NIMBY

The lie that killed my son (The Guardian, July 8th, 2004)

It is two weeks since Fahrenheit 9/11, Michael Moore's polemic on the war in Iraq, was released in America, and in that time Lipscomb's voice has emerged as the film's most powerful. As with any project generated by Moore, the film will be loved and loathed in equal measure, but whatever one thinks of him, it is hard to resist the testimony of 50-year-old Lipscomb, a mother from Flint, Michigan, who still flies a flag in her garden, but is down to three children and a handful of ruptured assumptions where other certainties used to be.

The scenes in which she recounts the story of her son Michael's death have had cinema-goers sniffing into their sleeves. "For many years," says Lipscomb, "I thought I had to control everything. I had a real controlling spirit. But, boy, when the army stands in your house and tells you that your oldest son is killed, all that flies out the window. Over this last year and a half, I've been known to cry a bit."

The power of Lipscomb's story lies in the sharpness of the U-turn she made and her eloquence in speaking about it. Initially, she supported the war, on the assumption that the government knew best. But just two weeks into the conflict her 26-year-old son, a sergeant in the US army, was shot down while serving as a door gunner in a Black Hawk helicopter. Five other soldiers died with him. A week or so later she received his last letter, in which he told her he thought Bush had lost the plot and that they shouldn't be in Iraq, that the whole thing was folly. Moore got wind of it when Lipscomb and her family were featured in Newsweek magazine and he flew to Flint, his hometown, for a meeting.

"Michael Moore said he'd already been around America interviewing all different types of people [for the film]. It was the most incredible experience; he was sitting in our living room and all of a sudden, during the talking and sharing, a tear fell from his eye. His producer said afterwards, 'Michael found it, he found it, he found what the movie was going to be about!'"

It is clear from this story that her and her son’s opposition began in 2002, long before they could have known anything about so-called “lies”, and that it was simply born of the fear every soldier feels and the terror and angst of every soldier's parent. After one strips the syrup from this tale, isn’t one left with the conclusion that all she is saying is that her son's death is a reason in itself to oppose the war and that she only supports wars in which other people’s children die?