The Iraq War has unleashed such a torrent of opinion - impassioned polemic, neo-con apologia, world-weary cynicism - that it feels like the important truths are being lost in a media feeding-frenzy. Eliot Weinberger eschews the rehtoric of the soapbox in an extraordinary montage of facts, sound bites and testimonies. He assembles an uncompromising and blackly comic narrative, which permits the voices of the war to speak for themselves, and allows the protagonists to damn themselves in their own words. This pocket-sized volume is vast in scope, a work unlike any other you have read on Iraq, which finds an unexpected eloquence in its refusal to join in the facile grand-standing and selective amnesia of so much contemporary commentary.

To witness war is, in large part, to hear it. And to survive it is, among other things, to have listened to it--and to have listened through it. Listening to War: Sound, Music, Trauma, and Survival in Wartime Iraq is a groundbreaking study of the centrality of listening to the experience of modern warfare. Based on years of ethnographic interviews with U.S. military service members and Iraqi civilians, as well as on direct observations of wartime Iraq, author J. Martin Daughtry reveals how these populations learned to extract valuable information from the ambient soundscape while struggling with the deleterious effects that it produced in their ears, throughout their bodies, and in their psyches. Daughtry examines the dual-edged nature of sound--its potency as a source of information and a source of trauma--within a sophisticated conceptual frame that highlights the affective power of sound and the vulnerability and agency of individual auditors. By theorizing violence through the prism of sound and sound through the prism of violence, Daughtry provides a productive new vantage point for examining these strangely conjoined phenomena. Two chapters dedicated to wartime music in Iraqi and U.S. military contexts show how music was both an important instrument of the military campaign and the victim of a multitude of violent acts throughout the war. A landmark work within the study of conflict, sound studies, and ethnomusicology, Listening to War will expand your understanding of the experience of armed violence, and the experience of sound more generally. At the same time, it provides a discrete window into the lives of individual Iraqis and Americans struggling to orient themselves within the fog of war.

The invasion of Iraq by American, British and other coalition forces has indeed transformed the Middle East, but not as the Bush and Blair administrations had imagined. It is Iran, not Western-style democracy, that has emerged as the big winner, creating a Tehran-Baghdad axis that would have been unthinkable before the war. THE END OF IRAQ is the definitive account of the US and UK's catastrophic involvement in Iraq, as told by America's leading independent expert on the country. Peter Galbraith reveals in exquisite detail how US policies -- some going back to the Reagan administration -- have now produced a nearly independent Kurdistan in the north, an Islamic state in the south, and uncontrollable insurgency in the centre, and an incipient Sunni-Shiite civil war that has Baghdad as its central front. Iraq, Galbraith argues, cannot be reconstructed as a single state. Instead, a sensible strategy must accept that it has already broken up and focus instead on stopping an escalating civil war. Unflinching, accessible and powerful, THE END OF IRAQ explores and explains the myriad mistakes and false assumptions that have brought the country to its current pass, and what must be done to prevent further bloodshed.

A high-ranking general's gripping insider account of the U.S. wars in Iraq and Afghanistan, and how it all went wrong. Over a thirty-five-year career, Daniel Bolger rose through the army infantry to become a three-star general, commanding in both theaters of the U.S. campaigns in Iraq and Afghanistan. He participated in meetings with top-level military and civilian players, where strategy was made and managed. At the same time, he regularly carried a rifle alongside rank-and-file soldiers in combat actions, unusual for a general. Now, as a witness to all levels of military command, Bolger offers a unique assessment of these wars, from 9/11 to the final withdrawal from the region. Writing with hard-won experience and unflinching honesty, Bolger makes the firm case that in Iraq and in Afghanistan, we lost -- but we didn't have to. Intelligence was garbled. Key decision makers were blinded by spreadsheets or theories. And, at the root of our failure, we never really understood our enemy. Why We Lost is a timely, forceful, and compulsively readable account of these wars from a fresh and authoritative perspective.

A Pretext for War reveals the systematic weaknesses behind the failure to detect or prevent the 9/11 attacks, and details the Bush administration’s subsequent misuse of intelligence to sell preemptive war to the American people. Filled with unprecedented revelations, from the sites of “undisclosed locations” to the actual sources of America’s Middle East policy, A Pretext for War is essential reading for anyone concerned about the security of the United States. Acclaimed author James Bamford–whose classic book The Puzzle Palace first revealed the existence of the National Security Agency–draws on his unparalleled access to top intelligence sources to produce a devastating expose of the intelligence community and the Bush administration.

“Essential . . . one for the ages . . . a must read for all who care about presidential power.” —The Washington Post “Authoritative . . . The most comprehensive account yet of that smoldering wreck of foreign policy, one that haunts us today.” —LA Times One of BookPage's Best Books of 2020 To Start a War paints a vivid and indelible picture of a decision-making process that was fatally compromised by a combination of post-9/11 fear and paranoia, rank naïveté, craven groupthink, and a set of actors with idées fixes who gamed the process relentlessly. Everything was believed; nothing was true. Robert Draper’s fair-mindedness and deep understanding of the principal actors suffuse his account, as does a storytelling genius that is close to sorcery. There are no cheap shots here, which makes the ultimate conclusion all the more damning. In the spirit of Barbara W. Tuchman’s The Guns of August and Marc Bloch’s Strange Defeat, To Start A War will stand as the definitive account of a collective scurrying for evidence that would prove to be not just dubious but entirely false—evidence that was then used to justify a verdict that led to hundreds of thousands of deaths and a flood tide of chaos in the Middle East that shows no signs of ebbing.

With wit and anger, the author of the blackly comic What I Heard About Iraq takes us through the administration of the 'Bush junta'. Eliot Weinberger begins with the inauguration of George W. Bush and the actions and policies that presaged an invasion of Iraq even before the terrorist attack of 9/11. Giving a moving account of downtown Manhattan, where he lives, on the day after the attack, he accounts for the feeling of lost innocence in the United States. On the aftermath of 9/11, Weinberger goes on to excoriate the Bush administration for its panic peddling and massive and secret arrests of 'suspects', as well as the contrived 'intelligence' that led to the war on Iraq. Ranging from personal journalism to political analysis, Eliot Weinberger traces the nightmarish absurdities of the Bush administration with incisive elegance. Includes What I Heard About Iraq in 2005, the sequel to his earlier work. What Happened Here was nominated for a 2006 National Book Critics Circle Award for Criticism.