July 8, 2016
November 1, 2015
Voice thinned out instead of thickening with retirement, the sing-song intonation remains the same; but resonance that went with residence in No 10, has duly gone away.
Open-faced, hand-on-heart, put a beard on him and you could take this for a devotional picture of Our Lord, Jesus Christ. Jesus Christ! Is that what he thinks – my cross to bear, I did it for the sins of the world? Or is it only how he’s playing it – playing us? Perhaps for him the distinction is false: what works is what is; and that’s the end of it.
Tony Blair, who stepped down in 2007 after 10 years as UK prime minister, has been brought back to Basra and Baghdad by publication of the Chilcot Report – the much-delayed findings of a seven-year-long inquiry chaired by senior civil servant Sir John Chilcot, into Britain’s military role in the overthrow of Saddam Hussein in 2003 and the subsequent occupation of Iraq.
Chilcot has reported that Blair chose to declare an unnecessary war. This means that the British troops killed in action, one hundred and seventy-nine of them, died unnecessarily; to say nothing of thousands of civilians slaughtered and more than a million Iraqis displaced in the sectarian chaos which ensued after the occupying forces dismantled the state of Iraq.
Anticipating strong criticism from bereaved families, immediately after the high profile launch of the Chilcot Report, Blair held his own press conference at Admiralty House (nice gaff if you can get it), in which he apologised for how much hurt the war had caused, but insisted that on the basis of what he knew at the time, he would do the same again.
Although he had plenty to say (the press conference went on for two hours), Blair’s brittle voice – his, but with the bass taken out – was reduced to a tremulous echo of the tracks he recorded previously, as prime minister.
But no one asks why Iraq came top of the target list post-9/11. At the time, Western leaders surely felt the need to verify themselves in a suitably spectacular way (naming their invasion ‘Shock and Awe’ is just one indication of its essentially theatrical nature). But why, when Al Qaeda terrorists had been identified as ‘networked’, ‘de-centralised’ and even ‘postmodern’, did Tony Blair and US president George Bush attack a regime such as Saddam’s, renowned for its highly centralised bureaucracy? Unless Iraq came top of the hit list not least because in its centralised, partially modernised aspects it resembled the discarded social structure and the semi-socialist architecture which Britain and America had only recently come to despise.
They called it a turkey shoot but you wouldn’t stuff this carcass at Christmas.
It is the charred man, crisped to ash and bone when a convoy of conscripts was strafed by Coalition planes in the closing stages of the ‘video game war’ against Iraq (February 1991).
The posture of the burnt-out body told photographer Kenneth Jarecke ‘how precious life was to this guy…trying to get out of that truck’.
Head and shoulders framed in the windscreen, hands pushing down on the dashboard,the human remains that Jarecke froze on film had been ‘fighting to save his life to thevery end, till he was completely burned up.’
But ‘Crispy’ didn’t tally with the preferred, purposely blurred image of ‘surgical strikes’ against Saddam Hussein, dictator of Baghdad. When it mattered most, most newspapers demurred: they deferred printing until the picture was already its own archive.
Head tilted, teeth bared, shoulders bunched forward, the charred man of nearly 25 years ago is precursor to the pose struck by a previously charmed man, fighting to save his public life in a recent interview with CNN (the rolling news channel which first came to international prominence during the war in which Crispy was incinerated).
Flesh turned to ash would have toned in perfectly with Tony Blair’s grey suit and matching tie. Likewise, the former British prime minister also bares teeth, tilts his head, and bunches his shoulders forward as he gazes intently – too intensely – at interviewer Fareed Zakaria.
Dried out in an instant, how Crispy would have envied the merest smear of sweat on Tony’s upper lip. But would he be duped by his doppleganger’s verbal delivery? Oh-so deliberately casual, with prepared pauses in the, wrong places – as if words are simply springing to mind and not always at a regular rate, when really their spontaneity has been repeatedly rehearsed.