A revista ‘The New Yorker‘ publica um ensaio sobre a prisão de Abu Ghraib, ‘Exposure: The woman behind the camera at Abu Ghraib‘, da autoria de Philip Gourevitch e Errol Morris, um extenso relato na primeira pessoa, através das palavras da soldado Sabrina Harman hoje famosa pelas fotografias tiradas dentro da prisão.
Mas as descrições da vida dentro da prisão são simplesmente dantescas:
“Of course, the prisoners in the tented camps couldn’t move, and as mortars kept falling on Abu Ghraib, prisoners kept getting killed and maimed. These casualties were promptly recorded in Serious Incident Reports on the military security networks. Then the dead were removed and their remains were sent to a morgue, while the wounded were treated at the prison clinic or, if the damage was severe, evacuated to a hospital before being returned to the camps. The Americans running the prison knew that it was their duty to protect their prisoners, and they knew that at Abu Ghraib that was impossible.”
As acusações voam de um lado para o outro, numa tentativa desesperada de aceitar o inaceitável:
“The low-ranking reservist soldiers who took and appeared in the infamous images were singled out for opprobrium and punishment; they were represented, in government reports, in the press, and before courts-martial, as rogues who acted out of depravity. Yet the abuse of prisoners at Abu Ghraib was de facto United States policy. The authorization of torture and the decriminalization of cruel, inhuman, and degrading treatment of captives in wartime have been among the defining legacies of the current Administration; and the rules of interrogation that produced the abuses documented on the M.I. block in the fall of 2003 were the direct expression of the hostility toward international law and military doctrine that was found in the White House, the Vice-President’s office, and at the highest levels of the Justice and Defense Departments.”
De facto, a questão de como foi possível reservistas e soldados rasos terem praticado actos de intimidação, tortura e terror nos prisioneiros sem que ninguém dentro da cadeia se apercebesse ainda não foi completamente respondida.
A fotografia tem este lado macabro de nos impressionar com imagens fortes, tiradas em teatros de guerra, falta agora descobrir as verdadeiras intenções de quem fez estas fotografias, se são souvenirs de guerra ou documentos que serviram para mostrar ao mundo o que na realidade se passava naquela prisão; dadas as circunstâncias teremos sorte se a verdade for revelada alguma vez.