Download Free Oral Narrative In Afghanistan Book in PDF and EPUB Free Download. You can read online Oral Narrative In Afghanistan and write the review.

This book, first published in 1990, studies the oral fiction entertainments of Afghanistan by focusing on aspects of the oral narrative process which can be observed in individual performances.
An Intimate War tells the story of the last thirty-four years of conflict in Helmand Province, Afghani- stan as seen through the eyes of the Helmandis. In the West, this period is often defined through different lenses - the Soviet intervention, the civil war, the Taliban, and the post-2001 nation-building era. Yet, as experienced by local inhabitants, the Helmand conflict is a perennial one, involving the same individuals, families and groups, and driven by the same arguments over land, water and power. This book - based on both military and re- search experience in Helmand and 150 inter- views in Pashto - offers a very different view of Helmand from those in the media. It demonstrates how outsiders have most often misunderstood the ongoing struggle in Helmand and how, in doing so, they have exacerbated the conflict, perpetuated it and made it more violent - precisely the opposite of what was intended when their interventions were launched. Mike Martin's oral history of Helmand under- scores the absolute imperative of understanding the highly local, personal, and non-ideological nature of internal conflict in much of the 'third' world.
A Washington Post Best Book of 2021 ​The #1 New York Times bestselling investigative story of how three successive presidents and their military commanders deceived the public year after year about America’s longest war, foreshadowing the Taliban’s recapture of Afghanistan, by Washington Post reporter and three-time Pulitzer Prize finalist Craig Whitlock. Unlike the wars in Vietnam and Iraq, the US invasion of Afghanistan in 2001 had near-unanimous public support. At first, the goals were straightforward and clear: defeat al-Qaeda and prevent a repeat of 9/11. Yet soon after the United States and its allies removed the Taliban from power, the mission veered off course and US officials lost sight of their original objectives. Distracted by the war in Iraq, the US military become mired in an unwinnable guerrilla conflict in a country it did not understand. But no president wanted to admit failure, especially in a war that began as a just cause. Instead, the Bush, Obama, and Trump administrations sent more and more troops to Afghanistan and repeatedly said they were making progress, even though they knew there was no realistic prospect for an outright victory. Just as the Pentagon Papers changed the public’s understanding of Vietnam, The Afghanistan Papers contains “fast-paced and vivid” (The New York Times Book Review) revelation after revelation from people who played a direct role in the war from leaders in the White House and the Pentagon to soldiers and aid workers on the front lines. In unvarnished language, they admit that the US government’s strategies were a mess, that the nation-building project was a colossal failure, and that drugs and corruption gained a stranglehold over their allies in the Afghan government. All told, the account is based on interviews with more than 1,000 people who knew that the US government was presenting a distorted, and sometimes entirely fabricated, version of the facts on the ground. Documents unearthed by The Washington Post reveal that President Bush didn’t know the name of his Afghanistan war commander—and didn’t want to meet with him. Secretary of Defense Donald Rumsfeld admitted that he had “no visibility into who the bad guys are.” His successor, Robert Gates, said: “We didn’t know jack shit about al-Qaeda.” The Afghanistan Papers is a “searing indictment of the deceit, blunders, and hubris of senior military and civilian officials” (Tom Bowman, NRP Pentagon Correspondent) that will supercharge a long-overdue reckoning over what went wrong and forever change the way the conflict is remembered.
I Am the Beggar of the World presents an eye-opening collection of clandestine poems by Afghan women. Because my love's American, blisters blossom on my heart. Afghans revere poetry, particularly the high literary forms that derive from Persian or Arabic. But the poem above is a folk couplet—a landay, an ancient oral and anonymous form created by and for mostly illiterate people: the more than 20 million Pashtun women who span the border between Afghanistan and Pakistan. War, separation, homeland, love—these are the subjects of landays, which are brutal and spare, can be remixed like rap, and are powerful in that they make no attempts to be literary. From Facebook to drone strikes to the songs of the ancient caravans that first brought these poems to Afghanistan thousands of years ago, landays reflect contemporary Pashtun life and the impact of three decades of war. With the U.S. withdrawal in 2014 looming, these are the voices of protest most at risk of being lost when the Americans leave. After learning the story of a teenage girl who was forbidden to write poems and set herself on fire in protest, the poet Eliza Griswold and the photographer Seamus Murphy journeyed to Afghanistan to learn about these women and to collect their landays. The poems gathered in I Am the Beggar of the World express a collective rage, a lament, a filthy joke, a love of homeland, an aching longing, a call to arms, all of which belie any facile image of a Pashtun woman as nothing but a mute ghost beneath a blue burqa.
If you want to understand Afghanistan, writes Carter Malkasian, you need to understand what has happened on the ground, in the villages and countryside that were on the frontline. These small places are the heart of the war. Modeled on the classic Vietnam War book, War Comes to Long An, Malkasian's War Comes to Garmser promises to be a landmark account of the war in Afghanistan. The author, who spent nearly two years in Garmser, a community in war-torn Helmand province, tells the story of this one small place through the jihad, the rise and fall of Taliban regimes, and American and British surge. Based on his conversations with hundreds of Afghans, including government officials, tribal leaders, religious leaders, and over forty Taliban, and drawing on extensive primary source material, Malkasian takes readers into the world of the Afghans. Through their feuds, grievances, beliefs, and way of life, Malkasian shows how the people of Garmser have struggled for three decades through brutal wars and short-lived regimes. Beginning with the victorious but destabilizing jihad against the Soviets and the ensuing civil war, he explains how the Taliban movement formed; how, after being routed in 2001, they returned stronger than ever in 2006; and how Afghans, British, and Americans fought with them thereafter. Above all, he describes the lives of Afghans who endured and tried to build some kind of order out of war. While Americans and British came and went, Afghans carried on, year after year. Afghanistan started out as the good war, the war we fought for the right reasons. Now for many it seems a futile military endeavor, costly and unwinnable. War Comes to Garmser offers a fresh, original perspective on this war, one that will redefine how we look at Afghanistan and at modern war in general.
Afghanistan in Ink uses a vast and largely unknown corpus of twentieth-century Afghan Dari and Pashto literature to show how Afghans have conceived of their modern history and how writers' patronage or exile has dominated the contours of that history. Drawing on an abundance of Afghan-language sources, chapters by international experts reveal a disruptive twentieth-century dynamic, in which literary globalization has caused the destabilization of the state by importing multiple, conflicting ideologies. Afghanistan in Ink situates the twentieth century's itinerant and exiled Afghan writers within their transnational contexts and maps Afghan artistic and ideological interactions with Muslim and Western nations. The volume emphasizes the social and political dimensions of this literature and, through its extensive introduction, provides both specialists and nonspecialists with unique, "inside" perspectives on the religious, political, and cultural debates shaping modern Afghan society.
Cover -- Contents -- List of Illustrations -- Preface -- 1 Sacrifice -- 2 Honor -- 3 Martyrdom -- 4 Virtue and Vice -- 5 Fedayeen -- 6 Suicide Bombing -- 7 Selfies -- 8 The Widening Gyre -- Afghan Chronology (1964-2015) -- Notes -- Glossary -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- P -- Q -- R -- S -- T -- U -- W -- Z -- References -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y -- Z
“Funny, razor-sharp, and full of juicy tales that feel urgent and illicit . . . the author has created a singular, resonant voice, an American teenager raised by Old World Afghan storytellers.” —New York Times Book Review “More than well crafted; it’s phenomenal. . . . Kochai’s book has a big heart.” —The Guardian A dog on the loose. A boy yearning to connect to his family's roots. A country in the midst of great change. And a vibrant exploration of the power of stories--the ones we tell each other and the ones we find ourselves in. Twelve-year-old Marwand's memories from his previous visit to Afghanistan six years ago center on his contentious relationship with Budabash, the terrifying but beloved dog who guards his extended family's compound in the rural village of Logar. But eager for an ally in this place that is meant to be "home," Marwand misreads his reunion with the dog and approaches Budabash the way he would any pet on his American suburban block--and the results are disastrous: Marwand loses a finger, and Budabash escapes into the night. Marwand is not chastened and doubles down on his desire to fit in here. He must get the dog back, and the resulting search is a gripping and vivid adventure story, a lyrical, funny, and surprisingly tender coming-of-age journey across contemporary Afghanistan that blends the bravado and vulnerability of a boy's teenage years with an homage to familial oral tradition and calls to mind One Thousand and One Nights yet speaks with a voice all its own.
Recent international intervention in Afghanistan has reproduced familiar versions of the Afghan national story, from repeatedly doomed invasions to perpetual fault lines of ethnic division. Yet almost no attention has been paid to the ways in which Afghans themselves have made sense of their history. Radically questioning received ideas about how to understand Afghanistan, Afghan History Through Afghan Eyes asks how Afghan intellectuals, ideologues and ordinary people have understood their collective past. The book brings together the leading international specialists to focus on case studies of the Dari, Pashto and Uzbek histories which Afghans have produced in abundance since the formation of the Afghan state in the mid-eighteenth century. As crucial sources on Afghans' own conceptions of state, society and culture, their writings help us understand the dominant and marginal, conflicting and changing, ways in which Afghans have understood the emergence of their own society and its relationships with the wider world.Based on new research in Afghan languages, Afghan History Through Afghan Eyes opens up entirely fresh perspectives on Afghan political, social and cultural life, providing penetrating insights into the master narratives behind domestic and international conflict in Afghanistan.