Rome at the Colosseum
"Human Prey" helped launch a genre of TV "border patrol porn." Even before Trump came on the political scene, the National Geographic channel ran five seasons of Border Wars. Since then, more such shows have aired, including Discovery Channel's Border Live and Netflix's Border Security. Copying the style of law-and-order series like Cops, these shows offer viewers ride-alongs with Border Patrol agents as they guard the country's frontier. The set-up is familiar: greenish night-goggle cinematography, Black Hawk helicopters, battered-down doors, and sunrise jeep runs through mesquite scrub. While driving, Border Patrol agents in dark sunglasses hold forth on life, duty, manhood, and their occasional doubts, as an unseen camera films them from the passenger seat or back seat.
One episode from season two of Border Wars, "Lost in the River," reveals a common, often deadly Border Patrol practice: the use of helicopters and all-terrain vehicles to scatter border crossers, forcing them ever deeper into the dangerous desert or fast-flowing rivers. It's a game -- patrollers play scatter, chase, catch; migrants surrender or die -- that pits desperate people with next to no resources against one of the best-funded, high-tech, armed-to-the-teeth law enforcement agencies on earth. "We'll let him tire himself out. If he wants to run, we'll let him run," says one agent. "You kind of have to pick your battles, and I usually pick the one who runs the most... We've got bodies running all over the place... It's a never-ending game for us."
Some of those migrants are chased back into Mexico, others caught, but many simply disappear and die, either from drowning or dehydration. Those that do make it to the United States go on to work at some of the lowest-paying but essential jobs around: they pick crops, slaughter and pack meat, clean houses, tend to the sick, watch kids -- and for the privilege of all this, the federal government has put them through a dystopic death race, which is then transformed into reality-show entertainment for the masses. Watching such spectacles on cable TV, it's hard not to feel that the United States is now ancient Rome -- an empire that, in its later years, held compassion to be a vice -- and the whole of that southwestern desert our Colosseum.
Occasionally, these shows humanize immigrants, but only long enough to super-humanize their pursuers. In one Border Wars episode, a group of 24 detained migrants sit around in the cold morning desert air, looking alternately scared and bored. "It tugs at your heart string[s]," says one of the Border Patrollers who chased them down. "When you see people that are in a bad position, you know, it's tough, it plays on you emotionally as an agent, even though you have a job to do. To keep America safe." None of these shows, however, reveal what happens off screen, including reports that Border Patrollers gratuitously tackle non-resisting migrants, beat those they catch, piss on their belongings, destroy their sources of drinking water, and deny them humanitarian aid.
If the images that do appear on screen sooner or later come to numb the moral senses and if viewers need to up the ante, they can always click on PornHub, which offers a whole subgenre of actual Border Porn, including actors dressed as border agents and as migrants: "If you are caught, you are fucked," is the title of one video.
"Like the Sabine virgins," the New York Herald wrote a century and a half ago about how Mexicans would come to enjoy being ruled by Washington, Mexico "will soon learn to love her ravishers."
Trump's Necromancers
Maybe there's a better metaphor than describing the United States as decadent Rome. Maybe Trump's wall, whether built or not, is psychologically refashioning the country into a besieged medieval fortress, complete with its own cult of martyrs. As a candidate, Trump campaigned with the victims (or the families of victims) of crimes committed by undocumented immigrants, using their grief to stoke grievances. As president, one of his first acts was to establish a government office charged with providing support services to "victims of crimes committed by removable aliens." (Never mind that such aliens have a lower crime rate here than the general population.) Trump's never happier than when, at one of his rallies or speeches, he's able to call the name of someone who had a family member killed or raped by an undocumented immigrant.
A few years before Trump's election, as Robin Reineke of the Colibri Center for Human Rights has reported, the sort of men who would later become Trump's followers began showing up at Tea Party conventions with binders full of photographs of migrant corpses, gruesome images of the desiccated remains of those who had died in the desert trying to enter the United States. The anti-migrant activists who displayed such books of the dead claimed they were humanitarians, trying to raise support to build a wall to stop poor migrants from crossing over and so dying. But really they, like the president today, were necromancers, a kind of American priesthood of the lost frontier, offering a new litany of hate and using the fetish pornography of death to reassure racists that their cruelty was actually kindness.
Greg Grandin, a TomDispatch regular, teaches history at New York University. His newest book, The End of the Myth: From the Frontier to the Border Wall in the Mind of America (Metropolitan Books), has just been published. He is the author of Fordlandia , shortlisted for the Pulitzer Prize and the National Book Award, The Empire of Necessity , which won the Bancroft Prize in American history, and Kissinger's Shadow .
Follow TomDispatch on Twitter and join us on Facebook. Check out the newest Dispatch Books, John Feffer's new dystopian novel (the second in the Splinterlands series) Frostlands, Beverly Gologorsky's novel Every Body Has a Story, and Tom Engelhardt's A Nation Unmade by War, as well as Alfred McCoy's In the Shadows of the American Century: The Rise and Decline of U.S. Global Power and John Dower's The Violent American Century: War and Terror Since World War II.
Copyright 2019 Greg Grandin
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