The anniversary of the bombing of Hiroshima gives one pause as it marks the emergence of a world of remote military strikes conducted by GPS, or on a UTM grid that cast agency at a distance from ethics or ethical choice. One thinks not only of the global cartoons of global expanse that seemed to unroll geopolitical spaces for their American readers, but of the new ethics of point-based precision. For the point-based maps created vertiginously elevated the subjectivity of their readers across the 40,000 maps produced between 1941-45 by the U.S. Army Map Service so as to remove most Americans from all sense of a shared ethical framework of humanity as the first atomic bomb was dropped on the city of Hiroshima.
The framing of military invasion as a game of geospatial dominance discounted the massive incalculable loss of human life in campaigns of prolonged fire-bombing and atomic holocaust. While the American military insisted that radiation burns were but “Tokyo tales,” as the government mole in the New York Times, William Laurence, asserted, due to the levels of radioactivity of the Atom Bomb, the cartoon suggested this was but the latest case of action at a distance, asserting a clear causality between the “invasion” of the city in Hawai’i, recently part of Japan, and the drawing and quartering that the explosive man-made catastrophe. The disembodied head miming words of feigned apology invoke a racist stereotype of a hasty apology delivered in pidgin English, disproportionate to the cascading effects it brought.
The oddness of this cartoon rests in its effective displacement of responsibility for the start of the atomic age. Indeed, the narrative this cartoon bears traces of how this new spherical global space suggested suggested a territorial dominance across the new spaces of air travel: the cartoon that appeared after the atom bombs were dropped on Hiroshima and Nagasaki on August 6, 1945 are particularly striking as it appears to remove any sense of the agency of atomic holocaust; it cast the explosive logic of the atom bomb as a delayed quid pro quo response to the “Jap Sneak Attack” of 1941; it asked readers to consider not the effects or impact of the atom bomb, but, rather evasively, who really was “the Fellow who Lighted the Fuse,” as if he were to blame: before any images of the destruction of both cities was described, the Chicago Tribune included testimony of Enola Gay crew members, hailing from Chicago, as an exclusive, with a discussion of the physics of atomic bombs and a reminder that a number of B-29 bombers were posed for further destructive missions.
The front-page color cartoon hid the explosion of the Atom Bomb over Hiroshima, offering an occluded view on a spherical globe: in colorfully eye-catching attractive Hearst style, the colorful cartoon map was the sole visual documentation of the bomb’s effects, masking the devastation of its impact by the geopolitical logic that led to dropping an atom bomb. The only sense of agency in the cartoon is that poor fellow, his head now rising into the sky, severed from his body, as his bloody knife, patriotic flag for the Empire of Japan, and his military boots and gloves were imagined to be blasted far above the globe’s atmosphere. While the cartoon surely registered the global significance of the dropping of the A Bomb over a densely populated city across the Pacific Ocean, the responsibility for doing so was identified with a racialized floating head, finally severed not only from limbs but militaristic flag that suggested a rising sun of Pacific domination, but was now distastefully merged with a stereotype of obsequiousness that belies militancy. Is the beheaded soldier who once wielded a now shattered sword sorry for the catastrophe of the atom bomb?
In fact, he is apologizing, or is forced to apologize, for similar stereotypical sneakiness of earlier attacking Pearl Harbor. The informed American reading the cartoon recognizes as clearly traceable to dropping the atom bomb, by a link as evident as the arcing flightpath by which Boeing B-29 Superfortress the Enola Gay carried the 9,000 pound Little Boy to drop 26,000,000 pounds of high explosives on Japanese civilians.
The spent match that lies on the “big island” of Hawai’i marks the site of where Japanese bombers attacked an extra-territorial military base, at Pearl Harbor. The map serves to help process the devastating precedent of aerial destruction. And it shifts the destructive impact of the bomb, incongruously, to a palette of a sunset just removed from U.S. territory, where the curling fuse that we can only see as running across the Pacific theater leads to a land lying behind global curvature of the earth, that almost occludes the global significance of introducing the atomic age. The bomb is an illustration of the end of the war by the victory of military mapping, and an affirmation of the fact that the only map is global now. But the ethics of that map are more than problematic. It carries a clear sense of “out of sight, out of mind,” imbuing the deaths of over a hundred thousand Japanese civilians–in an odd mirror reflection of the fears of Japanese attacking United States territory–with a sense of victory, painted as the conclusion to the war that Japanese single-handedly begun. The cartoon is a rather concerted shirking of collective responsibility for immediately killing 70,000 Japanese civilians and killing another 50,000 by radiation poisoning created a precedent of instantaneous mass slaughter. It must be paired with the sustained campaign of military disinformation that William “Atomic Bill” Laurence drove, downplayed any destructive effects of the atomic blast’s radiation levels as purely “Japanese propaganda,” as if to conceal its own efforts to portray the role of radiation in contributing to particularly painful and gruesome deaths.
As U.S. President Harry S. Truman would explain to the world that the delivery of the bomb had released nothing less than “the force from which the sun draws its power . . . against those who had brought war to the Far East,” in an impromptu lesson of nuclear physics, the payload of greater power than 20,000 tons of TNT, describing the bomb in empyrean terms that took one’s eyes off the ground as an act of “harnessing of the basic power of the universe” against the Japanese empire that had taken the rising sun as its emblem and flag, as if he was righting the natural order of the universe by using the sun’s awesome power to right the imbalance of a natural order and to deliver destruction in a purely retributive fashion. If almost a quarter of Americans stated after Japan’s surrender that they would have accepted the destructive explosive powers of more bombs earlier in the war, press dispatches claimed that the bombing would not leave any greater medical injuries than conventional bombs; as mortal effects of the absorption of radiation became clear, Lt. General Leslie Groves, having directed the atom bomb program, affirmed the same logic, enjoining reporters who “did not like the way we ended [the war], to remember who started it.” How many times had Lt. Gen. Grove, observing the same map, had arrived at the conclusion after contemplating the range of air routes the bombers would take, as a way of rationalizing the inhumanity of the event by reducing its devastation to the military logic of quid pro quo retribution for military deaths.
Who, indeed, was making the sneak attack? If the yellow and orange hued pyrocumulous clouds caused by atomic blasts suggested the fireball of a nuclear or atomic explosion, the cartoon clearly referenced not only the explosion that left 200,000 estimated dead in its immediate aftermath, but the fireball of the atomic explosion as a sunset of the Japanese Empire. The first dropping of an atomic bomb on civilian population by the United States–
–was sunset of the Japanese empire, seen from the empyrean perspective of the navigation of aeronautical space that allowed its delivery at precise global coordinates. Did newspaper readers who smiled at the grotesque cartoon vicariously delighting in the ability of precise targeting on geospatial coordinates to target two cities for atomic devastation, without considering the humanity of their civilian inhabitants? Or did it prepare the consumption of the news of the delivery of the payloadContinue reading