The Big Picture and the Closeup

During the three-year stretch in which Richard Rodgers’ and Oscar Hammerstein II’s South Pacific and The King and I reached the Broadway stage, theatrical expressions of support for the equality of black and white were a dicey proposition, courting charges of Communist sympathies. And yet in these two musicals, lyricist and librettist Hammerstein found a way to voice that support. However, in keeping with the times as well as his temperament, he did so by indirection, and also with what might be called camouflage: presenting the “destabilizing” message about race relations in a matrix that included remarkably conventional and reassuring, even retrograde, messages concerning the relations of the sexes and colonialism.

The internal justification for area bombing either espoused a view that civilians were collateral damage to attacks on the industrial war machine or that in modern warfare, the civilian/combatant distinction was not viable or important. In some cases, bombing of civilians was, ironically, presented as humanitarian and in keeping with the larger goals of the law of war, in that collapse of the enemy could be precipitated faster, and at a lower cost in human life overall, if civilian morale could be broken from the skies.

To read the groupthinkers’ policy statements from the decade preceding 9/11, it appears that they believed it was time for the U.S. to establish that it had the military power to do anything it pleased in the Middle East. Somehow this would guarantee our access to oil, assure Israel’s survival, and perpetuate our ascendancy over what the hawks’ fellow-traveler journalist Christopher Hitchens has called “Islamo-fascism.” And apparently Iraq was to be the showcase for this program. But within the echo-chamber that was the hawks’ ruminations, the fundamental truth is that there is no fundamental truth.