Sources and Methods #31: J. Kael Weston

Alex’s PhD Tool Recommendations

Spaced Repetition Foundation

J. Kael Weston’s Website

JK Weston’s email for readers of his book, loves to hear from you: jkwestonmt@gmail.com

Show Notes:

7:00 - Joined the foreign service after failing out of my PhD program

10:48 - How do you do it [implement US foreign policy] on the ground? You call a lot of audibles. It’s all about relationships.

17:16 - The farther you are from a place like Fallujah or the farther you are from Anbar, Baghdad, Basra, you’re going to be dominated by domestic considerations matter more than what’s going on in the ground. I say this in the book - American elections matter more than any Iraqi or Afghan election, and I believe that.

20:15 - I was always trying to say that we’re not here to occupy your country, that we’re not here to suck out all your oil. The Marines are here to fight, and they’ll fight hard. And I’m here to say there’s a better way forward, where the troop levels go down. And I had another message for Washington - that even a guy here full time, I only knew 1%. Year by year I knew 1%.

21:40 - It behooves us as a country, even as a superpower, how little we can learn in a seven month tour, or a year tour, or even a three year tour.

24:10 My book is an exercise in resurrection in words, I’m trying to bring back in words, real characters, who deserve at least a few pages in a 600 book. And it’s got applications for today. I didn’t want to write a book with five policy lessons from Fallujah. What I wanted to do was write a book so that if you’re a SEAL in Coronado or your General Dunford or whether you’re just an average concerned citizen, you’ll understand that if you take an Iraqi female, there are going to be repercussions. And in the two longest wars in our history, have we learned those lessons and repercussions?

27:15 - I did not enter Fallujah looking at the world there in black and white at all. The two colors were grey and red. Way too much red, and grey everywhere. Some of my military colleagues, and I don’t fault them, had a harder time with that. If you were X then and you want to be Y now, that can’t work.

28:40 - When you listen to the people you’re there to interact with, they can tell you what you want to hear. It’s not as if they don’t want to come to some kind of arrangement with you. And I saw that in guys in the third or fourth tours who got that better…. I found that some of our best allies were folks who had been fighting us a year or two before, because they saw how bad things could get.

30:13 - War is about pragmatism on the ground. You can’t get on your high horse and say well, that guy was a bad guy three years ago. You can make a point, but you’ll never end a war if you don’t reach out and find more stability with more people.

31:39 - Warfare is about people. It’s about the cost to people in a war. People don’t win in a war. Never. Countries may win in a war, but never people. The people in Fallujah are still losing.

36:50 - In these wars we confused troop levels with commitment.

39:00 - I think we escalated a war, unnecessarily. We escalated in terms of troop levels - it’s like a big inverted V. We went up quickly and then the temptation was to  drop quickly. And what I would’ve liked to have seen, which I think would have allowed for more consistent people to people interaction, is to go low to go long. I’ve been advocating that for over a decade.

42:43 - We should be wary of where our limits. One of the best lessons to come from Afghanistan and Iraq is we have limits. The American superpower - which we didn’t see in 2003. I remember when we were at the height of our national power, people forget it was before the mortgage meltdown, before everything we went through, our troops on the fourth, fifth, sixth tour, we were all muscle at the time. Twitch muscle. And what we now see is we have limits. I think this [understanding] will eventually make us a stronger power, a more responsible power. I also think that focusing on the homeland alone is also a recipe for disaster.

52:42 - The problem (on sending people with language skills to countries they are working on) was urgency, and I hope that’s a lesson that’s learned. When you’re sending 150,000 soldiers to Iraq, this isn’t a priority. I don’t believe that the best representatives of the United States always are the experts in the region because at some level there’s a distance that’s helpful as well. I went native with the Sunnis in the West (of Iraq) and the Marine Corps, and I don’t think that undermined what we were doing, but you need a balance.

54:55 - The best diplomats are the ones who speak the language, know the history, and know the arc of that part of the world, for sure. And Amb. Crocker, Ford, and I could name a number of them, they’re out there.

55:55 - It’s a resurrection book. It’s also an accountability book. I believe that some of the literature out there is missing the lowercase ‘p’ for political frame. that wars get started and decisions are made and we shouldn’t just pretend it’s about me and my platoon. That’s an important story. But there’s also the story about the United States of America going to war. And because of my job I felt like I had curtains that I could pull back, in as an objective way I could, and in the best writing I could. So it’s not a counterinsurgency 501 lessons learned book, it’s - these are the stories, these are the people.

56:54 - The mechanics are two shoeboxes full of audiotapes. I used to speak into tape recorders in Iraq. I didn’t even rely on these as much as I could because I almost had too much information. So one day I may do another kind of book. The audio. You know, one day Sheikh Hamza is killed, I’m venting into an audio recorder and you can hear the call to prayer in the background in the middle of Fallujah and that’s all incredible audio. And it’s also in terms of writing where the details came from.

And  I also had a pile of those military green notebooks.

59:15 - The best ‘Mirror Test’ from these wars will come from them [the Iraqis and Afghans]. And I can’t wait until there’s an archive of - I hope one day - the Fallujans writing about the Americans in their city. And I might be able to help that. I hope that someday we’re reading the raw, unfiltered voices of the war. Because I’m still a filter, I still have my biases, I still made my decision on what to focus on. That’s why I ended the book with the soldier’s journal, because I wanted just his voice to be raw and pure, how it is when you’re in the middle of Sadr City. And why I end with the friends and family for the Marines who were killed in that helicopter crash.  

1:00:47 - I know many veteran writers who are very disciplined people who write 1,000 words a day. I’m not one of those people. If I’m motivated and the coffee is flowing, I may write a bit. I spend most of my time thinking about what I’m going to write. This book was actually in formation in my mind between National Parks out West because I needed to start thinking about how to dig into my seven year archive. I had too much information. I had too many stories.

1:02:40 - I still think the best books of these wars are yet to come.

For a non-fiction writer, I sought a fiction editor. I was searching for my weaknesses.

On how to launch a career like his:

1:06:07 - I would say the State Department is doing a much better job of looking like the rest of America. It’s not all Pale Male from Yale. And that’s good because the world needs to see us in all of our diversity and our strengths and weaknesses.

1:06:41 - I also would say that there’s no set game plan to pass the exam [Foreign Service Exam]. I don’t think you can just read every New York Times paper that comes out and start with the culture section and finish with A1. Read widely, go overseas, I’m always an advocate when you’re out of college - go see the world. You’re only going to be able to understand America by living the rest of the world. I believe that fundamentally. You’ll only be able to represent the United States well if - not just over a summer, or a two week tour to Venezuela or Italy or Japan - but to really cut yourself off from your country for awhile. And a lesson in so many ways. And then by the time you’ve had that experience - whether it’s a language program, Peace Corps, military - you will become the better diplomat, because you will know what our country looks and sounds like, oceans away. And it’s that empathy thing, you now know how they see us because you’re among. The good and the bad.

The best ambassadors we have are not our official ambassadors in our embassies. They are the ambassadors in the generation that say, Ok, the Americans still represent this, even though that.

[We find our greatest safety, we find the greatest stability when] We’re that leader that people want to follow not because they’re fearful of us, not because of our military.

So yes, go overseas, go to a hard place. Go to places that maybe are going to challenge you to your core. And then if you want to join the State Department or USAID and they ask you the question ‘so why are you qualified and or what do you want to do’ - that’s your best opportunity. Is to say here’s what I lived, here’s what I experienced.

 

Kael’s Picks:

Television

1973/74 British Television Series ‘World at War.’ Episode 18. Narrated by Lawrence Olivier. This episode, titled ‘Occupation Holland’ has moved me more than anything I’ve ever seen in my whole life. They focus on the Dutch experience.

Music

Love Vigilantes New Order. For service members, it will be incredibly moving.

Book

War Comes to Garmser by Carter Malkasian

Sources and Methods #24: Ben Anderson

Ben Anderson 101:

No Worse Enemy (amazon.com)

The Interpreters (amazon.com)

Ben on Twitter

Show Notes:

3:58 - (On where curiosity about the rest of the world started) It was the Invasion of East Timor that I read all about, and how Britain supplied weapons to Indonesia. I wrote to John Pilger, and he wrote back to me at 17 years old.

5:00 - I had dreams of being a novelist, of being a writer. I eventually switched to journalism.

One of my first big stories involved funeral homes, which I secretly filmed and exposed. After this, got contacted by the BBC and Donal MacIntyre.

7:03 - When George W. Bush made his Axis of Evil speech, John Bolton then added three more countries to the list, so there’s an A List and a B List. A List was Iran, Iraq, and North Korea, and B List was Syria, Libya and Cuba. [So I went to all of them] with a small handheld camera, went and filmed reality there, life from the streets up. It ended up being a really popular film, and that’s almost what I’ve been doing since.

8:15 - (On the importance of journalism / film school) - If you can go somewhere  and learn the basic tools, then great. I’m not sure you can be taught to have the curiosity you need to really do this job well, you need the kind of curiosity where it’s your entire life, where you’re willing to go somewhere for months on end and endure all kinds of hardships and possibly sometimes take on some risk as well. I’m not sure you can teach that. Curiosity. Empathy. An ability to genuinely listen and not just have views confirmed.

If there’s somewhere you can learn how to edit, how to shoot, the basics of writing, then great, but I’m pretty sure of all the people I admire the most, much of them didn’t go to journalism school.

9:50 - I copy writers far more than I copy filmmakers. George Orwell was number one hero.

11:53 - An important thing was figuring out the story while I was recording, so as a result, the story felt far more vibrant than a lot of the stuff you see which is clearly set up and controlled.

12:20 - You look at a lot of people in American TV news, and the whole point of going [wherever] is that they get seen with a flak jacket on somewhere vaguely dangerous. It’s probably a military base, which is probably one of the safest places in that country. And there’s probably nothing happening behind them except helicopters taking off and landing, but you know the point is to get that live shot that looks like they’re reporting from the front lines. I think that’s almost worse than not going at all, because it gives the impression they’ve actually been out and seen something, so what they’re saying holds validity. I’ve seen some shocking things [regarding this]. I’m amazed at how common this seems to be.

14:06 - (On writing a book after making films) If you asked me to come up with 10 documentaries that changed my life, I’d struggle. But I could name 100 books right away that I would say you have to read this before you do anything else. I’ve always respected writers.

I just want to get everything I’ve seen into one place so that if someone is curious enough, it’s there, somewhere. I’ve heard people say in the past that they ‘had to write a book’ and I was always skeptical when I heard that, but I really did feel like I had to just to, as simple a form as possible, just get it all down on paper in one place so that if at any point someone does want to know what this actually looked like from 2007 to the present day, then there it was. I don’t know how much of a difference it actually made, but it felt very logical to do it.

15:53 - The great thing about making documentaries is that you can make a living do it (in contrast to writing). Some documentaries are seen by 20 million people, whereas I think my book sold 15,000 copies. And the publishers were happy with it as well, but I thought it was a depressingly low number. But when someone reads a book, you assume they’re focused on reading it, rather than watching TV, where they could be making tea at the same time.

18:33 - (On returning again and again to Afghanistan) It was never my intention to go back so many times. I think Afghanistan is probably second only to Israel / Palestine in terms of once you get there and actually talk to people, it’s so far away from the country you read about or see reported. That made me keep wanting to go back. To try and show some side of what it’s actually like. As you know, the people you meet in Afghanistan are some of the most hospitable, wonderful people in the world, and I wanted to tell their stories.

24:55 - El Snarkistani on Twitter (on statements that are ludicrously removed from what’s happening on the ground, specifically in Afghanistan).

27:45 - I don’t know how much of what I see is what journalists are able to do vs. what they can do. I know for many, the idea of them being sent to Helmand for a month or two without even knowing without they’re going to do, I don’t know many people who would get that level of support. I’m grateful for the support I get here at Vice.

38:01 - (On how the book came together) It was embarrassingly simple. I’d got to the point where I’d had a few really close shaves and thought it was time for a bit of a break. So I got all of the footage I’d ever shot in Afghanistan and sat down with a really good friend of mine who was a translator, and got everything I’d shot translated word for word, which I’d always wanted to do anyway, and I rented a small house in southern Italy, and watched every single tape from start to finish and wrote down everything of interest, or worth describing.

Then I would go through it and remove as much fatty tissue as possible, again and again. The first draft is always ugly and clunky, and you go through and polish and polish and polish and eventually there are passages where you think, actually, I’d like someone to read this. Very chronological order. I started off very innocent, without having an opinion.

41:38 - (On sources of emulation) George Orwell’s Homage to Catalonia. Evan Wright’s Generation Kill. I read a lot of Hunter S. Thompson.

44:50 (On prepping for a project) If it’s somewhere I’ve been before, then it’s just talking to people I know on the ground, reading whatever has been written recently, trying to rest as much as possible. The 2-3 days before you leave are always the worst.

If it’s somewhere new, that’s fairly daunting, I see if any of the writers I love have written anything about this. I read everything there, and that gets my curiosity going and I usually really want to go, start seeing possibilities of what I might be able to film.

Also, I don’t think it’s all about courage. It’s really all about curiosity. If you’re curiosity is right, then that just takes over above fears for your physical safety. You want to see things that much that you becomes more important than concerns about safety.

52:14 - The only thing I read cover to cover each week is the New Yorker, but otherwise I read pretty much what everyone else would read. But that’s just what starts the curiosity. Newspapers and magazines are starting points. Twitter is an incredible tool.

53:55 - With that, the Twitter abuse is quite difficult. And arguing on it is completely pointless I’ve learned. Which is a shame. It’s turned into this playground fight all day long instead of the free flow of information.

59:22 - It’s of course easy to make fun of Fox News, but the left-wing ones are almost just as bad. [I’ve gone on a few of these shows and] It’s like you have to be a trained actor by which you respond with these few canned lines, there’s no discussion on any of these. News coverage, particularly election coverage, is almost like sports commentary. The talk about ‘tactics’ is leading. The talk of actual policy is almost non-existent.

 

Ben’s picks:

Book: The Complete Essays of George Orwell

Film: Benda Bilili

Music: Manteca - Dizzy Gillespie

 

Matt’s Book:

The Twilight War: The Secret History of America’s Thirty Year Conflict With Iran by David Crist

 

Alex’s Book:

Deep Work by Cal Newport

 

 

Sources and Methods #12: Louie Palu

 
palu_headshot.jpg
 

Suzanne Schroder's blog

Suzanne Schroder on Twitter

Louie Palu 101:

Louie's website

Louie on Twitter

"Four Burning Questions for Louie Palu, photojournalist"
 
"Louie Palu Talks Global Conflict"
 
"Louie Palu: The Art of War"
 
"Dangerous exposure: Photojournalist Louie Palu on working in conflict zones"
 
"“Photographs Are There To Empower You”: Louie Palu Talks Mexico, The Drug War And Photography"

"Kandahar Journals"

"Portrait of an Artist: Louie Palu"

"Prison Photography: Louie Palu"

Show Notes:

2:45 - British photographer Don McCullin inspired me to become a photographer, saw his work and photographs, and immediately connected with it.

4:55 - Freelancing was exhilarating at the start, taking a photograph and then seeing it in paper’s the next day, but I knew quickly I wanted to work on long term projects.

5:32 - First major project were the mines in Northern Quebec and Ontario.

6:20 - I don’t usually get commissioned to do work, I do my own projects and then try to publish them. Eventually got hired at the Globe and Mail.

7:02 - Why do I cover war? I used to say because it was important, and of course it is. But really, there’s nothing personal in that answer, and it didn’t satisfy me. What I realized was that it all connected to my parents, to my roots. My dad's friend was thrown in a POW camp during WWII serving in the Italian Army, and he used to have to fight for food, literally competing with dogs. And that story really stuck with me, as I grew up with these stories, and it really has informed my work.

9:34 - The first conflict I covered was in Kandahar. I was a Canadian, and I heard we were about to start a combat mission there, and I wanted to document it, to start one of my long term projects. It wasn’t just a historical / patriotic thing, it was ‘what’s happening with this country, and our country.’

11:02 - My photography in Afghanistan wasn’t about Italian, or Canadian, or even Afghan, but it was about a human experience.

14:03 - Kandahar has astonishing history, so much to document.

17:01 - I wanted to avoid being a photographer who followed the shooting, or ‘bang bang’ as photographers call it. Did lots of researcher, and really tried to figure out how I could physically get where things were happening, and fill in the holes in the embedding system.

27:00 - Absurdity and war certainly go hand and hand.

31:49 - How to prepare for heading out in Kandahar? Basic respect and researching about everybody in that place as much as possible, and learning about the small things. Everyone wants to learn about the big things, but it’s really the small things.

33:10 - The Taliban don’t want to destroy Afghanistan, they want it to cohere. Afghanistan has always been a weak state but a strong nation.

35:03 - I think it’s important to see war from all sides. Only until you reach inside yourself and understand your own humanity is inhumanity revealed. Until you understand that, you’ll never get it.

52:02 - War is never straight forward, many people think that. It’s a lot of shades of grey. I think the important thing is training - and a lot of journalists went to Afghanistan but they were inexperienced, and this showed. Neutral and objective reporting wasn’t always there. It’s about looking at everybody as an individual.

54:25 - Palu’s Garmsir Marine Portraits. And his Concept Newspaper.

56:15 - I’ve covered the Mexican Drug War, and nobody wants to believe how violent that place is. 100,000 dead since 2006 - it’s like a little Syria with a functioning economy.

1:10:20 - One of my favorite photographs from Guantanamo doesn’t have to do with the detainees - I really started thinking about the environment of this place, and took a picture of a chair. It’s just a chair. But you don’t need to see any more to understand that something probably not that great happened there, and I thought it was really powerful.

1:17:13 - The big next project: Kandahar Journals, from 2009 and 2010 when I was in Kandahar. And I’ve been working on a story to go underneath all the stories and writing and photographs from my time there. It’s also about Kandahar being this forgotten front in the war as well. Working on a book as well. I’m also working on publishing parts of my archive and make it more accessible to the public.