I think I was in Doha, one of those places, and I was talking to my editor, Phil Bennett, who is a brilliant editor. We were saying, okay, we’ll cover the invasion. This should be wrapped up in a month or two. Then let’s start thinking about where else we’re going to go in the region. Seven years later, 2010, I was still sitting in Baghdad. Through that first year, there was that notion of trying to get a better sense of repercussions of the invasion on the region. But in the end, the region changed Iraq; Iraq didn’t change the region.
Shades of Gray
On the first day, the first couple days, I was reporting on, I forget what they called it, fear and awe? Shock and awe? Shock and awe. So I was covering the bombing, but even in those first two days I was trying to get out on the streets and talk to people, and I was putting all that color at the bottom of the story. And I’ll never forget, we were editing the story the second or third day, and Phil said, “You know what’s interesting, Anthony? This stuff at the bottom, the popular sentiments, is the most compelling part of the story. The top of the story was just trying to find enough adjectives to describe the violence, the bombing and so on, but here you’re seeing nuance and ambiguity and again these kinds of shades of gray in what people are saying. I think you ought to focus on that and make it part of the story.” And it did prove to be the most compelling part of the story. The sentiments in the end were the arena in which the whole experience was contested. And it unfolded very quickly.
I had had it in the back of my mind to do some of that. Before the invasion started, I had talked to some friends there and made contacts so that I could go see them once the war started. I got lucky because I had a minder who did not stand in my way. I was able to see this woman who had sent her son off to fight; I was able to visit a former diplomat; I was able to see a psychiatrist whose son was doing his residency at Johns Hopkins. Those three, and then a professor who I had met before the war, those four characters, became the spine of the book that I wrote later on, Night Draws Near. Even in those first meetings, I knew if I could follow them, if I could understand what they were saying, and how they changed as the events unfolded, it was going to be something very compelling, and would somehow tell us what this war represents. In some ways the legwork was done ahead of time.
How to Understand
In moments of crisis, in moments of trauma, people want someone to bear witness. It was amazing how forthcoming everyone was, and how much they wanted to talk. This was no less an event for them than September 11 was for Americans. I think that cauldron of sentiments, often contradictory, often conflicting, kind of came forth. We knew how important popular sentiment was, so the challenge was, how do we bear down, how do we find that place? It sounds elementary but I hadn’t heard it before. Phil Bennett was all about, “You need to intersect environment with dialogue. Intersect the environment with interviews.” That became a really powerful tool. How can I tie those two things together? This event unfolds while I’m talking to them and they will intersect with everything going on around them.