Weapons in the Wind

 

Any time you start the day by gassing women and children, you have to expect it to end badly.

Wesley Pruden reporting on the Branch Davidian assault in the Washington Times, Waco, Texas, April 19, 1993

In this era, when we look to technology to produce a different battlefield than the trench warfare of a century ago, a battlefield whose nature may appear bloodlessly revolutionary to planners and generals — think of spy drones, for instance — but which is likely experienced very differently, nightmarishly, to soldiers on the ground, it’s worth turning the page back a century, to the multinational rush to chemical weaponry — even chemical agents thought to be relatively harmless, such as tear and mustard gases, though that proved not to be so — that changed the face of warfare, and see how that experiment worked out.

Hellfire Boys, by Theo Emery, is a thoroughgoing albeit smartly, lightly handled history of the U.S. Chemical Warfare Service, which was birthed as the United States was preparing to enter World War I and found itself in need of gassing up its arsenal, which was woefully lacking in phosgene, sarin, mustard, chlorine, and sundry agents. The book’s emphasis is on the personalities involved, but there is plenty of horrifying descriptive material to keep the story rolling along.

World War I didn’t usher in chemical warfare at Ypres in 1915, Emery notes, for there were already international treaties banning asphyxiating gases signed in 1899 and 1907. But those elegantly drafted documents did not survive the brutal realities of the Western Front in 1915, and when the French troops peered over the edge of their muddy, rat-infested trenches after a morning bombardment from German cannons on April 22nd, they saw a distant movement. It wasn’t soldiers but “something else, something they’d never seen before. Something evanescent, something that flowed and coiled. Wisps of bluish smoke . . . turning greenish yellow as the cloud undulated toward them on the wind.” It was chlorine gas.

Say hello to the first chemical war. Once Germany, which was in the vanguard of industrial chemistry, let noxious and toxic gas out of the bag, it was every nation for itself, and all combatants joined in. The United States, not even party to the conflict until 1917, initiated a gas research program, which is much the meat of Emery’s book: how the Office of Gas Service became the Chemical Service Section became the Chemical Warfare Service. It is a tale of academic beard pulling, backbiting, and jockeying for power, meanwhile creating a stockpile of lethal chemical agents while perfecting the gas mask and simultaneously striving to flummox the enemy’s gas protection.

The way to do this, Emery explains, is to fire a barrage of chloropicrin — or vomit gas — which would work its way past the charcoal and cotton filters of the gas mask, making the wearer sick enough to doff the mask; then hit them with a barrage of phosgene, chlorine, or sarin. Chemists — a surprising egotistical, power-hungry, politically savvy bunch by Emery’s reckoning — were the hottest commodity: “We are of the opinion that gas will win the war,” or, in the more poetic words of one chief chemist, Winford Lee Lewis, “She [Germany] started this poison gas game and we are going to finish it. He who gases last, gasses best.” Just so.

Emery’s story is well constructed and well documented, but he writes something curious at the end of the volume. “Since World War I, the United States has never used lethal chemical weapons in combat,” then goes on to suggest that napalm and “arguably, the defoliant Agent Orange was a kind of chemical weapon as well.” And another lethal chemical weapon the United States has used with great avidity is tear gas. As Anna Feigenbaum writes, tear gas’s toxicity is determined by the ratio of toxins per square meter; the smaller the space, or the more the gas, the more toxicity. Pound a Vietnamese tunnel system with enough tear gas and, voilà, good old-fashioned chemical warfare.

Feigenbaum’s Tear Gas zeroes in on this one weapon’s surprisingly survival and evolution into something every police department wields. Her point is wickedly simple: Despite the blandishments from industry, law enforcement, and the military that tear gas is the epitome of humanistic crowd control, irritating though free of lasting affect, it is in fact a chemical warfare agent banned by the Geneva Convention. We have limited medical understanding of tear gas’s long-term affects, but anyone who has had a taste or a touch of tear gas will tell you it punches below the belt. Under the right conditions, and there are many right conditions, it is lethal.

Tear gas has become, of course, the international go-to suppression system for crowd control. Many, if not most of us believe that tear gas makes you cry and run away — and manufacturers support that impression — but Feigenbaum informs us otherwise. Tear gas is a lachrymatory agent designed to attack the senses simultaneously, prompting physical and psychological trauma. It primarily affects the mucous membranes and respiratory system and is quite capable of causing brain damage, third-degree burns, chronic respiratory problems, miscarriages, and death. It is worth repeating: tear gas is a chemical nerve agent, banned by the Geneva Convention.

Hellfire Boys touches on the subject as well — charting how a few forward-thinking companies, like Dow, saw the future use of nerve agents, while most felt that once the war was over, so would be the need for such things as tear gas — but it is one of Feigenbaum’s main concerns: how did this appalling nerve gas morph into the air poisoner of choice for public-order policing? Follow the money: “These pages shine the spotlight on some of the salespeople, scientists, military buyers, arms dealers, patent attorneys, police suppliers, and defense magazine editors currently enlisted in the worldwide effort to sustain the fiction that tear gas is safe and humane.” That she does, with the same quality documentation as Emery but with a bracing passion held neatly in check.

Feigenbaum quickly covers the ground Emery has so assiduously turned, and it is nice to see that their facts are in alignment. Then Feigenbaum uncovers the morphing process, when tear gas was used on the postwar Bonus Army of American military veterans demanding government aid. Manufacturers extolled its ” ‘irresistible blast of blinding, choking pain’ that would ‘produce no permanent injury’,” while the Nation magazine spoke of one victim “one eye glaring at me and something like a mouth — when he tried to call for water, more blood and sputum came out than anything else.”
Strikebreaking, riot control, protest dispersal — here was a tool that could “render the rioters temporarily harmless without inflicting physical injury of any consequence.” Seemingly only one step north of laughing gas, tear gas was used in great quantities by colonial authorities to quell nationalists from India to southern Africa to Palestine, from Selma to Montgomery and all through the antiwar protests in the United States, and probably, somewhere, right now. Each of Feigenbaum’s chapters and subsections feels like an intensely observed vignette, spelling out how tear gas made some ghastly impact or another, wrecking havoc, causing death.

The fiasco of the 1969 Battle of the Bogside, in Northern Ireland, where “by the end of thirty-six hours of CS [tear] gassing, a total of fourteen 50-gram grenades and 1,091 cartridges containing 12.5 grams of CS had blanketed the Bogside,” prompted the Himsworth Report, which, unsurprisingly, found tear gas to be a crackerjack riot control gas. It is a report still referred to today by proponents of tear gas use. And as the militarization of the police continues, the more commonly such reports condone the excessive use of tear gas, writes Feigenbaum.

“If the century-long medical history of modern tear gas shows us anything, it is the problem with for-profit science. When science is leveraged for the few instead of the protection and health of the many, all of society suffers . . . Government secrets pile up and the partisan membership of weapons evaluation committees remain undisclosed.” We were suitably aghast when in 1988 Iraq smothered a Kurdish town with sarin and mustard gases; when in 2013 Syria’s president ordered a sarin and chlorine attack on his own capital city; when the Islamic State retaliated in 2015 with mustard gas; in 2017 when Syria again was accused of using sarin gas. But tear gas is being used somewhere right now, in Bahrain or Venezuela, Uzbekistan or Baltimore, in a prison, at a protest, to disperse some lawful, even if unruly, assembly. It’s likely to be a long wait to see who gasses last.

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Consciousness and the World

You mean, essentially, that we are objects, and objects “take place,” rather than act.

We are part of the physical world, hence objects. What else could we be—immaterial souls? As for identity, we are what we are because we are identical with a portion of the world that has come together over the years in a certain way. The traditional separation of subject and object that underpins all standard thinking on consciousness and identity lies at the heart of our troubles as individuals and as a society.

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Art in Free Fall

The Los Angeles artist Laura Owens brings a light touch and a tough mind to a new kind of synthetic painting. Her exuberant, bracing midcareer survey at the Whitney beams a positive, can-do energy. As a stylist and culture critic, Owens is neither a stone-cold killer nor a gleeful nihilist, traits embraced by some of her peers. She’s an art lover, an enthusiast who approaches the problem of what to paint, and how to paint it, with an open, pragmatic mind. Her style can appear to be all over the place, but we always recognize the work as hers. Her principal theme may be her own aesthetic malleability.

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Stephen Shore, Seer of the Everyday

The Stephen Shore exhibition at the Museum of Modern Art casts a wide net, including the anomalous periods when Shore worked abroad, but its main focus is his many photographs of hyper-quotidian America, our stalest shades of red, white, and blue. These quiet and straightforward pictures—of food, buildings, cars, and toilets—show that Shore is best understood as a photographer uninterested in photographing what is agreed to be worthy of capture.

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The Folk ‘Jews’ of Spain

In Spain, as in Poland, Jewishness is a protean concept, and a Jewish legacy is felt. But the Fiesta de la Vaquilla practices and lore, transmitted orally through countless generations, tend to be shrugged off, unquestioned, as givens. Of more interest to villagers than the origins of ethnic tropes about “Judíos” is pulling off the endlessly complex event itself.

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The Great British Empire Debate

Foreign intervention and technocratic governance: these are very contemporary issues, and ones with which liberals wrestle as much as reactionaries. Liberals may despise empire nostalgia, but many promote arguments about intervention and governance that have their roots in an imperial worldview. We should not imagine that apologists for empire are simply living in the past. They seek, rather, to rewrite the past as a way of shaping current debates. That makes it even more important that their ideas and arguments are challenged openly and robustly.

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The B&N Podcast: Michael Wolff

Every author has a story beyond the one that they put down on paper. The Barnes & Noble Podcast goes between the lines with today’s most interesting writers, exploring what inspires them, what confounds them, and what they were thinking when they wrote the books we’re talking about.

Fire and Fury: Inside the Trump White House is the book of the week, the month, and perhaps the year. Its intimate look at the personalities of the administration makes for riveting reading — and has fueled its own conflagration of debate and speculation across the political spectrum. In this episode of the podcast, Michael Wolff sits down to talk with Jim Mustich about how he got his story — and what he believes it tells us.

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With extraordinary access to the Trump White House, Michael Wolff tells the inside story of the most controversial presidency of our time

The first nine months of Donald Trump’s term were stormy, outrageous—and absolutely mesmerizing. Now, thanks to his deep access to the West Wing, bestselling author Michael Wolff tells the riveting story of how Trump launched a tenure as volatile and fiery as the man himself.

In this explosive book, Wolff provides a wealth of new details about the chaos in the Oval Office. Among the revelations:
— What President Trump’s staff really thinks of him
— What inspired Trump to claim he was wire-tapped by President Obama
— Why FBI director James Comey was really fired
— Why chief strategist Steve Bannon and Trump’s son-in-law Jared Kushner couldn’t be in the same room
— Who is really directing the Trump administration’s strategy in the wake of Bannon’s firing
— What the secret to communicating with Trump is
— What the Trump administration has in common with the movie The Producers

Never before has a presidency so divided the American people. Brilliantly reported and astoundingly fresh, Michael Wolff’s Fire and Fury shows us how and why Donald Trump has become the king of discord and disunion.

Like this podcast? Subscribe on iTunes or Stitcher to discover intriguing new conversations every week.

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Controlling the Chief

It was August 2004, and the Iraqi insurgency was raging in Anbar province. Major General James “Mad Dog” Mattis of the Marines, who is now the Trump administration’s defense secretary, called a meeting with a group of religious leaders outside Fallujah. His division was coming under daily fire from both local militants and foreign terrorists associated with al-Qaeda’s affiliate in Iraq, and he hoped to persuade the leaders that it was misguided of them to encourage local young men to pick up rifles and shoot at American forces rather than trying to throw out al-Qaeda, whose bombings and beheadings were transforming their province into a hellscape.

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Lebanon: About to Blow?

Most of the Syrian refugees I met in Lebanon do not want to be there—or in Turkey, Jordan, Iraq, or Egypt. They are fleeing intense fighting, ethnic cleansing, starvation, chemical attacks, and Russian air strikes that devastated Aleppo and other rebel-held areas. It is clear that they are not welcome in Lebanon, where they are increasingly seen as disrupting the country’s delicate sectarian balance among Shia Muslims, Druze, and Christians and as vulnerable to Islamist radicalization.

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Munich

During the first hour of Robert Harris’s new novel, Munich, a young British civil servant, lunching with his wife, is summoned to the prime minister’s office by news of impending war. “It looks as though the talking’s over,” Hugh Legat is told. “Our man is flying home.” Hanging up the phone, Legat wonders, “Was this what History felt like? Germany would attack Czechoslovakia. France would declare war on Germany. Britain would support France. His children would wear gas masks. The diners at the Ritz would abandon their white linen tablecloths to crouch in slit trenches in Green Park.” It is Tuesday, September 27, 1938. In Berlin, Adolf Hitler has told the British emissary that German forces will mobilize at two o’clock the next day. In London, Prime Minister Neville Chamberlain prepares to address the nation. And in Munich, Robert Harris recreates the four days that follow in such penetrating detail that each moment of the drama holds us captive. A suspense thriller within a historical drama, Munich is one of Harris’s leanest and most dexterous novels. It is also a welcome return to the historical period that inspired, most memorably, the outstanding Fatherland (1992), which imagined Nazi-occupied England after an Allied defeat, and Enigma (1995), which revolved around the breaking of German codes during the Second World War. (Harris is also the author of the excellent Cicero trilogy set in ancient Rome and of contemporary thrillers such as The Ghost Writer.)

At the core of Harris’s novel is the Munich Conference of September 1938, the now-infamous example of an exhausted Europe’s weakness in the face of fascism. We know the outcome. But that knowledge only intensifies the sense of contained desperation that Harris creates in a narrative that is, from the outset, both airtight and charged with menace; a menace heard before it is seen. “He had listened to it on the BBC as it was delivered,” Legat notes of Hitler’s September 26th speech, “Metallic, remorseless, threatening, self-pitying, boastful . . . it had been punctuated by the thumps of Hitler’s hand pounding the podium and by the roar of fifteen thousand voices shouting their approval. The noise was inhuman, unearthly. It had seemed to well up from some subterranean river and pour out of the loudspeaker.”

As the novel’s plot uncoils and as the action moves from London to Berlin and Munich, Hitler comes gradually into focus — on the Chancellery balcony, in a roomful of generals, at the conference negotiations, terrorizing dinner guests — and here, as with Chamberlain, Harris conjures up a character rather than a cliché. This, for example, is Hitler receiving a foreign press summary: “He took the two sheets and started reading, rocking gently up and down on the balls of his feet. Hartmann had the impression of great energy barely suppressed . . . When he reached the bottom of the first page he stopped and flexed his head as if he had a crick in his neck, then read aloud in a tone of intense sarcasm: ‘Mr. Chamberlain’s description of his last meeting with Herr Hitler is agreeable proof that his strong candor was rewarded with liking and respect.’ He turned the page back and forth. “Who wrote this shit?” Paul von Hartmann, the civil servant delivering the summary, contemplates Hitler’s “fragile head — bent oblivious, reading. If he had known, he would have brought his gun.”

Soon he will. A German military coup seems imminent, and when Legat receives a secret message from Hartmann, a friend from their student days, he too is drawn into the web forming around the Munich Conference. “A car was driving slowly down North Street . . . ” Legat observes from his London flat. “The glow of its headlights lit up the ceiling, projecting an outline of the window frame across the opposite wall; the dark lines swung like the shadow on a sundial.” The stench of fear — for oneself, for the world — swiftly pervades the civilized, the everyday. And Hartmann, contemplating his office mates, sees how this has happened. “He had mixed with their type all his life: patriotic, conservative, clannish. For them, Hitler was like some crude gamekeeper who had mysteriously contrived to take over the running of their family estates: once installed, he had proved an unexpected success, and they had consented to tolerate his occasional bad manners and lapses into violence in return for a quiet life. Now they had discovered they couldn’t get rid of him.” Hartmann is the conscience of Munich and Legat its innocent heart, but Harris is too subtle a portraitist to draw them, or the history they embody, in bold colors. Here the past bleeds into the present and those maimed by the last war will soon face the next.

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