to out Stalin’s crimes was a major political gamble. Taubman describes the reaction to Khrushchev’s speech, delivered in secret to the Twentieth Congress of the Soviet Communist Party in 1956.

Many in the audience were unreconstructed Stalinists; those who had denounced former colleagues and clambered over their corpses suddenly feared for their own heads. Others, who had secretly hated Stalin, couldn’t believe his successor was joining their ranks. As the KGB chief-to-be Vladimir Semichastny remembered it, the speech was at first met with “a deathly silence; you could hear a bug fly by.” When the noise started, it was a tense, muffled hum. Zakhar Glukhov, Khrushchev’s successor in Petrovo-Marinksky near Donetsk, felt “anxious and joyous at the same time” and marveled at how Khrushchev “could have brought himself to say such things before such an audience. ” Dimitri Goriunov, the chief editor of Komsomolskaya Pravda, took five nitroglycerin pills for a weak heart. “We didn’t look each other in the eye as we came down from the balcony,” recalled Aleksandr Yakovlev, then a minor functionary for the Central Committee Propaganda Department and later Gorbachev’s partner in perestroika, “whether from shame or shock or from the simple unexpectedness of it, I don’t know.” As the delegates left the hall, all Yakovlev heard them uttering was “Da-a, da-a, da-a” as if compressing all the intense, conflicting emotions they felt in the single, safe word, “yes.”

Of course, George W. Bush is not Stalin. Stalin caused the death of millions, and ordered I don’t know how many innocents tortured to death (thousands? tens of thousands?). Bush’s aggressive (and therefore, by international law, illegal) war in Iraq killed only in the low hundreds of thousands according to most estimates. Greenwald says the torture Bush authorized probably resulted in the deaths of at most 100 people. Similarly, the Obama administration and its Democratic allies have much less to lose by exposing their predecessors than did Stalin’s followers. As Greenwald points out, Democratic muckety-mucks like Nancy Pelosi and Jay Rockefeller were informed of Bush torture tactics and illegal wiretapping, which makes them complicit under the law. But they weren’t murderers like Khrushchev, and they haven’t just lived through a political bloodletting like the purges. If worse came to worse, they would only get jail time, not execution following a quick show trial.

These comparisons, though, do not necessarily redound to the credit of our political class. Khrushchev exposed Stalin-era crimes even though he had much more to lose by doing so than Obama has to lose in exposing Bush’s. Even in terms of national security, Khrushchev was in a significantly more precarious position. The U.S. has al-Qaeda to worry about; the Soviet Union had the U.S.— and, many, many other enemies, all much more credible as existential threats than Osama bin Laden could ever hope to be even in his most megalomaniacal wet dreams.

In fact, Khrushchev’s deStalinization damaged the Soviet Union in the short term, and arguably destroyed it in the long. The secret speech, which was at Khrushchev’s insistence duly publicized, sent shock waves through Soviet colonies in Eastern Europe. The Hungarian Revolution — which Khrushchev ruthlessly and bloodily crushed — was inspired in large part by the revelations of the true horror of Stalin’s reign. Khrushchev’s speech also alienated Mao, separating the USSR from one of its most important allies. Khrushchev’s anti-Stalinist rhetoric was used against him when he was forced from power in 1964, with one colleague declaring, “Instead of the Stalin cult, we have the cult of Khrushchev.” Even after Khrushchev himself was gone, his reforms continued to undermine the government and philosophy to which he had devoted his life. In the late 1980s, Khrushchev’s deStalinization became the blueprint for Gorbachev’s perestroika and glasnost, which ultimately caused the Soviet system itself to buckle.

So Obama and Mao aren’t wrong. Looking backwards can turn you into a pillar of salt. Exposing the crimes of the powerful really can delegitimize a government, and holding past rulers accountable really can have devastating consequences. To have faith in the rule of law, as Greenwald does and (vacillatingly, but nonetheless) as Khrushchev did, is to have faith in the system. It is to believe that democracy (or in Khrushchev’s case, socialism) is strong enough and vital enough to withstand the light of truth.

As it turned out, Soviet Communism wasn’t strong enough to withstand that light. Maybe our government isn’t either — in which case, the sooner we find that out, the better. Khrushchev’s deStalinization resulted in much misery for both himself and the country. But I don’t think anyone doubts it was the right thing to do.

Not that Khrushchev was a saint. On the contrary, he was a boorish, overbearing, often cruel man, with blood on his hands up to his elbows. But if we’re going to toss out the rule of law and model ourselves on tyrants, better him, by far, than Mao or Stalin.
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This first ran on Splice Today.