From the best-selling author of Republic of Fear, a gritty, unflinching, haunting novel about Iraqi failure in the wake of the 2003 American war. Told from the perspective of a Shi'ite militiaman whose participation in the execution of Saddam Hussein changes his life in ways he could not anticipate, the novel examines the birth of sectarian politics out of a legacy of betrayal and victimhood. A nameless narrator stumbles upon a corpse on the day of the fall of Saddam Hussein. Swept up in the tumultuous politics of the American occupation, he is taken on a journey that concludes with the discovery of what happened to his father who disappeared in the tyrant's Gulag in 1991. His questions about his father, like those surrounding the mysterious corpse outside his house, were ignored by his mother, and by his uncle, in whose house he was raised. But he is older now, and a fighter in his uncle's Army of the Awaited One, which is leading an insurrection against the occupation. Clues accumulate: a letter surreptitiously delivered to his mother during his father's imprisonment; stories told by his dying grandfather. Not until the last hour before the tyrant's execution, is the narrator given the final piece of the puzzle. It comes from Saddam Hussein himself. It is a story about loyalty and betrayal; victims turned victimizers; secrecy and loss. And about identity--the haste with which it is cobbled together, or undone, always at terrible cost. It is a story that will stay with readers long after they finish the final page."--
Hailed as one of the most important books ever written on the state of the modern Middle East, this brave and controversial work confronts the rhetoric ofArab and pro-Arab intellectuals with the realities of political brutality in the Arab world.
First published in 1989, just before the Gulf War broke out, REPUBLIC OF FEAR was the only book that explained the motives of the Saddam Hussein regime in invading and annexing Kuwait. This updated edition relates how the Arab Ba'th Socialist Party has transformed and controlled Iraq with fear since 1968. An important and timely book.
In Baghdad, an enormous monument nearly twice the size of the Arc de Triomphe towers over the city. Two huge forearms emerge from the ground, clutching two swords that clash overhead. Those arms are enlarged casts of those of Saddam Hussein, showing every bump and follicle. The "Victory Arch" celebrates a victory over Iran (in their eight-year-long war) that never happened. This text is a study of the interplay between art and politics - of how culture, normally an unquestioned good, can play into the hands of a power with devastating effects. Kanan Makiya uses the culture invented by Saddam Hussein as a window into the nature of totalitarianism and shows how art can become the weapon of dictatorship. Under Saddam Hussein, culture connived in his evil - this text explains how. It should be useful reading for anyone concerned with the power of culture and the culture of power.
In the beginning there was a rock deemed the point of creation of the cosmos and the place of assembly on the Day of Judgement. Then there was a dome built over the rock - the Dome of the Rock. Few sites in the world have been held as sacred, or has been fought over, as the Rock, but whose rock is enshrined inside the golden Dome of Jerusalem? The Rock of Moses or of Muhammad? Makiya has gathered together the stories, legends and beliefs that define the Rock - the rock where Abraham attempted to sacrifice Isaac; the rock on which Adam landed on his fall from Paradise; the rock on which Solomon's Temple once stood and where Jesus preached, a temple which was the model for the Muslim Dome that remains Jerusalem's symbol to this day.
In Baghdad, an enormous monument nearly twice the size of the Arc de Triomphe towers over the city. Two huge forearms emerge from the ground, clutching two swords that clash overhead. Those arms are enlarged casts of those of Saddam Hussein, showing every bump and follicle. The 'Victory Arch' celebrates a victory over Iran (in their 8-year long war) that never happened._x000D__x000D_'The Monument' is a study of the interplay between art and politics - of how culture, normally an unquestioned good, can play into the hands of power with devastating effects. Kanan Makiya uses the culture invented.
From the best-selling author of Republic of Fear, a gritty, unflinching, haunting novel about Iraqi failure in the wake of the 2003 American war. Told from the perspective of a Shi'ite militiaman whose participation in the execution of Saddam Hussein changes his life in ways he could not anticipate, the novel examines the birth of sectarian politics out of a legacy of betrayal and victimhood. A nameless narrator stumbles upon a corpse on the day of the fall of Saddam Hussein. Swept up in the tumultuous politics of the American occupation, he is taken on a journey that concludes with the discovery of what happened to his father who disappeared in the tyrant's Gulag in 1991. His questions about his father, like those surrounding the mysterious corpse outside his house, were ignored by his mother, and by his uncle, in whose house he was raised. But he is older now, and a fighter in his uncle's Army of the Awaited One, which is leading an insurrection against the occupation. Clues accumulate: a letter surreptitiously delivered to his mother during his father's imprisonment; stories told by his dying grandfather. Not until the last hour before the tyrant's execution, is the narrator given the final piece of the puzzle. It comes from Saddam Hussein himself. It is a story about loyalty and betrayal; victims turned victimizers; secrecy and loss. And about identity--the haste with which it is cobbled together, or undone, always at terrible cost. It is a story that will stay with readers long after they finish the final page."--
First published in 1989, just before the Gulf War broke out, Republic of Fear was the only book that explained the motives of the Saddam Hussein regime in invading and annexing Kuwait. This edition, updated in 1998, has a substantial introduction focusing on the changes in Hussein's regime since the Gulf War. In 1968 a coup d'état brought into power an extraordinary regime in Iraq, one that stood apart from other regimes in the Middle East. Between 1968 and 1980, this new regime, headed by the Arab Ba'th Socialist party, used ruthless repression and relentless organization to transform the way Iraqis think and react to political questions. In just twelve years, a party of a few thousand people grew to include nearly ten percent of the Iraqi population. This book describes the experience of Ba'thism from 1968 to 1980 and analyzes the kind of political authority it engendered, culminating in the personality cult around Saddam Hussein. Fear, the author argues, is at the heart of Ba'thi politics and has become the cement for a genuine authority, however bizarre. Examining Iraqi history in a search for clues to understanding contemporary political affairs, the author illustrates how the quality of Ba'thi pan-Arabism as an ideology, the centrality of the first experience of pan-Arabism in Iraq, and the interaction between the Ba'th and communist parties in Iraq from 1958 to 1968 were crucial in shaping the current regime. Saddam Hussein's decision to launch all-out war against Iran in September 1980 marks the end of the first phase of this re-shaping of modern Iraqi politics. The Iraq-Iran war is a momentous event in its own right, but for Iraq, the author argues, the war diverts dissent against the Ba'thi regime by focusing attention on the specter of an enemy beyond Iraq's borders, thus masking a hidden potential for even greater violence inside Iraq.
In Baghdad, an enormous monument nearly twice the size of the Arc de Triomphe towers over the city. Two huge forearms emerge from the ground, clutching two swords that clash overhead. Those arms are enlarged casts of those of Saddam Hussein, showing every bump and follicle. The "Victory Arch" celebrates a victory over Iran (in their eight-year-long war) that never happened. This text is a study of the interplay between art and politics - of how culture, normally an unquestioned good, can play into the hands of a power with devastating effects. Kanan Makiya uses the culture invented by Saddam Hussein as a window into the nature of totalitarianism and shows how art can become the weapon of dictatorship. Under Saddam Hussein, culture connived in his evil - this text explains how. It should be useful reading for anyone concerned with the power of culture and the culture of power.
Hailed as one of the most important books ever written on the state of the modern Middle East, this brave and controversial work confronts the rhetoric ofArab and pro-Arab intellectuals with the realities of political brutality in the Arab world.
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