Inertia, Not Progress Defines the Decade After 9/11 : The New Yorker - 0 views
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But the main reason that 9/11 didn’t become a source of jobs, or of ideas for revitalizing the economy, was that the country wasn’t thinking about its own weaknesses. President George W. Bush defined his era in terms of war, and the public largely saw it the same way. September 11th was a tragedy that, in the years that followed, tragically consumed the nation’s attention.The attacks were supposed to have signalled one of the great transformations in the country’s history. Bush talked about ridding the world of evil, columnists wrote of “World War Three,” and almost all Americans felt that, in their private lives and in the national life, nothing would ever be the same. But the decade that followed did not live up to expectations. In most of the ways that mattered, 9/11 changed nothing.
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The Second World War brought a truce in the American class war that had raged throughout the thirties, and it unified a bitterly divided country. By the time of the Japanese surrender, the Great Depression was over and America had been transformed. This isn’t to deny that there were fierce arguments, at the time and ever since, about the causes and goals of both the Civil War and the Second World War. But 1861 and 1941 each created a common national narrative (which happened to be the victors’ narrative): both wars were about the country’s survival and the expansion of the freedoms on which it was founded. Nothing like this consensus has formed around September 11th. On the interstate south of Mount Airy, there’s a recruiting billboard with the famous image of marines raising the flag at Iwo Jima, and the slogan “For Our Nation. For Us All.” In recent years, “For Us All” has been a fantasy. Indeed, the decade since the attacks has destroyed the very possibility of a common national narrative in this country.
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“We are at war against terror.” Those were fateful words. Defining the enemy by its tactic was a strange conceptual diversion that immediately made the focus too narrow (what about the ideology behind the terror?) and too broad (were we at war with all terrorists and their supporters everywhere?). The President could have said, “We are at war against Al Qaeda,” but he didn’t. Instead, he escalated his rhetoric, in an attempt to overpower any ambiguities. Freedom was at war with fear, he told the country, and he would not rest until the final victory. In short, the new world of 2001 looked very much like the bygone worlds of 1861 and 1941. The President took inspiration from a painting, in the White House Treaty Room, depicting Lincoln on board a steamship with Generals Grant and Sherman: it reminded Bush of Lincoln’s “clarity of purpose.” The size of the undertaking seemed to give Bush a new comfort. His entire sense of the job came to depend on being a war President.
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