Accountability for Assad’s Murder of Marie Colvin: A Precedent for Justice?

By Javier Sethness

Originally published on Notes Toward an International Libertarian Eco-Socialism

On Thursday, January 31, a U.S. judge found the Syrian regime of Bashar al-Assad responsible for the targeted assassination of U.S. journalist Marie Colvin in Homs in 2012. A reporter for The Sunday Times, Colvin had been covering the regime’s besiegement of the Baba Amr district of Homs, whose population had rebelled against Assad’s rule as part of the Revolution which had begun in the southern city of Der’aa in March 2011. Though evacuated with other internationals and journalists within days of her arrival as a precautionary measure in light of a threatened regime offensive, Colvin returned with the French photojournalist Rémi Ochlik and British photographer Paul Conroy to the improvised community media center from where they had been reporting. As Conroy describes, he, Colvin, and Ochlik believed that, by reporting on the regime’s besiegement of Baba Amr, they could affect world opinion and bring relief to civilians under fire.  It was from Baba Amr that Colvin courageously went live on CNN, the BBC, ITN News, and Channel 4 News, on February 21, 2012, to belie the Assad regime’s fabrications that its assault on the district was exclusively targeting so-called “terrorists.” It was for this reason that the regime killed her, the very next morning after the broadcast. They triangulated her location via her cell signal due to Colvin’s bravery in broadcasting the devastating truth to the world, murdering her and Ochlik in a targeted artillery strike. As judge Amy Jackson observes in her ruling, Colvin was “specifically targeted because of her profession, for the purpose of silencing those reporting on the growing opposition movement in the country.”

Colvin’s remarkable story is told in two recent films: Under the Wire and A Private War. I will not here be discussing Under the Wire, which is brilliantly reviewed by Muhammad Idrees Ahmad in the New York Review of Books here. Instead, I will offer some comments about A Private War, a 2018 dramatization of Colvin’s life, directed by Matthew Heineman and written by Marie Brenner and Arash Amel.

Though Colvin covered armed conflicts for three decades, in A Private War, we follow her in her later assignments to war zones in Sri Lanka, Afghanistan, Iraq, and Libya. It is amidst covering Sri Lanka’s civil war that Colvin suffers a disfiguring injury, leading her to wear a distinctive eye-patch over her left orbit. While there is little sense in the film that Colvin had an anti-imperialist critique of U.S. participation in wars in Afghanistan, Iraq, and Libya, the film depicts her dynamic and increasingly humanist approach to journalism, culminating in her martyrdom in Homs in February 2012. During the Libya segment, which takes place shortly after the outbreak of protests against Mua’mmar al-Qaddafi, we see Colvin outright interviewing the autocrat. Though Colvin never had the chance to question Assad—she was no Vanessa Beeley, a neo-fascist propagandist, but rather the Syrian despot’s direct victim—we get the sense that the writers and director are here channeling Assad’s specter through Colvin’s interaction with Qaddafi, given their similarities, from political authoritarianism to inter-personal repulsiveness and sexism, and their common opportunistic use of nationalist, ‘socialist,’ and ‘anti-imperialist’ rhetoric to legitimize their crimes. It follows logically that both Qaddafi and Assad would present essentially all opposition to their rule as “al-Qaeda” and/or “terrorists,” as they have.

KPFK’s “Indy Media on Air” Brings Fascism to the Airwaves

by Javier Sethness

Courtesy North London Antifascists

The red-brown convergence, or the seemingly puzzling political alliance between far-left (red) and far-right (brown), is a serious and worsening problem around the world—evermore so since Donald Trump’s election and inauguration. Beyond the divisions between authoritarian and libertarian socialism on the left, both authoritarian and anti-authoritarian socialist traditions share with fascism an emphasis on revolutionism, or the need to transform society radically, rather than incrementally. In practice, this has meant that Italian Fascism grew out of the Cercle Proudhon, an intellectual circle dedicated to the study of this French anarchist; that the Strasserite faction of the Nazi Party had an (admittedly racist) anti-capitalist orientation; and that the Russian neo-fascist and Vladimir Putin adviser Aleksandr Dugin has developed a “fourth political theory” which combines Stalinism with Nazism.¹

While this axis has important implications for social life across the globe, the red-brown convergence is seen mostly clearly in Syria and in the discursive struggle over the Syrian Civil War. Since the beginning of the Syrian Revolution in March 2011, an estimated half-million Syrians have been killed, including 200,000 civilians. Syria’s Assad Regime, Putin’s Russia, and the Islamic Republic of Iran have been found to be responsible for killing 94% of these civilians. Moreover, in a new analysis of cyber warfare in the Syrian Revolution, an anonymous observer identifies three main stands adopted by those confronted with the events in Syria: the pro-Assad, anti-U.S.-imperialism stance; the silent stance; and the stance in solidarity. It is unfortunate to consider that, rather than provide coverage in solidarity with Syrian dissidents across borders, Pacifica Radio/KPFK 90.7 Los Angeles gave a platform to fascism on March 21^st and 28^th of this year on the radio show “Indy Media on Air.” (Link available here.) While the program description states the show’s mission as being the “creation of radical, accurate, and passionate tellings of the truth,” readers of this commentary will judge for themselves whether its pro-Assad orientation can be viewed in any way as radical, accurate, or truthful.