In 2006, Salman Rushdie gave
an interview to Der Spiegel in which he was asked about the causes of terrorism. After first demurring, he suggested a few: "a misconceived sense of mission," a "herd mentality," the desire to become "a historic figure," an attraction to violence, and--shocking the interview--glamour.
Q: Do you seriously mean that terrorism is glamorous?
A: Yes. Terror is glamour -- not only, but also. I am firmly convinced that there’s something like a fascination with death among suicide bombers. Many are influenced by the misdirected image of a kind of magic that is inherent in these insane acts. The suicide bomber's imagination leads him to believe in a brilliant act of heroism, when in fact he is simply blowing himself up pointlessly and taking other peoples lives.
To someone who thinks "glamour" means movie stars and designer dresses, the idea that terrorism is glamorous sounds bizarre. But Rushdie is wise to the deeper meaning of glamour, as a form of magic and persuasion. Glamour is in the audience's eyes, and the phenomenon long preceded Hollywood. Jihadi terrorism in fact combines two ancient forms of glamour--the martial and the religious--with the modern promise of media celebrity.
Glamour can sell religious devotion or military glory as surely as it can pitch lipstick or island vacations. All promise a way to transcend our everyday circumstances, to experience more and become better than ordinary life allows. All invite us to imagine escape and transformation.
Glamour appeals to our desires, whatever they may be, and Jihadi glamour offers something for everyone: from historical importance to union with God, not to mention riches and beautiful women. Consider this excerpt on the glories of martyrdom from the Egyptian cleric Hazem Sallah Abu Isma'il
(transcribed and translated by MEMRI, my ellipses, video
here):
The martyrs are the ones who have changed the course of history. They are the ones who have changed the course of human life. The course of human life proceeds this way, until a martyrdom-seeker collides with it, changing and diverting it. Whenever a martyrdom-seeker collides into it, he restores the course of humanity to the path planned by Allah....
The [martyr] does not lose anything. He does not die. All of a sudden he ascends to the angels and lives next to Allah. He pleads on behalf of 70 of his family members....The Crown of Honor is placed on his head. The gem in this crown is more precious than the whole world. He is married off to 70 black-eyed virgins. If one of these virgins were to descend to this world, her light would extinguish the light of the sun and the moon. That's how beautiful she is.
It's a compelling vision. Of course, traditional martyrs--Muslim or Christian--don't deliberately blow up innocents (though religious wars are hard on civilians).
Watching the excellent new movie
Traitor, I was struck by another aspect of terrorist glamour: how much it resembles, at least in fictional portrayals, the glamour of heist movies. (Don Cheadle is an explosives expert in both
Traitor and the
Ocean's 11 movies.) In both, you have a secret and intricate plan in which every team member is important and the goal is to outwit authorities and commit a crime. It's not hard to imagine how appealing that might be to a bored and impressionable person.
As Rushdie suggests, of course, glamour always leaves something out, in this case the literally gory details of the act (and I wouldn't bet on eternal life or crowns and virgins). And in most of its incarnations, glamour proves perishable. Either aspirations change, entropy and boredom set in, or the audience learns too much, destroying the mystery and grace on which glamour's beautiful illusion depends. The question for this September 11 is, How do we puncture the glamour of Jihadi terrorism? The first step is recognizing that such glamour exists.
[VP]
