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COLUMNISTS
TODAY'S STORIES
09.04.2008
Petraeus and Crocker's Hugely Depressing Transformation

General Petraeus and Ambassador Crocker go to the House today. I’ve no reason to think the hearings there will be any better than yesterday’s in the Senate, which boiled down to a series of protective postures.

At times the posturing got positively slapstick. As the two witnesses from Iraq read their opening statements to the Foreign Relations Committee, the senators seated behind the long dais made strenuous physical efforts to project the images they fear their votes don’t project: Among Democrats, the pressure seemed to be to read notes as frantically as possible, perhaps to dispel the familiar accusation that their side is ignorant. (Bob Casey studiously thumbed through papers; Bob Menendez scribbled even faster on a notepad.)

Even weirder, though, was the right side of the dais, which – populated, as it was, by Republicans terrified of augmenting their reputations as rubber stamps -- devolved into an intense brow-furrowing competition, with each Republican senator trying to develop a more concerned, I’m-not-giving-you-a-blank-check look than the next. (Louisiana Senator David Vitter rocked his chair back and forth ominously and fixed Petraeus and Crocker with a triumphantly steely stare, but endangered Minnesota incumbent Norm Coleman gave Vitter a run for his money by frowning sadly and sinking his face so deep in his hands he nearly slid into neighbor Bob Corker of Tennessee’s lap, while Corker pioneered new territory in dejected expressions.)

But of all the posturers, Petraeus and Crocker were the worst. Their mode of self-protection was linguistic: Working in concert, they tried to brand this phase of the Iraq war with two specific words, “fragile” and “reversible.” “Such inflection points underscore the fragility of the situation in Iraq,” said Crocker. “Like so much else, Iraq’s economy is fragile … I must underscore, however, that these gains are fragile and reversible … Progress is real, though still fragile …” “The progress made since last spring is fragile and reversible,” Petraeus echoed. “Fragile and reversible,” snorted California Democrat Barbara Boxer, after the two were all done. “Those are terms of art.”

She was right. “Fragile” and “reversible” were consciously, artfully crafted words, meant to evoke a military and political situation so precariously balanced it cannot be touched. (If a hospital patient’s condition was described as “fragile,” would you try to move him?) It's a Catch-22, as Fred Kaplan puts it: “If things in Iraq get worse, we can't cut back, lest things get worse still; if things get better, we can't cut back, lest we risk reversing all our gains.”

I had a favorite Petraeus line from the hearing, which contained no mention of “fragile” or “reversible,” but, I think, best revealed his real state of mind. “It is very easy to dislike where we are and be frustrated by it,” he told a red-faced George Voinovich, “but we are where we are.”

We are where we are, it is what it is: Call it the joyless Panglossianism of Iraq, in which we dislike the state of things simultaneously believe it represents the best of all possible worlds. Our imaginations become so captured by the disaster that could happen if we dramatically alter the way things are that we start just drifting along, aggressively preferring the status quo. It's an attitude that seems to infect even the most ambitious Iraq fixers in the end, and made Petraeus and Crocker shadows of the confident men that appeared before Congress in September.

Perhaps more than anything else, Petraeus and Crocker’s performance reminded me of this exchange from Waiting for Godot:

ESTRAGON: I sometimes wonder if we wouldn’t have been better off alone, each one for himself. …
VLADIMIR (without anger): It’s not certain.
ESTRAGON: No, nothing is certain.

Who can break the hold of this attitude? 

--Eve Fairbanks

Posted: Wednesday, April 09, 2008 9:38 AM with 9 comment(s)

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Exurban League said:

Could one of the left-leaning readers of this blog (or failing that, someone with a post-grad degree in English Lit) please translate this densely written paean to progressive ennui into actual English? Please? The minute you use a "Waiting for Godot

April 9, 2008 11:44 AM

ironyroad said:

"Waiting for Godot" is written in plain English, and it's a play that pretty much anyone can understand.  No graduate degrees required.

April 9, 2008 11:49 AM

ndmackenzie said:

I always thought Waiting For Godot was written in French and we have to put up with a translation. It is, as ironyroad points out, written in a fairly simple style.

April 9, 2008 12:57 PM

ironyroad said:

I've always been under the impression that Beckett wrote it first in French, and then in English.  As he was a native English speaker, it would be a little odd to call it a "translation" in the normal sense of the word.

April 9, 2008 1:47 PM

tomeg said:

“It is very easy to dislike where we are and be frustrated by it,” [Petraeus] told a red-faced George Voinovich, “but we are where we are.”"

on the road to nowhere

April 9, 2008 2:57 PM

ndmackenzie said:

ironyroad -

You are correct. Beckett did write both versions. My understanding is that he was unhappy with the style of his writing in English - not to mention the poor sales - and decided to write in French as a way of escaping that style. Given that, I think the word "translation" is correct because an original English version would probably have been substantialy different. In fact, the version of the Beckett trilogy I have actually uses the phrase "translated by" on the copyright page.  One of them, Molloy, is even credited as "translated by the author in collaboration with Patrick Bowles."

Regardless of the manner of creation of his writings Beckett created a truly amazing body of work. Personally, I prefer "Not I" to "Waiting for Godot." There is a TV version of "Not I" starring the great Billie Whitelaw that may be available on video.

April 9, 2008 3:02 PM

ironyroad said:

I'm not sure the translation credit is to be taken entirely seriously.  In any case, "translation" would certainly be ok if SB had written the play first in English and then translated it into French.  But it seems an odd term to use to describe re-composing something you wrote yourself in your second langage, in your first language.  But maybe . . . I don't know.

What occurs to me, apropos of nothing, is that there's a place in "Godot" when it seems to have a wartime echo.  I can't quite recall the lines, but there's a reference to the red earth in the region in the South where SB lived during the war.  Vladimir's and Estragon's purgatory seems to be, at least for one moment, a memory of the tense and strained nocturnal waiting that anyone involved in resistance work or helping refugees had to put up with.  You never knew who was going to show up, or if anyone would.

There was also a very funny fringe version during the 70s I think, in which Godot actually arrives.

April 9, 2008 4:14 PM

johnpeters said:

Alhough issues affecting French and English versions of Waiting for Godot are interesting, they are not really necessary to an understanding of how Eve Fairbanks uses the Beckett quotation to explain the posturing of Petratus and Crocker before the Senate committee.  I think she's done a great job of showing what's going on beneath their surface testimony.  

April 9, 2008 10:40 PM

oxheadone said:

The solution to the Iraq problem is the impeachment of Bush.

April 11, 2008 1:16 PM