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One morning Mustafa Ali Noman, a teacher in Baghdad, is arrested as he reaches the school gates. For the next 15 months he is brutally interrogated and barred from contacting his family. The question of guilt or innocence clearly irrelevant, Mustafa must fight to retain a grip on reality. 'How do I know that I am not dreaming this?' he asks.
"This is an allegorical love story set in the mid-600s to the early 700s between a mighty king (Saddam) and a simple, yet beautiful commoner named Zabiba (the Iraqi people). Zabiba is married to a cruel and unloving husband (the United States) who forces himself upon her."--P. [4] of cover.
A new account of modern Iraqi politics that overturns the conventional wisdom about its sectarian divisions How did Iraq become one of the most repressive dictatorships of the late twentieth century? The conventional wisdom about Iraq's modern political history is that the country was doomed by its diverse social fabric. But in State of Repression, Lisa Blaydes challenges this belief by showing that the country's breakdown was far from inevitable. At the same time, she offers a new way of understanding the behavior of other authoritarian regimes and their populations. Drawing on archival material captured from the headquarters of Saddam Hussein's ruling Ba'th Party in the wake of the 2003 US invasion, Blaydes illuminates the complexities of political life in Iraq, including why certain Iraqis chose to collaborate with the regime while others worked to undermine it. She demonstrates that, despite the Ba'thist regime's pretensions to political hegemony, its frequent reliance on collective punishment of various groups reinforced and cemented identity divisions. At the same time, a series of costly external shocks to the economy—resulting from fluctuations in oil prices and Iraq's war with Iran—weakened the capacity of the regime to monitor, co-opt, coerce, and control factions of Iraqi society. In addition to calling into question the common story of modern Iraqi politics, State of Repression offers a new explanation of why and how dictators repress their people in ways that can inadvertently strengthen regime opponents.
NEW YORK TIMES BESTSELLER • National Book Award Finalist • This "eyewitness history of the first order ... should be read by anyone who wants to understand how things went so badly wrong in Iraq” (The New York Times Book Review). The Green Zone, Baghdad, Iraq, 2003: in this walled-off compound of swimming pools and luxurious amenities, Paul Bremer and his Coalition Provisional Authority set out to fashion a new, democratic Iraq. Staffed by idealistic aides chosen primarily for their views on issues such as abortion and capital punishment, the CPA spent the crucial first year of occupation pursuing goals that had little to do with the immediate needs of a postwar nation: flat taxes instead of electricity and deregulated health care instead of emergency medical supplies. In this acclaimed firsthand account, the former Baghdad bureau chief of The Washington Post gives us an intimate portrait of life inside this Oz-like bubble, which continued unaffected by the growing mayhem outside. This is a quietly devastating tale of imperial folly, and the definitive history of those early days when things went irrevocably wrong in Iraq.
This book draws on newly available archives from the Iraqi state and Ba'th Party to present a revisionist history of Saddam Hussein's religious policies. The point of doing this, other than to correct the current understanding of Saddam's political use of religion through his presidency, is to argue that the policies promoted then directly contributed to the rise of religious insurgencies in post-2003 Iraq as well as the current and probably future crises in the country. In looking at Saddam's policies in the 1990s, many have interpreted his support for state religion as evidence of a dramatic shift away from Arab nationalism, toward political Islam. But this book shows that the 'Faith Campaign' he launched during this time was the culmination of a plan to use religion for political ends, begun upon his assumption of the Iraqi presidency in 1979. At this time, Saddam began constructing the institutional capacity to control and monitor Iraqi religious institutions. The resulting authoritarian structures allowed him to employ Islamic symbols and rhetoric in public policy, but in a controlled manner. By the 1990s, these policies became fully realized. Following the American-led invasion of Iraq in 2003, religion remained prominent in Iraqi public life, but the system that Saddam had put in place to contain it was destroyed. Sunni and Shi'i extremists who had been suppressed and silenced were now free. They thrived in an atmosphere where religion had been actively promoted, and formed militant organizations which have torn the country apart since.
In Baghdad: City of Peace, City of Blood, celebrated young travelwriter-historian Justin Marozzi gives us a many-layered history of one of the world's truly great cities - both its spectacular golden ages and its terrible disasters 'Justin Marozzi is the most brilliant of the new generation of travelwriter-historians' - Sunday Telegraph Over thirteen centuries, Baghdad has enjoyed both cultural and commercial pre-eminence, boasting artistic and intellectual sophistication and an economy once the envy of the world. It was here, in the time of the Caliphs, that the Thousand and One Nights were set. Yet it has also been a city of great hardships, beset by epidemics, famines, floods, and numerous foreign invasions which have brought terrible bloodshed. This is the history of its storytellers and its tyrants, of its philosophers and conquerors. Here, in the first new history of Baghdad in nearly 80 years, Justin Marozzi brings to life the whole tumultuous history of what was once the greatest capital on earth. Justin Marozzi is a Councillor of the Royal Geographic Society and a Senior Research Fellow at Buckingham University. He has broadcast for BBC Radio Four, and regularly contributes to a wide range of publications, including the Financial Times, for which he has worked in Iraq, Afghanistan and Darfur. His previous books include the bestselling Tamerlane: Sword of Islam, a Sunday Telegraph Book of the Year (2004), and The Man Who Invented History: Travels with Herodotus.
In City of Widows, Haifa Zangana tells the story of her country, from the early twentieth century through the US-UK invasion and the current occupation. She brings to light a sense of Iraq as a society mainly of secularists who have been denied, through years of sanctions, war, and occupation, a system within which to build the country according to their own values. She points to the long history of political activism and social participation of Iraqi women, and the fact that, before the recent invasion, they had been among the most liberated of their gender in the Middle East. Finally, she writes about Baghdad today as a city populated by bereaved women and children who have lost their loved ones and their land, but who are still emboldened by the native right to resist and liberate themselves to create an independent Iraq.
Baghdad: The City in Verse captures the essence of life lived in one of the world's great enduring metropolises. In this unusual anthology, Reuven Snir offers original translations of more than 170 Arabic poems--most of them appearing for the first time in English--which represent a cross-section of genres and styles from the time of Baghdad's founding in the eighth century to the present day. The diversity of the fabled city is reflected in the Bedouin, Muslim, Christian, Kurdish, and Jewish poets featured here, including writers of great renown and others whose work has survived but whose names are lost to history. Through the prism of these poems, readers glimpse many different Baghdads: the city built on ancient Sumerian ruins, the epicenter of Arab culture and Islam's Golden Age under the enlightened rule of Harun al-Rashid, the bombed-out capital of Saddam Hussein's fallen regime, the American occupation, and life in a new but unstable Iraq. With poets as our guides, we visit bazaars, gardens, wine parties, love scenes (worldly and mystical), brothels, prisons, and palaces. Startling contrasts emerge as the day-to-day cacophony of urban life is juxtaposed with eternal cycles of the Tigris, and hellish winds, mosquitoes, rain, floods, snow, and earthquakes are accompanied by somber reflections on invasions and other catastrophes. Documenting the city's 1,250-year history, Baghdad: The City in Verse shows why poetry has been aptly called the public register of the Arabs.
In 2008, U.S. and Iraqi forces defeated an uprising in Sadr City, a district of Baghdad with ~2.4 million residents. Coalition forces’ success in this battle helped consolidate the Government of Iraq’s authority, contributing significantly to the attainment of contemporary U.S. operational objectives in Iraq. U.S. forces’ conduct of the battle illustrates a new paradigm for urban combat and indicates capabilities the Army will need in the future.
Wafaa Bilal's childhood in Iraq was defined by the horrific rule of Saddam Hussein, two wars, a bloody uprising and time spent interned in chaotic refugee camps in Kuwait and Saudi Arabia. Bilal eventually made it to the United States to become a professor and a successful artist, but when his brother was killed by an unmanned U.S. Predator drone, he decided to use his art to confront those in the comfort zone with the realities of life in a conflict zone. His response was “Domestic Tension,” an unsettling interactive performance piece: for one month, Bilal lived alone in a prison cell-sized room in the line of fire of a remote-controlled paintball gun and a camera that connected him to Internet viewers around the world. Visitors to the gallery and a virtual audience that grew by the thousands could shoot at him twenty-four hours a day. The project received overwhelming worldwide attention and spawned provocative online debates; ultimately, Bilal was named Chicago Tribune’s Artist of the Year. Structured in two parallel narratives, the story of Bilal’s life journey and his “Domestic Tension” experience, Shoot an Iraqi, is for anyone who seeks insight into the current conflict in Iraq and for those fascinated by interactive art technologies and the ever-expanding world of online gaming. Iraqi-born artist Wafaa Bilal has exhibited his art worldwide, and traveled and lectured extensively to inform audiences of the situation of the Iraqi people, and the importance of peaceful conflict resolution. Bilal's 2007 dynamic installation "Domestic Tension" gained global recognition, being named Artist of the Year by the Chicago Tribune. Bilal has held exhibitions in Baghdad, the Netherlands, Thailand and Croatia; as well as at the Museum of Contemporary Photography in Chicago, the Milwaukee Art Museum and various other US galleries. His residencies have included Montalvo Arts Center in Saratoga, California; Catwalk in New New York; and Rensselaer Polytechnic Institute.