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Contains over sixty highly personal perspectives about the media at war in Iraq.
John R. MacArthur -- who is the publisher of Harper's Magazine -- examines the government's assault on the constitutional freedoms of the U.S. media during the 1991 gulf war. With a new preface.
The Pulitzer Prize-winning columnist reveals the inside story behind events that shaped America: how he uncovered the truth about the Kennedy assassination; searched for Nazis in South America; broke the savings and loan scandal; discovered the Iran "arms for hostages" scandal; and uncovered the mystery of Howard Hughes' death.
The #1 New York Times bestseller from “one of America’s most hilarious and provocative writers . . . a volatile brew of one-liners and vitriol” (Time). Renowned for his cranky conservative humor, P. J. O’Rourke runs hilariously amok in this book, tackling the death of communism; his frustration with sanctimonious liberals; and Saddam Hussein in a series of classic dispatches from his coverage of the 1991 Gulf War. On Kuwait City after the war, he comments, “It looked like all the worst rock bands in the world had stayed there at the same time.” On Saddam Hussein, O’Rourke muses: “He’s got chemical weapons filled with . . . with . . . chemicals. Maybe he’s got The Bomb. And missiles that can reach Riyadh, Tel Aviv, Spokane. Stock up on nonperishable foodstuffs. Grab those Diet Coke cans you were supposed to take to the recycling center and fill them with home heating oil. Bury the Hummel figurines in the yard. We’re all going to die. Details at eleven.” And on the plague of celebrity culture, he notes: “You can’t shame or humiliate modern celebrities. What used to be called shame and humiliation is now called publicity.” Mordant and utterly irreverent, this is a modern classic from one of our great political satirists, described by Christopher Buckley as being “like S. J. Perelman on acid.” “Mocking on the surface but serious beneath . . . When it comes to scouting the world for world-class absurdities, O’Rourke is the right man for the job.” —Los Angeles Times Book Review “The funniest writer in America.” —The Wall Street Journal
Eyewitness accounts intended to introduce readers to a wide variety of primary literary sources for studying the Old South.
This lecture, delivered by Peter Arnett, CNN senior reporter in Baghdad during the Gulf War, gave an overview of the development of mass media since the Vietnam War and how it has enriched his experience as a reporter. Some have described the Gulf War as the "CNN War." Indeed, many world leaders, including President Bush, watched the Gulf conflict unfold on CNN. Arnett explains how he evaded censorship both in Baghdad and in Washington in order to deliver authentic and unprejudiced reports. He also speaks about his meeting with Saddam Hussein and of how it was bitterly received in the United States.
One of BookPage's Best Books of 2020 “The detailed, nuanced, gripping account of that strange and complex journey offered in Robert Draper’s To Start a War: How the Bush Administration Took America Into Iraq is essential reading—now, especially now . . . Draper’s account [is] one for the ages . . . A must-read for all who care about presidential power.” —The Washington Post From the author of the New York Times bestseller Dead Certain comes the definitive, revelatory reckoning with arguably the most consequential decision in the history of American foreign policy--the decision to invade Iraq. Even now, after more than fifteen years, it is hard to see the invasion of Iraq through the cool, considered gaze of history. For too many people, the damage is still too palpable, and still unfolding. Most of the major players in that decision are still with us, and few of them are not haunted by it, in one way or another. Perhaps it's that combination, the passage of the years and the still unresolved trauma, that explains why so many protagonists opened up so fully for the first time to Robert Draper. Draper's prodigious reporting has yielded scores of consequential new revelations, from the important to the merely absurd. As a whole, the book 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. The intelligence failure was comprehensive. 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 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 process that arrived at evidence that would prove to be not just dubious but entirely false, driven by imagination rather than a quest for truth--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.
"Eyewitness to war" interviews span a wide spectrum of participants, from commanders and senior non-commissioned officers at all levels to the first-hand accounts of combat and combat service support personnel on the battlefield.