Pakistani protesters shout anti-US slogans at a rally against US drone attacks. Photograph: Getty Images
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Drones and the "bugsplats" they cause

Drone attacks are anything but impersonal for the Pakistani civilians on the ground.

What do you think about when you hear the word “drone”? President Obama in the White House, authorising the “kill list”. American soldiers pressing buttons. Bearded Taliban militants in faraway, dusty villages, being swiftly, sharply zapped out of existence.

The impersonal language used to describe drones – “targeted”, “accurate”, “enemy combatant” – compounds these impressions. Yet, as ever, the reality of this computer game warfare is significantly messier.

Pakistan’s tribal area has been home to the most sustained drone campaign of anywhere in the world. The attacks started in 2004 and have been stepped up under President Obama. The main defence of drone war is that it results in less “collateral damage” than airstrikes – another impersonal euphemism, this time for civilian deaths. But investigations and anecdotal evidence show that this is not the case. Collating exact figures is difficult, but local activists say that of around 3,000 casualties in Waziristan, just 185 were named al-Qaeda operatives. The Brookings Institution estimates that ten civilians die for every militant killed.

“The problem we have with Obama is this notion that if they have a beard and they are the right age then they are presumed to be terrorists,” says Clive Stafford Smith, head of the legal aid charity Reprieve. “I would estimate that the majority of people being killed are not the people who should be killed under anyone's definition.”

Shahzad Akbar is a Pakistani lawyer, representing 80 cases from Waziristan, the majority of whom have lost relatives to drone attacks. In a landmark case, he is attempting to prove firstly that these people can press charges for murder, and secondly, that their cases can come under the jurisdiction of the Islamabad courts. This is important because the Pakistan’s ungovernable tribal areas are federally administered and operate outside the normal bounds of law and order.

When we speak on the phone, he lists the cases: houses that were targeted while people were sleeping. People who died while attending funerals. Others killed while at jirgas, or meetings of tribal elders. Children asleep in targeted houses. Children playing and killed by shrapnel. Pharmacists. Local policemen. Schoolteachers. “These are Pakistanis employed by the state,” he says. “That is about as civilian as you can get.” And, as with any war, death is not the only outcome. Hundreds of people maimed, blinded, and disabled by the attacks, left with few prospects in an area beset by poverty.

The 800,000 people in Waziristan live under constant threat of death. Strikes frequently take place in the middle of the night, so they are not even safe sleeping in their homes. As standard, four or five drones circle the air, giving a sense of imminent danger and paranoia. The buzzing sound is a relentless presence; people refer to drones as “bees”.  In a chilling echo of this colloquialism, US operators refer to victims as “bugsplats”.
Local doctors report an “exponential” increase in the number of people requiring prescriptions for anti-anxiety drugs or anti-depressants. “Living under constant threat of death – that’s about as stressful as it gets,” says Stafford Smith.

Akbar says that at a meeting in Peshawar last month with people from the tribal areas, nearly everyone carried tranquilisers. “Everyone is constantly thinking about drones. They would take calls from home and their children tell them how many drones they have spotted. Women are possibly most worried. They aren’t allowed to go outside because of local traditions. They don’t know where their husbands, brothers, or sons go, and live in fear that they might not see those people again.”

A few years ago, public opinion in Pakistan was divided, with many liberals supporting drone strikes as a legitimate attack against the terrorists who threaten their way of life. But that was before the extent of civilian casualties was revealed, and now feeling is such that parliament has passed three resolutions condemning drones since 2011. A recent Pew poll found that 97 per cent of people viewed the attacks negatively, and it is set to be a key election issue. Seen as yet another assault on Pakistan’s sovereignty, it has cemented intense anti-US feeling in the country.

The population of Pakistan’s tribal areas operate under their own rules of rough justice and revenge. They are largely uneducated and live by traditions which Akbar describes as “centuries behind”. This compounds their disempowerment: they feel that they are outsiders, not part of the system, and that no-one cares what happens to them.  As the 80 families in Waziristan await the verdict on whether they will be able to press charges for the deaths of their relatives, Akbar explains that an important part of the process is trying to empower the local population, caught up in a remote-controlled war in which they are entirely defenceless. “If you protest, if you come out, if you contact the courts, you can actually do a lot. This is what we are trying to make them understand.”

Samira Shackle is a freelance journalist, who tweets @samirashackle. She was formerly a staff writer for the New Statesman.

This article first appeared in the 18 June 2012 issue of the New Statesman, Drones: video game warfare

DUFFY © DUFFY ARCHIVE & THE DAVID BOWIE ARCHIVE
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The alien among us: searching for the meaning of David Bowie

A tribute to the man who reinvented pop culture and changed Britain, by John Gray, Olivia Laing, Philip Hoare, Kate Mosse, Paul Du Noyer, Kate Mossman, John Burnside, Will Self and Yo Zushi.

First published in a special issue of the New Statesman on 15 January, 2016, marking the death of David Bowie (8 January 1947 – 10 January 2016).

Philip Hoare: Lighting up a blacked-out Britain

In the hot summer of 1976, in white school shirt, black evening waistcoat and trousers, my hair slicked back and sprayed gold, I took the train to London where Kraftwerk’s crackling nuclear “Radioactivity” and the surreal brutality of Luis Buñuel’s Un chien andalou gave way to the man himself, sunken-cheeked, too thin to be caged by the fluorescent array of strip lights behind him. In the oceanic darkness of the arena, I felt I was utterly alone with him, like everyone else. He was in his new incarnation, as dark as the times: Jean Genet out of Man Ray, burned black and white into our monochrome dreams, singing of “the return of the Thin White Duke/throwing darts in lovers’ eyes”. He arrived at Victoria in a slam-door train and was driven away standing in an open-top car like our great dictator.

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John Gray: The shifting shaman of the modern age

If your aim is to be original, you will most likely end up looking and sounding highly derivative. Striving for self-expression, you turn yourself into a mouthpiece for the ruling clichés. David Bowie did the opposite. Knowing himself to be – as a matter of fact or fate – utterly singular, he chose to become a clairvoyant who served as a channel for the shifting spirit of the age. Along the way a succession of selves emerged, each of them novel and original. A commonplace view has it that Bowie was a chameleon who kept reinventing himself in order to exploit the turns of fashion. But his changes served a deeper end. By becoming Nobody, he became many people and at the same time himself. . .

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Kate Mossman: Reading the runes

A week ago, critics were reviewing his new album, Blackstar, and trying to locate the surprise. It had to lie in the music this time, when last time it was all about the delivery. He’d gone and got himself a jazz band, the Donny McCaslin Quartet, whom he first saw playing the 55 Bar in Manhattan early in 2013 (with a power only Bowie could wield, he sent the sax player out to do some of the promotional interviews for the album). Many of the songs are semi-improvised, with a ponderous, ambulatory structure that adds to a sense of mystery unfolding.

The centrepiece title track is a strange, ten-minute movie-of-the-mind that starts in the unsettling soundworld of eastern deserts and then breaks, unexpectedly, into a light Motown-tinged ballad with a tune that wouldn’t be a million miles from Adele’s “Make You Feel My Love”, if you laid one on top of the other. This epic track actually came out last year, along with the album’s two other substantial offerings, “Lazarus” and “Sue”. I wondered if the joke, this time round, was that when you finally got your hands on Bowie’s new album you realised you’d already heard the best stuff for free.

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Yo Zushi: In defence of “bad” Bowie

Tonight remains the Bowie album I return to most often. Its critical panning seems, now that Bowie is gone, an aberration: no album that begins with the seven-minute masterpiece “Loving the Alien” and contains the rocking “Blue Jean” should have received the drubbing it got. The TV-special-style cover of the Beach Boys’ “God Only Knows” is as stirring, in its cold, almost Brechtian way, as Station to Station’s “Wild Is the Wind” (1976) – it’s like watching Elvis in Vegas through a sheet of ice.

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Kate Mosse: King of the outcast girls and boys

Where were you when you heard the news? My ma had always said she could remember precisely what she was doing, how the day felt, when she heard Elvis Presley had died. I’d never understood what she meant, not really, until today. I thought I would never forget the white of the tablecloth at the Santa Catalina Hotel, the swirl of Spanish and German, a little Russian and English being spoken around me. A half-eaten piece of bread and a third cup of coffee, growing cold. A little cheese and an apple cut in four.

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Will Self: A vaudeville star who spun new worlds

Unlike “Sir Mick” and “Sir Elton”, Bowie had refused state honours from the British government. And he’d done it not once, but twice. The message was clear: he didn’t seek status or preferment in this world, at least not the sort politicians dole out. I never met him myself. Indeed, my only direct connection with him was fairly bizarre: a copy of Alethea Hayter’s classic work of literary-critical history Opium and the Romantic Imagination, with “David Bowie” inscribed on the flyleaf, together with his Swiss address, in charmingly juvenile, cursive handwriting. I’d acquired the book from a friend, Kevin Armstrong, who at the time (mid-1980s) was playing guitar in Bowie’s Tin Machine band. It kicked around the house for some years until, suffering from my conscience, I mailed it back to him.

He never thanked me, even though I’d put a return address, but I bore no ill-will; I reasoned he must be busy. Or, if not busy, like some deity who’d created not just one world but many, he was resting from his ­labours. I wouldn’t claim to have an exhaustive familiarity with Bowie’s oeuvre but then I don’t need to – his music, in common with that of the Beatles, constitutes the backdrop on to which the transitory experiences of my own life have been projected; a romantic imagination indeed.

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A Martian up a ladder throwing paint at a canvas

Bowie turned up at the Factory wearing white Oxford bags and yellow Mary Janes, a slouchy bibbety-bobbity hat pulled low over his long blond hair. He sang his homage “Andy Warhol” to the master (“Tie him up when he’s fast asleep/Send him on a pleasant cruise”), who was reportedly not wholly flattered. Then he performed an earnest mime for the nonplussed Warhol in which he opened up his heart and let his guts spill on the floor.

It spoke, perhaps, of what was to come: the annihilating effects of serious, cult-level fame; the sense of being haunted by his own creations, of careering with them into places inimical to physical and mental health. Bowie was always willing to take a risk, to expose himself, to go further out than anyone else might have thought possible. Album after album wore its influences on its sleeve: the avant-garde German expressionism of Heroes and Low, the Chatterton-meets-Beau Brummell lushness of The Man Who Sold the World.

Like many other rock stars, he started collecting art, including a pair of Tintorettos, a Rubens and a Frank Auerbach. But at some point in the 1980s he began making it, too. He’d got himself stuck creatively, and as a way of edging out of the doldrums he switched media, using painting as a way of swimming back to himself. At first it was a private business, a respite and release from music, and then a fertile way of solving problems and nudging around blocks.

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Paul Du Noyer: Close encounters with the Bromley boy

Where the former Beatles turned their speech into Scouse-American sing-song and Mick Jagger trademarked a high-camp mockney drawl, Bowie’s pronunciation remained as neatly clipped as a Beckenham privet hedge. He chose his words with studious precision and delivered them with the quiet stoicism of an Ealing Studios RAF pilot. He knew that journalists are easily seduced by famous people who remember their names, and could flatter you with earnest inquiries about life back in England.

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This article first appeared in the 14 January 2016 issue of the New Statesman, David Bowie