The 33 Strategies of War (12 page)

They were bundled into carriages and driven through the icy streets of St. Petersburg. Emerging from the carriages into Semyonovsky Square, they were greeted by a priest; behind him they could see rows of soldiers and, behind the soldiers, thousands of spectators. They were led toward a scaffold covered in black cloth at the center of the square. In front of the scaffold were three posts, and to the side was a line of carts laden with coffins.

Lord Naoshige said, "The Way of the Samurai is in desperateness. Ten men or more cannot kill such a man. Common sense will not accomplish great things. Simply become insane and desperate."

H
AGAKURE
: T
HE
B
OOK OF THE
S
AMURAI
, Y
AMAMOTO
T
SUNETOMO
, 1659-1720

Dostoyevsky could not believe what he saw. "It's not possible that they mean to execute us," he whispered to his neighbor. They were marched to the scaffold and placed in two lines. It was an unbelievably cold day, and the prisoners were wearing the light clothes they'd been arrested in back in April. A drumroll sounded. An officer came forward to read their sentences: "All of the accused are guilty as charged of intending to overthrow the national order, and are therefore condemned to death before a firing squad." The prisoners were too stunned to speak.

As the officer read out the individual charges and sentences, Dostoyevsky found himself staring at the golden spire of a nearby church and at the sunlight bouncing off it. The gleams of light disappeared as a cloud passed overhead, and the thought occurred to him that he was about to pass into darkness just as quickly, and forever. Suddenly he had another thought: If I do
not
die, if I am
not
killed, my life will suddenly seem endless, a whole eternity, each minute a century. I will take account of everything that passes--I will not waste a second of life again.

The prisoners were given hooded shirts. The priest came forward to read them their last rites and hear their confessions. They said good-bye to one another. The first three to be shot were tied to the posts, and the hoods were pulled over their faces. Dostoyevsky stood in the front, in the next group to go. The soldiers raised their rifles, took aim--and suddenly a carriage came galloping into the square. A man got out with an envelope. At the last second, the czar had commuted their death sentences.

It had long been known, of course, that a man who, through disciplined training, had relinquished any desire or hope for survival and had only one goal--the destruction of his enemy--could be a redoubtable opponent and a truly formidable fighter who neither asked nor offered any quarter once his weapon had been unsheathed. In this way, a seemingly ordinary man who, by the force of circumstances rather than by profession, had been placed in the position of having to make a desperate choice, could prove dangerous, even to a skilled fencing master. One famous episode, for example, concerns a teacher of swordsmanship who was asked by a superior to surrender a servant guilty of an offense punishable by death. This teacher, wishing to test a theory of his concerning the power of that condition we would call "desperation," challenged the doomed man to a duel. Knowing full well the irrevocability of his sentence, the servant was beyond caring one way or the other, and the ensuing duel proved that even a skilled fencer and teacher of the art could find himself in great difficulty when confronted by a man who, because of his acceptance of imminent death, could go to the limit (and even beyond) in his strategy, without a single hesitation or distracting consideration. The servant, in fact, fought like a man possessed, forcing his master to retreat until his back was almost to the wall. At last the teacher had to cut him down in a final effort, wherein the master's own desperation brought about the fullest coordination of his courage, skill, and determination.

S
ECRETS OF THE
S
AMURAI
, O
SCAR
R
ATTI AND
A
DELE
W
ESTBROOK
, 1973

Later that morning, Dostoyevsky was told his new sentence: four years hard labor in Siberia, to be followed by a stint in the army. Barely affected, he wrote that day to his brother, "When I look back at the past and think of all the time I squandered in error and idleness,...then my heart bleeds. Life is a gift...every minute could have been an eternity of happiness! If youth only knew! Now my life will change; now I will be reborn."

A few days later, ten-pound shackles were put on Dostoyevsky's arms and legs--they would stay there for the length of his prison term--and he was carted off to Siberia. For the next four years, he endured the most abysmal prison conditions. Granted no writing privileges, he wrote novels in his head, memorized them. Finally, in 1857, still serving the army period of his sentence, he was allowed to start publishing his work. Where before he would torture himself over a page, spend half a day idling it away in thought, now he wrote and wrote. Friends would see him walking the streets of St. Petersburg mumbling bits of dialogue to himself, lost in his characters and plots. His new motto was "Try to get as much done as possible in the shortest time."

Some pitied Dostoyevsky his time in prison. That made him angry; he was grateful for the experience and felt no bitterness. But for that December day in 1849, he felt, he would have wasted his life. Right up until his death, in 1881, he continued writing at a frantic pace, churning out novel after novel--
Crime and Punishment, The Possessed, The Brothers Karamazov
--as if each one were his last.

Interpretation

Czar Nicholas had decided to sentence the Petrashevsky radicals to hard labor soon after their arrest. But he wanted to teach them a harsher lesson as well, so he dreamed up the cruel theater of the death sentence, with its careful details--the priest, the hoods, the coffins, the last-second pardon. This, he thought, would really humble and humiliate them. In fact, some of the prisoners were driven insane by the events of that day. But the effect on Dostoyevsky was different: he had been afflicted for years with a sense of wandering, of feeling lost, of not knowing what to do with his time. An extremely sensitive man, that day he literally felt his own death deep in his bones. And he experienced his "pardon" as a rebirth.

The effect was permanent. For the rest of his life, Dostoyevsky would consciously bring himself back to that day, remembering his pledge never to waste another moment. Or, if he felt he had grown too comfortable and complacent, he would go to a casino and gamble away all his money. Poverty and debt were for him a kind of symbolic death, throwing him back on the possible nothingness of his life. In either case he would have to write, and not the way other novelists wrote--as if it were a pleasant little artistic career, with all its attendant delights of salons, lectures, and other frills. Dostoyevsky wrote as if his life were at stake, with an intense feeling of urgency and seriousness.

Death is impossible for us to fathom: it is so immense, so frightening, that we will do almost anything to avoid thinking about it. Society is organized to make death invisible, to keep it several steps removed. That distance may seem necessary for our comfort, but it comes with a terrible price: the illusion of limitless time, and a consequent lack of seriousness about daily life. We are running away from the one reality that faces us all.

As a warrior in life, you must turn this dynamic around: make the thought of death something not to escape but to embrace. Your days are numbered. Will you pass them half awake and halfhearted or will you live with a sense of urgency? Cruel theaters staged by a czar are unnecessary; death will come to you without them. Imagine it pressing in on you, leaving you no escape--for there
is
no escape. Feeling death at your heels will make all your actions more certain, more forceful. This could be your last throw of the dice: make it count.

While knowing that we will die someday, we think that all the others will die before us and that we will be the last to go. Death seems a long way off. Is this not shallow thinking? It is worthless and is only a joke within a dream.... Insofar as death is always at one's door, one should make sufficient effort and act quickly.

--Hagakure: The Book of the Samurai,
Yamamoto Tsunetomo (1659-1720)

KEYS TO WARFARE

Quite often we feel somewhat lost in our actions. We could do this or that--we have many options, but none of them seem quite necessary. Our freedom is a burden--what do we do today, where do we go? Our daily patterns and routines help us to avoid feeling directionless, but there is always the niggling thought that we could accomplish so much more. We waste so much time. Upon occasion all of us have felt a sense of urgency. Most often it is imposed from outside: we fall behind in our work, we inadvertently take on more than we can handle, responsibility for something is thrust into our hands. Now everything changes; no more freedom. We have to do this, we have to fix that. The surprise is always how much more spirited and more alive this makes us feel; now everything we do seems necessary. But eventually we go back to our normal patterns. And when that sense of urgency goes, we really do not know how to get it back.

Leaders of armies have thought about this subject since armies existed: how can soldiers be motivated, be made more aggressive, more desperate? Some generals have relied on fiery oratory, and those particularly good at it have had some success. But over two thousand years ago, the Chinese strategist Sun-tzu came to believe that listening to speeches, no matter how rousing, was too passive an experience to have an enduring effect. Instead Sun-tzu talked of a "death ground"--a place where an army is backed up against some geographical feature like a mountain, a river, or a forest and has no escape route. Without a way to retreat, Sun-tzu argued, an army fights with double or triple the spirit it would have on open terrain, because death is viscerally present. Sun-tzu advocated deliberately stationing soldiers on death ground to give them the desperate edge that makes men fight like the devil. That is what Cortes did in Mexico, and it is the only sure way to create a real fire in the belly. The world is ruled by necessity: People change their behavior only if they have to. They will feel urgency only if their lives depend on it.

Taking advantage of the opportunity, they began to question Han Hsin. "According to
The Art of War
, when one fights he should keep the hills to his right or rear, and bodies of water in front of him or to the left," they said. "Yet today you ordered us on the contrary to draw up ranks with our backs to the river, saying 'We shall defeat Chao and feast together!' We were opposed to the idea, and yet it has ended in victory. What sort of strategy is this?" "This is in
The Art of War
too," replied Han Hsin. "It is just that you have failed to notice it! Does it not say in
The Art of War
: 'Drive them into a fatal position and they will come out alive; place them in a hopeless spot and they will survive'? Moreover, I did not have at my disposal troops that I had trained and led from past times, but was forced, as the saying goes, to round up men from the market place and use them to fight with. Under such circumstances, if I had not placed them in a desperate situation where each man was obliged to fight for his own life, but had allowed them to remain in a safe place, they would have all run away. Then what good would they have been to me?" "Indeed!" his generals exclaimed in admiration. "We would never have thought of that."

R
ECORDS OF THE
H
ISTORIAN
, S
ZUMA
C
HIEN
,
CIRCA
145
B.C.-CIRCA
86
B.C.

Death ground is a psychological phenomenon that goes well beyond the battlefield: it is any set of circumstances in which you feel enclosed and without options. There is very real pressure at your back, and you cannot retreat. Time is running out. Failure--a form of psychic death--is staring you in the face. You must act or suffer the consequences.

Understand: we are creatures who are intimately tied to our environment--we respond viscerally to our circumstances and to the people around us. If our situation is easy and relaxed, if people are friendly and warm, our natural tension unwinds. We may even grow bored and tired; our environment is failing to challenge us, although we may not realize it. But put yourself in a high-stakes situation--a psychological death ground--and the dynamic changes. Your body responds to danger with a surge of energy; your mind focuses. Urgency is forced on you; you are compelled to waste no more time.

The trick is to use this effect deliberately from time to time, to practice it on yourself as a kind of wake-up call. The following five actions are designed to put you on a psychological death ground. Reading and thinking about them won't work; you must put them into effect. They are forms of pressure to apply to yourself. Depending on whether you want a low-intensity jolt for regular use or a real shock, you can turn the level up or down. The scale is up to you.

Stake everything on a single throw.
In 1937 the twenty-eight-year-old Lyndon B. Johnson--at the time the Texas director of the National Youth Administration--faced a dilemma. The Texas congressman James Buchanan had suddenly died. Since loyal Texan voters tended to return incumbents to office, a Texan congressional seat generally came available only every ten or twenty years--and Johnson wanted to be in Congress by the time he was thirty; he did not have ten years to wait. But he was very young and was virtually unknown in Buchanan's old district, the tenth. He would be facing political heavyweights whom voters would heavily favor. Why try something that seemed doomed to failure? Not only would the race be a waste of money, but the humiliation, if Johnson lost badly, could derail his long-term ambitions.