by Corey J. White

I don’t remember the first model kit I built.

I remember the small metal tins of Humbrol enamel paint. I remember levering the lids off with a flathead screwdriver, and struggling to fit them back into place when paint clung thick to the edges of the metal. I remember the X-Acto knife I would use to cut kit pieces from their plastic frames (years later I would use this same knife to cut myself in search of answers to my teenage angst), I remember the chemical smell of the paint and the glue, and the sticky consistency of the white paint compared to any other colour.

I don’t remember building the 1:72 scale model of the SR-71 Blackbird spy plane, but I must have been proud of it, because I remember showing it to my dad. I remember him joking that Saddam Hussein was sitting in his office, building the same models. I assume the joke was at Iraq’s expense—the country too backward to gather intelligence in any traditional way, relying instead on a child’s toy to know what it was that they faced in an adversary like America. The joke surely wasn’t at the expense of America’s arrogance in attempting to police the entire world, or the cultural saturation of this idea of righteous American war against, first, Communism, then Middle Eastern dictators, and later (and still), the vaguer notion of “terrorism”.

(Christmas 1989, and I receive my first GI Joe figures and vehicles. I had seen my father buy these toys at Kmart, but had believed him when he said they were for a cousin, rather than myself. I would become obsessed with GI Joe, but it all began because I asked for a My Little Pony. I can only assume my father feared I’d grow up gay if I were to receive a bright purple horse, so instead it was GI Joe. But this is a story about model kits, not action figures. Though they are both stories of the cultural acceptance of war.)

I don’t remember if I laughed at dad’s joke, but I remember thinking I understood it. Saddam Hussein was the villain from the television. He deserved ridicule. He deserved it in the form of jokes from middle-class white men all across the Western world. He deserved it in the form of racist cartoons in major newspapers.

My father didn’t serve in Vietnam, but his father served as a gunner and radio operator in a Beaufort bomber in the Pacific theatre during World War II. His father’s father served in the Scottish army during World War I—one of the many who returned from the war and would not, or could not, speak of it, a man broken by what he’d seen and/or done. I don’t know if this weighed on my father, if he felt that he was somehow breaking the line of White warriors. But when the television tells us that we’re at war with Communism, then isn’t consumerism a sort of combat? Isn’t each swipe of the credit card the same as pulling the trigger?

(The CIA backed The Baath party in Iraq—which counted Saddam Hussein among its numbers—in a coup against the Communist-aligned General Qassim {1}. At this stage it should be a given: Of course America would have been instrumental in bringing its future enemy to power. How many times has America built its own bogeymen from pre-existing kits they barely understood, gluing the pieces together with American money and American weaponry? How many more times can they manage it before their empire crumbles?)

My dad might not have first-hand experience of war, but he was a veteran of Capitalism’s trenches. My parents had lost their business and our family home in the “Recession we had to have”. Still, he could not lose faith, the lifelong salesman a zealous soldier in Capitalism’s army even now. By the time I was building my SR-71 Blackbird model, Communism had been defeated. (I remember where I was when the Berlin Wall came down: playing with GI Joes on the floor of a family friend’s living room. But that is still a different story.) No longer would the armies (or operatives) of America and its allies be dispatched to far-flung corners of the globe to take a stand against an ideology. But the hunger for war remained.




Corey J. White

Corey J. White is the author of The VoidWitch Saga – Killing Gravity, Void Black Shadow, and Static Ruin – out through Publishing. He is based in Melbourne, Australia.