We live in a society of spectacle, and there is a danger to that. In a world that is often transfixed by the grandeur of spectacle, the understanding of catastrophe becomes intertwined with the magnitude of the display. This emphasis on spectacle tends to divert attention from the human aspect of catastrophe, serving as a catalyst for political agendas. As is the human nature of avoidance, spectacle is often used to distract from the reality of disasters. In times of war, this distraction allows us to delude ourselves with ideas of honor and glory while young men die on the battlefield. It is the spectacle that grants us the ability to be awed by technology, rather than horrified at its destructive capabilities. Spectacle is a tool that can…show more content… In Hiroshima, Hersey steers away from grand spectacle, in both tone and imagery, to oppose the desensitization that often results from presenting catastrophe through the lens of spectacle. Hersey’s perspective can be better understood by examining the paratext of the work, in addition to the text itself. In the original New Yorker publication of Hiroshima, the editors justify their choice to dedicate the entire issue to Hiroshima in the conviction that few Americans “have yet to comprehend the all but incredible destructive power of this weapon, and that everyone might well take time to consider the terrible implications of its use” (Hersey 1). There is a collective understanding among Hersey and the editors that Americans have not yet comprehended the true destructive power of the atomic bomb. This was Hersey and the editors’ direct address to Americans, asking them to understand the true extent of the catastrophe from different perspectives. Additionally, throughout the novel Hersey avoids using the iconic mushroom cloud imagery that Americans were desensitized to, ultimately naming the first chapter “A Noiseless Flash” which is comparably less…show more content… Rather than fear and compassion, the “Atomic Age” brought forth feelings of victory and awe. Hersey’s non-traditional use of tone and imagery in the narrative of Hiroshima, as well as the message from the editors, demonstrate his dislike of spectacle as a means to desensitize and distract from catastrophe to fuel hypernationalism. In Owen’s poem, "Dulce et Decorum Est," he avoids traditional imagery that glorifies war and violence, instead drawing attention to human suffering and opposing a narrative that desensitizes the public towards war. Contrary to Hersey, who uses dry language and avoids spectacular imagery to overcome desensitization, Owen overwhelms the reader with violent imagery that serves to disarm their previous misperceptions of war. The speaker recalls horrifying memories of war, describing a fellow soldier caught in a gas attack as “flound’ring like a man in fire or lime” (Owen, line 12). The purpose of this imagery is to remind the audience that war is not all glory and privilege like they have been
