Every Man in This Village Is a Liar: An Education in War

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Overview

A National Book Award Finalist

A few weeks after the planes crashed into the World Trade Center, journalist Megan K. Stack was thrust into Afghanistan and Pakistan, dodging gunmen, prodding warlords for information, and witnessing the changes sweeping the Muslim world.  Every Man in This Village Is a Liar is her riveting story of what she saw in the combat zones and beyond. She relates her initial wild excitement and slow disillusionment as the cost of violence outweighs ...

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Overview

A National Book Award Finalist

A few weeks after the planes crashed into the World Trade Center, journalist Megan K. Stack was thrust into Afghanistan and Pakistan, dodging gunmen, prodding warlords for information, and witnessing the changes sweeping the Muslim world.  Every Man in This Village Is a Liar is her riveting story of what she saw in the combat zones and beyond. She relates her initial wild excitement and slow disillusionment as the cost of violence outweighs the promise of democracy; she records the raw pain of suicide bombings in Israel and Iraq; and, one by one, she marks the deaths and disappearances of those she interviews.

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Editorial Reviews

From Barnes & Noble
Stack, a journalist with the Los Angeles Times, got her start as a war correspondent on 9/11. On assignment in Paris, she was quickly dispatched to Afghanistan to cover the Taliban, to interview Afghan warlords, and to write about the war the U.S. thought it had won. But as her perspective from the ground makes clear, no one ever wins a war —not in that region.

More important than detailed coverage of the daily battles, attacks, and suicide bombings, Stack reveals the humans caught in the crossfire. She tells of Ahmed, a young Iraqi who confesses his dreams of a better life, then promptly disappears after a meeting one day. Stack dances with Afghan women usually clad in burqas, and meets with the expat wives of American oil company workers, living the American dream in a gated compound in Saudi Arabia. She listens to the anti-American, anti-Semitic rhetoric of Yemeni poets, and becomes a target of hate mail after writing about the unclaimed bodies of Palestinian suicide bombers.

Stack writes about the effects of war on the psyche of those involved, about how gazing into the abyss of war creates a vacuumin the people themselves. A collection of stories of ignored people locked in a permanent fight for survival, Every Man in This Village Is a Liar is a haunting and important book.

"With blistering eloquence and her own raw nerves laid bare [Stack shows us] war's impact on the non-combatants who bear the brunt of its horrors."
— Jon Krakauer, author of Into the Wild

Publishers Weekly
An American reporter takes in one Middle East cataclysm after another in this searing memoir. Los Angeles Times correspondent Stack covered the war in Afghanistan after Sept. 11, then bounced around to other hot-spot postings, including Israel during the second Intifada, occupied Baghdad, and southern Lebanon during the 2006 conflict between Israel and Hezbollah. Stack offers gripping accounts of the sorrows of war, especially of the traumas Afghan and Lebanese civilians endured under American and Israeli bombing, but she also writes evocatively of quieter pathologies: Libya’s jovially sinister totalitarian regime, corruption under Egypt’s quasi-dictatorship, and lyric anti-Semitism at a Yemeni poetry slam. Dropping journalistic detachment in favor of a novelistic style, she enters the story as a protagonist whose travails—fending off a lecherous Afghan warlord, seething under the humiliating restrictions of Saudi Arabia’s gender apartheid system—illuminate the societies she encounters. The big-picture lessons Stack draws—“The Middle East goes crazy and we go along with it”—are none too cogent, but her vivid, atmospheric prose and keen empathy make her a superb observer of the region’s horrific particulars. (Jun.)
Kirkus Reviews
A bell-clear, powerful indictment of the debacle of recent Middle Eastern war policy. Since 9/11, Los Angeles Times Moscow bureau chief Stack has been covering the wars in Afghanistan, Iraq and Lebanon, and her account illustrates the senseless destruction and carnage wrought in the region by the United States and Israel. The author spoke with a diverse range of people involved, including Afghani warlords waiting on American guns in order to fight the Taliban, and probably allowing al-Qaeda fighters to escape into Pakistan for a fee; terrorist victims in Megiddo, Israel; Iraqi refugees from the American invasion; the pampered community of Americans at the Saudi Aramco compound; a Yemeni high-court judge espousing his methods of "theological redemption"; angry young demonstrators in Beirut in the aftermath of Lebanese Prime Minister Rafic Hariri's assassination; and Egypt's pious Muslim Brotherhood, who attempted to proceed with elections in spite of the Mubarak government's "dirty tricks." "Somewhere between Afghanistan and Iraq," writes Stack bitterly, "we lost our way." What she saw in her travels clearly indicates that America-the idea of America-was held up as a model. But after the bombings, invasions and Abu Ghraib, America has deeply disappointed the people in these devastated regions. Stack's writing is visceral and intensely personal, as many of the people she knew and interviewed were killed-maybe even because she "took a chance with their lives" by being seen talking with them. "Countries, like people," she writes movingly, "have collective consciences and memories and souls, and the violence we deliver in the name of our nation is pooled like sickly tar at the bottom of who weare." Despite the war to bring democracy to the region, Stack observes, very little has changed, except a hardening, an acceptance of the seemingly endless condition of war. A scathing look at the human costs of war. Agent: Kathy Robbins/The Robbins Office
From the Publisher
“A moving and unsettling account of war reporting in the age of terror. . . . Brave and engaged.” —Los Angeles Times

“For readers frustrated with cold and unfeeling news coverage, Megan K. Stack’s Every Man in This Village Is a Liar will serve as a much-needed antidote. . . . Personal and impassioned. . . . Refreshingly candid and undeniably affecting.” —San Francisco Chronicle

“Above and beyond the 24-hour news chatter, opaque papers, and truncated press reports, stands Megan K. Stack’s glittering Every Man in This Village is a Liar.” —The Christian Science Monitor
 
“Without stories like Stack’s, war becomes impersonal and easy to gloss over, relegated to page two. These stories—personal and vulnerable—are meaningful, if for no other reason than they force us to look again.” —Minneapolis Star-Tribune

“Journalist Megan Stack sheds the customary pretenses of her profession to show us—with blistering eloquence and her own raw nerves laid bare—war’s impact on the non-combatants who bear the brunt of its horrors. You’ll be thinking about this book long after you turn the final page.” —Jon Krakauer, author of Where Men Win Glory

Every Man in This Village is a Liar is an electrifying book by an extraordinary foreign correspondent. Megan Stack has braved the battlefields of Afghanistan and Iraq, decoded the secrets of Israel and Egypt. She shows us what war and terror have done to humanity in the 21st century. Read it if you have the courage to care about your country, its allies, and its enemies.” Tim Weiner, author of Legacy of Ashes
 
“A piercing take on what it’s like to be a female correspondent in today’s Middle East.” —Vogue


“There have been plenty of books by journalists about the Iraq and Afghan wars, many by reporters ‘embedded’ with troops. Megan Stack’s offering is a different exercise in understanding, and all the better for it. . . . What makes this such a refreshing, and revealing book is that Stack never makes herself into anything other than she is, a woman, an American, young, naive and even innocent. . . . As an attempt to make sense of what was without sense, and a portrayal of a mood and time, Stack’s book may be the best account yet of the so-called ‘War on Terror’.” —The Independent (London)

“[An] extraordinary book: Stack removes all the usual nonsense from war reporting. What you read here is the truth, gorgeously rendered in shimmering sentences, but unrelenting all the same.” Joe Klein, author of Politics Lost and Primary Colors
 
“A brave and beautifully written book. . . . [Stack] conveys is a war without direction and so badly managed that it has left in its wake a string of shattered societies across the globe.” —The Sunday Times (London)
 
“Bracing. . . . Of lasting importance.” —Elle
 
“Evocative. . . . Stack does not seek to tease out the links and disconnections between the various and varied nations of which she writes; it's a relief to realize that she isn't going to try to place, for example, Afghanistan and Egypt into the same crucible of analysis (if ‘the war on terror’ is a myth, so is ‘the Muslim world’). What she does instead, with her fine journalistic eye, is capture what she sees and hears, and present it alongside enough taut analysis to move her accounts beyond the merely factual.” —The Guardian (London) 
 

Library Journal
Stack, a national correspondent for the Los Angeles Times, entered Afghanistan a few weeks after 9/11. Her initial excitement and eventual disillusionment with the war, and all the other wars she saw in Yemen, Egypt, Israel, Lebanon, Iraq, and Pakistan, make a sad story of death and failure by many parties as she wonders when the cost of violence outweighs the promise of freedom and democracy. For general readers on the Middle East as well as journalism students.
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Product Details

  • ISBN-13: 9781408810002
  • Publisher: Bloomsbury UK
  • Publication date: 7/28/2011

Meet the Author

Megan K. Stack has reported on war, terrorism and political Islam from twenty-two countries since 2001. She was most recently Moscow bureau chief for the Los Angeles Times. She was awarded the 2007 Overseas Press Club’s Hal Boyle Award for best newspaper reporting from abroad and was a finalist for the 2007 Pulitzer Prize in international reporting.
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Read an Excerpt

ONE
EVERY MAN IN THIS VILLAGE IS A LIAR

Cold dawn broke on the horizon outside. The bedroom door shushed open, bringing the morning air and a warlord on predator’s toes.

I lay in a nest of polyester blankets and listened to his footsteps cross the carpet. Every muscle pulled tight. You reveal yourself in breath, in the nerves of your face. Count the breaths, in and out. He sat on the edge of the bed. Smooth breath, relax your eyes, don’t let the lids shake. Then his calloused old hand was stroking my hair, cupping my scalp, fingers dripping like algae onto my ears and cheeks.

The warlord lived in Jalalabad, in a swath of Afghanistan where the soil is rich with poppies and land mines, in a house awash in guns. People whispered that he was a heroin trafficker. His tribal loyalists clotted the orange groves and rose gardens outside, AK-47s in dust-caked fingers. They said he was ruthless in war, that his skin was scarred by an arrow. There was a vague whisper about a legendary ambush, the warlord killing enemies with his bare hands. And now those ropey hands were petting my hair, silent and brazen.

I clung to one thing: Brian, the photographer, was in the bathroom. Water slapped the floor. How long would his shower last, and how could I escape the warlord’s lechery without offending him? The truth was, we needed him. He was an enemy of the Taliban, funded by the U.S. government, making a play for power in the vague, new order that had begun when American soldiers toppled the Taliban government. I was a stranger here, and he was my best source. He said he knew where Osama bin Laden was hiding. And now he was petting me like a puppy; nobody could sleep through it. The bed creaked. Stale breath sank in my face. Papery lips pressed my forehead. I opened my eyes and tried to look groggy.

“What are you doing?”

“Sshhh.”

I struggled upright, cleared a phlegmy throat, and tried to sound dignified: “You are putting me into a very awkward position.” A  black-and-white-movie line, spilling out in a moment of panic.

He smiled and reached for my face.

“Please don’t do that,” I snapped.

Then, suddenly, silence. The water stopped, the pipes fell quiet. The warlord glanced around, stood, and slipped back out of the room.

Brian stepped out; his hair gleamed with water.

I turned my eyes to him and hissed: “We’ve got to get out of here.”

I had met Mohammed Zaman weeks earlier, in  Peshawar—a cramped kaleidoscope of a city perched on the last edge of organization and authority in Pakistan. To the west stretched the lawless tribal territories, the Khyber Pass, the Afghan frontier. Driven away by the Taliban, Zaman had been living an exile’s life in Dijon, France, before September 11. Under chilly French skies he’d pined after his family’s lands, the service of armed tribesmen, and, presumably, the rich, fresh fields of Afghan poppy. When U.S. jets started dropping bombs on Afghanistan, Zaman raced back to Peshawar and holed up in a rented house, waiting for the Americans to dispose of the Taliban and clear the path home—and eager to make some money while he was at it.

I sat in the shadows of a taxi late one night, my face and head draped in scarves, making my way through the jangling streets of Peshawar for an audience with Zaman. I liked it, all of it, enormously—the poetry of the place, the intrigue of war, imagining myself veiled in the back of a clopping carriage, bringing secrets to a bootlegger. The warlord’s return had drawn throngs of men for endless meetings; I picked my way around the crowds on the lawn and sat waiting in a long drawing room. A door opened and out marched an American diplomat I’d seen at the embassy. His eyes skimmed mine and he hurried on,  stone-faced. He didn’t like being spotted there. I sat and watched him leave.

Zaman came out, tall and deliberate, face sagging from his skull. We sat with tea between us, and I asked him to take me to Afghanistan when he went.

He was solemn. “I take your life on my honor,” he said from the heights of his mountainous nose. “They will have to kill me before they can harm you.”

A few days later, we set off for war. The sun sank as we drove toward the Khyber Pass, storied old route of smugglers and marauders. Men pounded through a field hockey match in a haze of setting sun and rising dust. “Dead slow,” ordered a traffic sign. “These areas are full of drugs,” muttered the driver. In my head shimmered gilded pictures of the Grand Trunk Road, the Silk Road, Kim. On the edge of Afghanistan, stars crowded the sky, dull and dense. We crossed the border and plunged into the enormous uncertainty of this new American war. Forty Afghan fighters waited for us, young men and boys nestled together in pickup trucks. They shivered in the stinging night and gripped grenade launchers, chains of machine gun rounds trailing from the trucks. We drove alongside the Kabul River, past the shadowed bulk of mountains and tractors, along fields of tobacco and wheat. At the edge of Jalalabad, the deserted dinosaurs of rusted Soviet tanks reared from the ground.

In the core of the dusty night, we pulled up to his house. Zaman served a feast and stayed awake with us, lolling on the floor around the vegetables and lamb and spinning out long, fatigued stories. We blinked and yawned but Zaman pushed on toward sunrise. He was selling his case even then, from those earliest hours. Osama bin Laden had fled to the nearby White Mountains, he said, to the caves cut into stone, to Tora Bora. The terrorist and his followers still lurked nearby. If America was serious about this war on terror, the terrorists needed to be flushed out. He could do the job; he only needed guns, money, and equipment.

He talked on and on, weaving French into English, until the dawn call to prayer rang from a whitening sky. His words melted together. My chin was falling. I slept on the floor, and woke up in the new Afghanistan.

The first days with Zaman were easy. The stories fell like ripe fruit. But when he tiptoed to my bed, I knew we had to scrounge for another roof. There was nowhere to go but the Spin Ghar hotel, a crumbling Soviet relic rising from tangles of garden and derelict trees. Rank smells wafted through the cold corridors, over chipped linoleum, past cracked plaster walls. Mad jumbles of bodies crowded the lobby—foreign reporters, Afghans, hired gunmen in their robes and eye paint, all sprawled on the grass, smoking on the steps, flooding over the balconies.

The electricity died that night, and gas lanterns shivered in the dark cavern of the hotel dining room. Everybody was very quiet. There was bad news.

Some of the reporters had set off for Kabul in a convoy that day. Two hours out of town, Afghan bandits stopped the first car and shot the passengers dead: a Spaniard, an Afghan, an Australian. There was an Italian woman, too, who was raped and then killed. The rest of the reporters squealed their cars around and came back to Jalalabad. The bodies were abandoned on the road. It was the first lost gamble, and it pulled us a little farther into war. Now we in the dark dining room were rendered survivors, the ones who hadn’t died. The faces swim out of darkness, painted in wisps of gaslight. They are talking about the abandoned bodies, about who fetched them. I feel empty. I have no reaction. It is a gap inside of me, like putting your tongue where a tooth used to be. I know that I should feel something; to feel something is appropriate and human. I stay silent so that the others will not realize that I am gaping like a canyon. I am not absolutely sure this is real; it’s so very far from where we started. On September 11, I was in Paris, and then in Bahrain, an aircraft carrier, and Pakistan, moving slowly, unconsciously closer to here, tonight. America is at war, and we are all here too, at the edge of death, just like that, in just a few weeks. And so we are on an island, and so the roads are a place to die.

In my room the darkness is thick as tar. My fingers can’t find a lock on the door. I am groping when the door cracks forward with a grunt of Pashto. I can’t see the Afghan man but I push at him, throw my arms into the darkness and find flesh, drive him back. His cries are pure sound to me. I don’t care. After Zaman at my bedside and reporters dead on the road, this man cannot stay. Our American and Afghan words mean nothing when they hit the other ear. We are stripped of all understanding, battling in the blackness. I shove him into the hall and force the door closed against the last pieces of him, a kicking foot, a grasping arm. Later on, I realize he was probably the sweet-faced cleaning man who shuffled like a kicked stray through the corridors at night. Later I laugh, a little embarrassed. But on this night, I have vanquished. I lean limp against the door of my stinking little cave, conqueror of misunderstood forces.

Back in Pakistan, before I crossed over into Afghanistan, somebody said to me: “Every man in this village is a liar.” It was the punch line to a parable, the tale of an ancient Greek traveler who plods into a foreign village and is greeted with those words. It is a twist on the Epimenides paradox, named after the Cretan philosopher who declared, “All Cretans are liars.” It’s one of the world’s oldest logic problems, folding in on itself like an Escher sketch. If he’s telling the truth, he’s lying. If he’s lying, he’s telling the truth.

That was Afghanistan after September 11.

You meet a man, and his story doesn’t sound right. You stare at him and your brain is chewing away, and out of the corner of your eye something bizarre and fantastic trails past—a pair of mujahideen with their fingers intertwined, plastic flowers glowing in black hair, winking and fluttering with the kohl-rimmed eyes of two besotted lovers. And you can’t help but look, but then all you can do is watch these strange peacocks, stunned by the magenta homoeroticism of this dry, pious land. By the time you peel your attention back and stop your thoughts from whirling, the man you were trying to weigh out is long gone. Afghanistan was meaning washed away in floods of color, in drugs, guns, sexual ambiguity, and Islam.

I met a young man who spoke Arabic and English, which was rare and fancy for provincial Afghanistan. He had worked for bin Laden, and I was certain his sympathies lay with the Taliban, with Al Qaeda. We sat together and had long interviews. Later I found out he worked for the CIA. They gave him a satellite phone, and he was calling in coordinates for bombing targets.
 
Every man in this village is a liar.

Maybe that’s why nobody believed the warlords when they kept saying that Osama bin Laden was hiding in Tora Bora. A pity, because it was true: Osama bin Laden packed his bags and fled into the mountain redoubt near Jalalabad after September 11. The caves were his last stop before he lost his substance and melted into the world’s most  famous phantom. Catching bin Laden was the first important thing the United States set out to do after September 11. The job was bungled so thoroughly that the war never really found its compass again. Here in eastern Afghanistan, the Americans would begin to lose the plot.

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Reading Group Guide

1. Every Man in This Village Is a Liar is, in many ways, a book about telling the truth. What truths does Megan Stack discover and reveal throughout the course of the book? Why is it so important to tell the truth amid the lies of war?

2. Stack writes an article about Palestinian suicide bombers that engenders death threats from Israeli readers. When she asks why, a reporter friend tells her: “You humanized them. You’re writing about suicide bombers as people who have corpses and families. They can’t stand to see them written about like that” (p. 44). Why is it necessary to dehumanize one’s enemies during war? In what ways is Stack’s book an effort to humanize everyone she writes about?

3. Who are some of the most memorable people Stack meets during her reporting on the Middle East? Why is it so important to tell the stories of individual human beings caught up in the suffering, pain, and grief of war?

4. Writing about the Old Testament story of Abraham’s willingness to sacrifice to his son Isaac in order to do God’s will, Stack observes “the trouble is that, centuries later, the Middle East is still packed with murderers who believe they are doing God’s will, privately attuned to the ring of God’s voice. This is still how Middle Eastern battles are fought, by Arabs, Israelis, and now by Americans. Blind faith is the footbridge that takes us from virtuous religion to self-righteous violence” (p. 103). Why does religious fundamentalism so often lead to violence? Has America been guilty of the same kind of self-righteous extremism it opposes in the Middle East?

5. After the killing of the courageous Iraqi journalist Atwar Bahjat, who “wanted to calm things down not stoke the anger” Stack writes: “There was no place in Iraq for a woman like that” (p. 197). Why is there no place in Iraq for someone like Atwar Bahjat?

6. What does Stack reveal about how women are treated throughout the Middle East? Why is it important to have a woman journalist’s view of the conflicts in the region? What contrasts are provided by the American women Stack interviews in Saudi Arabia?

7. “Here is the truth,” Stack writes. “It matters, what you do at war. It matters more than you ever want to know”  (p. 51). Why does it matter so much what one does in war? What are the consequences not just for individuals but for nations in how they conduct themselves during war?

8. Every Man in This Village Is a Liar is subtitled An Education in War. In what ways is Stack educated by war? In what ways does she educate her readers about the realities of war?

9. How does Every Man in This Village Is a Liar challenge conventional views of the Middle East?

10. Near the end of the book, Stack writes about the strange feeling of being present and absent at the same time. It occurs to her that this might be “the most American trait of all, the trademark of these wars. To be there and be gone all at once, to tell ourselves it just happened, we did what we did but we had no control over the consequences” (p. 240). In what ways is this an essentially American trait? What dangers are inherent in this way of being simultaneously engaged and disengaged?

11. Stack ends the book by reminding readers what war has taught her: “You can survive and not survive, both at the same time” (p. 245). What is the meaning of this paradoxical statement?

12. In the epilogue, Stack writes that she has “given up on pulling poetry out of war” (p. 246). In what ways has Stack found a gritty, heartbreaking poetry the war-torn Middle East? What passages in the book rise to the level of poetry? Why would she give up this way of writing about war?

13. What are some of the most harrowing moments in the book? What effect do they have on Stack and on her readers?

14. Stack concludes that the “war on terror never really existed,” that it was “essentially nothing but a unifying myth for a complicated scramble of mixed impulses and social theories and night terrors and cruelty and business interests, all overhung with the unassailable memory of falling skyscrapers” (p. 3). Is she right about this? In what sense is the war on terror unreal? 

15. Every Man in This Village Is a Liar plunges readers into the visceral particulars of the war in Iraq and other ongoing conflicts in the region, giving a vivid sense of the texture of war. But what larger points does the book make about war, America’s involvement in the Middle East, the treatment of women in Islamic countries, and other issues?

(For a complete list of available reading group guides, and to sign up for the Reading Group Center enewsletter, visit: www.readinggroupcenter.com.)

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Sort by: Showing all of 15 Customer Reviews
  • Anonymous

    Posted December 19, 2012

    Another orientalist view of the Middle East by a reporter who pr

    Another orientalist view of the Middle East by a reporter who practiced parachute journalism.  If you can
    can make it through all the adjectives and purple prose haze, you'll find a memoir of a gal out of her
    depth but keen on stringing together observations to promote herself and her world view.  It must have
    been a poor year in non-fiction for this to be a book award finalist.  It reads like she strung together
    her clippings with some standard tropes on war and terror.  Save your money.  It belongs with the print
    articles that inspired it, at the bottom of a bird cage. 

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  • Posted November 17, 2012

    LOVE LOVE LOVE!

    I LOVE this book. Stacks did an incredible job of painting an incredibly vivid account of her experiences as a journalist overseas. At some points I had to put the book down as I myself became overwhelmed by tears or anger or fury. I've recommended this book to anyone that has a remote interest in what is happening outside of the USA. You don't have to be an extreme political activist to find this book engaging.

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  • Posted April 5, 2012

    Powerful insights.

    Although the language can get a little florid at times, stay with it. Stack is widely traveled and experienced, and provides solid reporting and insights into the reality and the costs of our endless wars. A must-read, in my opinion.

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  • Anonymous

    Posted March 10, 2012

    Personal

    This book brought the conflicts in the middle east to a personal level. The author portrayed the intensity and humanity in a way you could never get from tv. A very good book that will make you think twice about how you feel about the middle east.

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  • Posted September 26, 2011

    more from this reviewer

    Real People, trapped in the eternal conflicts of the Middle East

    Excellent book, written by credible, award-winning American journalist Megan Stack.

    For 7 years Stack lived and traveled, by whatever primitive means possible, to the most dangerous and hopeless civilian areas in the middle east. With no regard for her own safety (or mental health), she followed her compulsion to personally observe, experience and report on the lives and deaths of civilians trapped (with no hope of rescue or relief) in the eternal wars of their countries. The result is a provocative and enlightening account. If you only read one book about the wars we've stepped into in the middle east, this is the one.

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    Posted July 26, 2010

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    Posted September 30, 2010

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    Posted April 30, 2011

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  • Anonymous

    Posted June 14, 2010

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