What are humanity's biological origins? What are the mechanisms, including culture, that continue to drive it? What is the history that has allowed it to evolve over time? And what are its functions--how does it survive and thrive by exploiting the features that define it as a species? These are the four questions of the Tinbergen Method for explaining animal behavior, developed by the Nobel Prizewinning Dutch ethologist Niko Tinbergen. This book contends that applying this method to war--which is unique to humans--can help us better understand why conflict is so resilient. Christopher Coker explores these four questions of our past and present, and looks at our post-human future, assessing how far scientific advances in gene-editing, robotics and AI systems will de-center human agency. He concludes that we won't witness war's end until it has exhausted its evolutionary possibilities--meaning that, well into the future, war is likely to remain what Thucydides first called it: 'the human thing'. From the Ancients to Artificial Intelligence, Why War? is an exhilarating tour d'horizon of humankind's propensity to warfare and its behavioral underpinnings, offering new ways of thinking about our species' unique and deadly preoccupation.

Why did America invade Iraq? Why do nations choose to fight certain wars and not others? How do we bring ourselves to believe that the sacrifice of our troops is acceptable? For most, the answers to these questions are tied to struggles for power or resources and the machinations of particular interest groups. Philip Smith argues that this realist answer to the age-old "why war?" question is insufficient. Instead, Smith suggests that every war has its roots in the ways we tell and interpret stories. Comprised of case studies of the War in Iraq, the Gulf War, and the Suez Crisis, Why War? decodes the cultural logic of the narratives that justify military action. Each nation, Smith argues, makes use of binary codes—good and evil, sacred and profane, rational and irrational, to name a few. These codes, in the hands of political leaders, activists, and the media, are deployed within four different types of narratives—mundane, tragic, romantic, or apocalyptic. With this cultural system, Smith is able to radically recast our "war stories" and show how nations can have vastly different understandings of crises as each identifies the relevant protagonists and antagonists, objects of struggle, and threats and dangers. The large-scale sacrifice of human lives necessary in modern war, according to Smith, requires an apocalyptic vision of world events. In the case of the War in Iraq, for example, he argues that the United States and Britain replicated a narrative of impending global doom from the Gulf War. But in their apocalyptic account they mistakenly made the now seemingly toothless Saddam Hussein once again a symbol of evil by writing him into the story alongside al Qaeda, resulting in the war's contestation in the United States, Britain, and abroad. Offering an innovative approach to understanding how major wars are packaged, sold, and understood, Why War? will be applauded by anyone with an interest in military history, political science, cultural studies, and communication.

The peace that passeth understanding -- Paradise is a bazaar -- Dreams and delusions of a coming war -- While waterbirds fight -- Death-watch and scapegoat wars -- War chests and pulse beats -- A calendar of war -- The abacus of power -- War as an accident -- Aims and arms -- A day that lives in infamy -- Vendetta of the Black Sea -- Long wars -- And shorter wars -- The mystery of wide wars -- Australia's Pacific war -- Myths of the nuclear era -- War, peace and neutrality.

As a veteran war correspondent, Chris Hedges has survived ambushes in Central America, imprisonment in Sudan, and a beating by Saudi military police. He has seen children murdered for sport in Gaza and petty thugs elevated into war heroes in the Balkans. Hedges, who is also a former divinity student, has seen war at its worst and knows too well that to those who pass through it, war can be exhilarating and even addictive: “It gives us purpose, meaning, a reason for living.” Drawing on his own experience and on the literature of combat from Homer to Michael Herr, Hedges shows how war seduces not just those on the front lines but entire societies—corrupting politics, destroying culture, and perverting basic human desires. Mixing hard-nosed realism with profound moral and philosophical insight, War Is a Force that Gives Us Meaning is a work of terrible power and redemptive clarity whose truths have never been more necessary.

#1 New York Times and #1 Wall Street Journal bestselling author Brad Thor delivers his most frightening and pulse-pounding thriller ever! After a CIA agent mysteriously dies overseas, his top asset surfaces with a startling and terrifying claim. There’s just one problem—no one knows if she can be trusted. But when six exchange students go missing, two airplane passengers trade places, and one political-asylum seeker is arrested, a deadly chain of events is set in motion. With the United States facing an imminent and devastating attack, America’s new president must turn to covert counterterrorism operative Scot Harvath to help carry out two of the most dangerous operations in the country’s history. Code-named “Gold Dust” and “Blackbird,” they are shrouded in absolute secrecy as either of them, if discovered, will constitute an act of war.

Wars have played a momentous role in shaping the course of human history. The ever-present specter of conflict has made it an enduring topic of interest in popular culture, and many movies, from Hollywood blockbusters to independent films, have sought to show the complexities and horrors of war on-screen. In The Philosophy of War Films, David LaRocca compiles a series of essays by prominent scholars that examine the impact of representing war in film and the influence that cinematic images of battle have on human consciousness, belief, and action. The contributors explore a variety of topics, including the aesthetics of war as portrayed on-screen, the effect war has on personal identity, and the ethical problems presented by war. Drawing upon analyses of iconic and critically acclaimed war films such as Saving Private Ryan (1998), The Thin Red Line (1998), Rescue Dawn (2006), Restrepo (2010), and Zero Dark Thirty (2012), this volume's examination of the genre creates new ways of thinking about the philosophy of war. A fascinating look at the manner in which combat and its aftermath are depicted cinematically, The Philosophy of War Films is a timely and engaging read for any philosopher, filmmaker, reader, or viewer who desires a deeper understanding of war and its representation in popular culture.

A collection of “first-rate frontline journalism” from the Spanish Civil War to US actions in Central America “by a woman singularly unafraid of guns” (Vanity Fair). For nearly sixty years, Martha Gellhorn’s fearless war correspondence made her a leading journalistic voice of her generation. From the Spanish Civil War in 1937 through the Central American wars of the mid-eighties, Gellhorn’s candid reporting reflected her deep empathy for people regardless of their political ideology. Collecting the best of Gellhorn’s writing on foreign conflicts, and now with a new introduction by Lauren Elkin, The Face of War is a classic of frontline journalism by “the premier war correspondent of the twentieth century” (Ward Just, The New York Times Magazine). Whether in Java, Finland, the Middle East, or Vietnam, she used the same vigorous approach. “I wrote very fast, as I had to,” she says, “afraid that I would forget the exact sound, smell, words, gestures, which were special to this moment and this place.” As Merle Rubin noted in his review of this volume for The Christian ScienceMonitor, “Martha Gellhorn’s courageous, independent-minded reportage breaks through geopolitical abstractions and ideological propaganda to take the reader straight to the scene of the event.”