"I have never been attracted to any kind of violence"
About this Quote
In a profession that rewards proximity to danger, Kate Adie’s flat refusal of it lands like a rebuke. “I have never been attracted to any kind of violence” isn’t a pacifist slogan so much as a corrective to the mythology of the war correspondent as adrenaline tourist. The sentence is deliberately unromantic: “attracted” is the key word, aimed less at violence itself than at the cultural and professional glamour that often trails it.
Adie’s intent reads as ethical positioning. War reporting is sometimes framed as a taste for the extreme, a calling that borders on thrill-seeking. She denies that premise outright, asserting that the work can be motivated by duty, curiosity, or public service without any appetite for the spectacle. That matters because the audience’s consumption of conflict is rarely innocent. If viewers treat war as content, then a correspondent who appears “drawn” to it becomes part of the entertainment pipeline. Adie tries to sever that link.
The subtext is also defensive, in the best sense: a preemptive answer to the suspicion that anyone who keeps returning to battlefields must want something from the chaos. Coming from a journalist who built her career in high-stakes zones, it signals self-awareness about the moral compromises of bearing witness: you can’t report violence without being near it, but you can refuse to fetishize it.
Contextually, it fits a generation of reporters who had to justify why telling the story mattered when the camera itself could feel complicit. Adie’s restraint is the point; it’s a claim that seriousness should look like reluctance, not hunger.
Adie’s intent reads as ethical positioning. War reporting is sometimes framed as a taste for the extreme, a calling that borders on thrill-seeking. She denies that premise outright, asserting that the work can be motivated by duty, curiosity, or public service without any appetite for the spectacle. That matters because the audience’s consumption of conflict is rarely innocent. If viewers treat war as content, then a correspondent who appears “drawn” to it becomes part of the entertainment pipeline. Adie tries to sever that link.
The subtext is also defensive, in the best sense: a preemptive answer to the suspicion that anyone who keeps returning to battlefields must want something from the chaos. Coming from a journalist who built her career in high-stakes zones, it signals self-awareness about the moral compromises of bearing witness: you can’t report violence without being near it, but you can refuse to fetishize it.
Contextually, it fits a generation of reporters who had to justify why telling the story mattered when the camera itself could feel complicit. Adie’s restraint is the point; it’s a claim that seriousness should look like reluctance, not hunger.
Quote Details
| Topic | Peace |
|---|---|
| Source | Help us find the source |
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