Criticism of the War on Terror addresses the issues, morals, ethics, efficiency, economics, and other questions surrounding the War on Terror and made against the phrase itself, calling it a misnomer. The notion of a "war" against "terrorism" has proven highly contentious, with critics charging that it has been exploited by participating governments to pursue long-standing policy / military objectives, reduce civil liberties, and infringe upon human rights. It is argued that the term war is not appropriate in this context (as in War on Drugs), since there is no identifiable enemy, and that it is unlikely international terrorism can be brought to an end by military means.
Other critics, such as Francis Fukuyama, note that "terrorism" is not an enemy, but a tactic; calling it a "war on terror", obscures differences between conflicts such as anti-occupation insurgents and international mujahideen. With a military presence in Iraq and Afghanistan and its associated collateral damage Shirley Williams maintains this increases resentment and terrorist threats against the west. There is also perceived U.S. hypocrisy, media induced hysteria, and that differences in foreign and security policy have reduced America's image in most of the world.
Read more about Criticism Of The War On Terror: Terminology, "War On Terror" Seen As Pretext, Methods, Decreasing International Support, Role of U.S. Media, British Objections, Pejorative Terms
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“The critic lives at second hand. He writes about. The poem, the novel, or the play must be given to him; criticism exists by the grace of other men’s genius. By virtue of style, criticism can itself become literature. But usually this occurs only when the writer is acting as critic of his own work or as outrider to his own poetics, when the criticism of Coleridge is work in progress or that of T.S. Eliot propaganda.”
—George Steiner (b. 1929)
“However intense my experience, I am conscious of the presence and criticism of a part of me, which, as it were, is not a part of me, but a spectator, sharing no experience, but taking note of it, and that is no more I than it is you. When the play, it may be the tragedy, of life is over, the spectator goes his way. It was a kind of fiction, a work of the imagination only, so far as he was concerned.”
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“But is an enemy so execrable that tho in captivity his wishes and comforts are to be disregarded and even crossed? I think not. It is for the benefit of mankind to mitigate the horrors of war as much as possible.”
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“A man whose mind feels that it is captive would prefer to blind himself to the fact. But if he hates falsehood, he will not do so; and in that case he will have to suffer a lot. He will beat his head against the wall until he faints. He will come to again and look with terror at the wall, until one day he begins afresh to beat his head against it; and once again he will faint. And so on endlessly and without hope. One day he will wake up on the other side of the wall.”
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