Afghanistan
the flicker of hope between wars
Warning: This report contains graphic content
As the United States and its allies, including Australia, withdraw from Afghanistan in 2021, this picture essay from 1992 offers an insight into the brief period between the departure of Russian occupiers and the rise of the Taliban. Australian soldiers were quickly on the ground, but back then it was all about sharing skills and knowledge in the hope it would engender peace.
In April 1992 the Afghanistan government of President Najibullah fell – 2.5 years after the Soviet troops that had supported it had withdrawn.
Optimists declared peace had come, finally, after 14 bloody years of Soviet occupation and civil war.
That October, Perth photographer Nic Ellis and a reporter colleague Cyril Ayris went to Afghanistan to record the Australian participation in the massive mine-clearing exercise that was underway.
Mines remained the single biggest obstacle to the resettlement of people from the vast border refugee camps, and to the peace process as a whole. Mines had been laid in their millions, first by the Russians to protect their convoys and outposts and then by the Mujahideen to thwart Russian troop movement.
Entire villages, orchards, fields, canals and road verges – everywhere people travelled – were ringed by swathes of mines and booby traps. This explosive legacy of liberation had killed more than 200,000 people, with tens of thousands more having lost arms, legs and eyes. So large was the problem that a whole cottage industry had sprung up to make artificial limbs.
The cruel irony of the tragedy was that the horror of the mines was manifested largely as a consequence of peace. Some three million refugees camped along the Pakistan border saw the fall of the Najibullah Government as a signal to return to their homes. One of the biggest refugee movements of the 20th century was just gaining momentum as hundreds of thousands loaded their few belongings onto trucks and carts and pushed for home – and walked straight into the minefields.
Initially the United States, Britain, New Zealand, Norway, Sweden, Italy, France, Turkey and Australia responded with trained de-miners. But by late 1992 only a nine-man Australian team remained to teach Afghans the required skills. A new war, the Gulf War, had drawn off the rest.
Entire villages, orchards, fields, canals and road verges – everywhere people travelled – were ringed by swathes of mines and booby traps. This explosive legacy of liberation had killed more than 200,000 people, with tens of thousands more having lost arms, legs and eyes. So large was the problem that a whole cottage industry had sprung up to make artificial limbs.
The Australians comprised two Perth men – a career soldier Major Graeme Membrey, and army reserve Sergeant Mick Durnin, a policeman in civilian life.
Both had been caught up in the tragedy: "The first mine victim I saw was a man on a donkey who had just lost both his hands," said Membrey.
Durnin, a big man whose black bushy beard and bear-like hugs had endeared him to all, admitted to Nic Ellis that the devastation and injuries had affected him deeply.
The sheer size of the human tragedy took time to absorb. One of the first stops for Ellis was a building tucked away in a back street in the eastern city of Jalalabad. It was layered inside with dust and grime like a long-deserted factory. But on entering, he passed room upon room of men lying in filth or sitting propped on benches, registering but brief interest in the Westerner who had entered their world. It was a hospital.
He met a young boy named Shakila sitting upright in a filthy bed in a small dim room he shared with an old man. Half his left leg was missing, the stump at the knee painfully swollen due to a sliver of steel still embedded there – a year after the lower half of his leg had been blown off.
He told, through an interpreter, of how he had been walking to his village when he stepped on a mine. His family had wrapped his shattered legs in rags and taken him to Kabul on a donkey.
When Kabul fell under Mujahideen rocket fire seven months earlier he had been evacuated to Jalalabad – to this hospital that had nothing more sophisticated to offer than basic first-aid. There were Western doctors across the border in Pakistan, but Shakila's parents were too poor to raise the money (then about $500) to take him there.
But Shakila did not complain. He accepted the pain ... and some crayons Ellis produced from the bottom of his camera bag. He carried such simple tokens to offer as gestures of appreciation for being allowed to intrude on their lives with his camera.
Since the fall of the Najibullah government, more than 20,000 people were believed to have been killed in Kabul alone in an orgy of summary executions, Mujahideen atrocities and indiscriminate rampaging with modern weapons of mass destruction.
And at regular intervals were Mujahideen checkpoints where fighters manned, repaired and commandeered tanks. Some squatted behind machine guns. Everyone carried a Kalashnikov rifle.
While Ellis was in Jalalabad, it became clear to him almost immediately that the peace the outside world spoke of had, in reality, been but a fleeting moment.
The Mujahideen still fought – with each other and with anybody who happened to be in the way.
Ellis began hearing of some of the most horrifying atrocities of modern times as a renewed civil war waged unabated.
Since the fall of the Najibullah Government, more than 20,000 people were believed to have been killed in Kabul alone in an orgy of summary executions, Mujahideen atrocities and indiscriminate rampaging with modern weapons of mass destruction.
In the tent cities along the Pakistan border, refugees told of children shot dead in front of their parents, of crucifixions and beheadings, of nails being driven into people's skulls, of men being tied by their necks to tanks and dragged through the streets until strangled or decapitated.
Ellis was told of (and later shown) blackened and shredded shipping containers into which people had been locked and then fired on with machine guns and rockets.
The accounts were mind-numbing, and the initial object of the assignment was testimony to the fact that the extent of the renewed warring by the Mujahideen had not reached the outside world. Ellis and Ayris had come to record a peace process and instead found themselves recording a horror beyond description. This was what they realised they had to convey to the world – but it required more than just refugee camp rumours and tales.
In an effort to verify further the stories they were being told, they decided – against the advice of local United Nations officials in Jalalabad – to press on to Kabul. There was a bus that made the trip ... on a road infamous in modern history.
The British fought and died for ‘the road to Kabul’ in their thousands during Queen Victoria's reign, and the Russians and Mujahideen battled for it throughout the Russian occupation.
Even just two weeks before Ellis' arrival, the traffic island that marked the start of the route had been the site of a public beheading – swift and public punishment in a country where justice, like everything else, had been reduced to fundamentals.
The road had also become the conduit for one of the biggest refugee movements of the century; it witnessed the desperate ebb and flow of an entire population caught between returning to their former homes and being thrust back to the border camps by mine fields and Mujahideen.
The bus, carrying 24 men, one woman and a baby, left Jalalabad at 7am. The only protection being carried by Ellis was a letter written in Arabic by the Governor of Jalalabad to "whom it may concern" requesting protection and assistance.
From the bus, shaking over the pitted road surface, Ellis passed abandoned anti-aircraft guns, armoured personnel carriers, mortars and missiles scattered at drunken angles along the edges.
Law and order no longer existed. A man and his village was as strong as their weapons.
Every village passed through had been blasted into near oblivion. Every bridge had been destroyed, so the bus had to lurch through riverbeds. Once fruitful orchards were dead through neglect. There were graveyards every few kilometres where scraps of coloured cloth fluttered to mark graves.
And at regular intervals were Mujahideen checkpoints where fighters manned, repaired and commandeered tanks. Some squatted behind machine guns. Everyone carried a Kalashnikov rifle.
Seven hours after leaving Jalalabad the bus pulled into Kabul, its passengers and their luggage coated in grey dust.
Ellis and Ayris checked into the Inter-Continental, a once elegant hotel now a darkened concrete shell. For a moment it was as though the war-ravaged hotel was suddenly a refuge, a link with a normal, safe world ... such is the mind's trickery. They walked into the cavernous timber-panelled lobby that was in semi-darkness, unperturbed by the fact that the lights were out, that the lifts didn't work and they appeared to be the only guests.
After a cold shower Ellis made the most of the remaining daylight to capture the bombed-out streets of Kabul and a central city park dominated by a set of rough wooden gallows. Children were jumping to grab at the ropes from which four men had been publicly hung only days before. It was like a warped dream.
Later, as darkness fell, he watched from his hotel window as a spectacular quarter moon rose over the Kabul valley. Suddenly the lights went out and Ellis made his way in the dark to the hotel reception. He staggered into a bizarre scene that seemed to summarise the hopelessness of life in Afghanistan. A group of men had come in off the street and were lounging in front of a television watching Tom and Jerry cartoons ... the television working when the lights were out being just one more puzzle. The men were bristling with Kalashnikovs and ammunition belts and sat sternly absorbing the Western slapstick.
A man appeared and waved Ellis back to his room, but followed several minutes later to show him where the candles were stored.
Ellis found it impossible to sleep. For reasons unknown, he suddenly decided to file his nails. It was 9.30pm and he had just taken the nail file from his kit when the heavens erupted. Bombs began exploding and the night outside was filled with arcing tracer. The noise was terrifying.
"I still retain this absurd image, even today, of me sitting upright in bed, frozen by fear for about 40 minutes, as what sounded like a battle raged, nail file clamped in one hand, fingers tightly curled in filing position in the other."
"Looking back in the cold light of day, it was probably just a minor skirmish in the daily life of Kabul – but it was unnerving, not knowing who was shooting and where they were shooting."
Ellis left the hotel, eager to learn the true state of affairs and then leave. He wasted no time with niceties, simply stopping and talking with as many people as possible. Some spoke openly, some were too fearful to say anything, and some were openly hostile. It was a tense process, but a uniform picture soon emerged of what had happened since the fall of government.
He was shown shipping containers in which people had been packed and fires lit around the outside to roast them alive; he was shown the sites of crucifixions, and unspeakable horrors of butchery and rape, and summary execution.
The same accounts were repeated over and over, of complete abandonment of human self-control. Into the vacuum left by the collapse of civilised government had poured an incomprehensible savagery, a craving for revenge and domination at any cost and by any means by warring groups whose antipathy dated back centuries.
Ellis and Ayris left Kabul later that same day, hiring a car and a driver to get back to Jalalabad.
On leaving, Ellis wondered whether Afghanistan would ever recover as a nation, whether here was perhaps indeed one people's Armageddon.
Footnote: Nic Ellis’s Afghanistan assignment was for The West Australian newspaper. Over the years he has become recognised as one of Australia’s most outstanding, and dedicated, press photographers. This is an extract from a proposed photojournalism book by Nic Ellis and Brad Collis.
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