A true-life Catch-22 set in the deeply dysfunctional countries of Afghanistan and Pakistan, by one of the region’s longest-serving correspondents. Kim Barker is not your typical, impassive foreign correspondent—she is candid, self-deprecating, laugh-out-loud funny. At first an awkward newbie in Afghanistan, she grows into a wisecracking, seasoned reporter with grave concerns about our ability to win hearts and minds in the region. In The Taliban Shuffle, Barker offers an insider’s account of the “forgotten war” in Afghanistan and Pakistan, chronicling the years after America’s initial routing of the Taliban, when we failed to finish the job. When Barker arrives in Kabul, foreign aid is at a record low, electricity is a pipe dream, and of the few remaining foreign troops, some aren’t allowed out after dark. Meanwhile, in the vacuum left by the U.S. and NATO, the Taliban is regrouping as the Afghan and Pakistani governments flounder. Barker watches Afghan police recruits make a travesty of practice drills and observes the disorienting turnover of diplomatic staff. She is pursued romantically by the former prime minister of Pakistan and sees adrenaline-fueled colleagues disappear into the clutches of the Taliban. And as her love for these hapless countries grows, her hopes for their stability and security fade. Swift, funny, and wholly original, The Taliban Shuffle unforgettably captures the absurdities and tragedies of life in a war zone.
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A wisecracking foreign correspondent recounts her haphazard experiences in Afghanistan and Pakistan while sharing cautionary observations about the region in its first post-Taliban years, its ability to prevent a Taliban regrouping and the responsibilities of the U.S. and NATO.
Now a Major Motion Picture titled Whiskey Tango Foxtrot starring Tina Fey, Margot Robbie, Martin Freeman, Alfred Molina, and Billy Bob Thornton. From tea with warlords in the countryside to parties with drunken foreign correspondents in the “dry” city of Kabul, journalist Kim Barker captures the humor and heartbreak of life in post-9/11 Afghanistan and Pakistan in this profound and darkly comic memoir. As Barker grows from awkward newbie to seasoned reporter, she offers an insider’s account of the region’s “forgotten war” at a time when all eyes were turned to Iraq. Candid, self-deprecating, and laugh-out-loud funny, Barker shares both her affection for the absurdities of these two hapless countries and her fear for their future stability.
- Author : David Capper
- Publisher : Lennex
- Release Date : 2013-01
- Genre : Uncategorized
- Pages : 44
- ISBN : 5458842960
In this book, we have hand-picked the most sophisticated, unanticipated, absorbing (if not at times crackpot!), original and musing book reviews of "The Taliban Shuffle: Strange Days in Afghanistan and Pakistan." Don't say we didn't warn you: these reviews are known to shock with their unconventionality or intimacy. Some may be startled by their biting sincerity; others may be spellbound by their unbridled flights of fantasy. Don't buy this book if: 1. You don't have nerves of steel. 2. You expect to get pregnant in the next five minutes. 3. You've heard it all.
- Author : Wikipedia contributors
- Publisher : e-artnow sro
- Release Date :
- Genre : Uncategorized
- Pages : 231
- ISBN : 9876543210XXX
An innovative exploration of how colonial interventions in Afghanistan have been made possible through representations of the country as 'backward'.
From All the President’s Men to Zodiac, some of the most compelling films of the last century have featured depictions of journalists in action. While print journalism struggles to survive, the emergence of news from social media outlets continues to expand, allowing the world to be kept informed on a second-bysecond basis. Despite attacks on journalists—both verbal and physical—a free press remains a crucial bastion for civilized society. And just as the daily news reflects the current state of affairs, films about journalism represent how reporting has evolved over the last few centuries. In Encyclopedia of Journalists on Film, Richard R. Ness provides a comprehensive examination of the fourth estate in cinema—from newspaper reporters to today’s cyber journalists. In this volume, Ness provides in-depth descriptions and analyses of more than five hundred significant films, from the silent era to the present, including international productions and made-for-television movies. The entries focus on the image of the press on screen and ethical issues or concerns raised about the practices of the profession. Collectively, the entries demonstrate that there is a recognizable genre of journalism films with definable plot patterns and iconography. Each entry features: Major credits including directors, writers, and producers List of characters and the actors who portray them Running time Plot synopsis Analysis of the role of journalism Many of the entries feature critical reviews as well as cogent selections of dialogue. Films discussed here include comedies such as His Girl Friday (1940), nail-biting thrillers like Foreign Correspondent (1940) and The Parallax View (1974), social commentaries like Network (1976) and The China Syndrome (1979), dramas like Citizen Kane (1941) and The Post (2017), and of course, Academy Award winners All the President’s Men (1976) and Spotlight (2015). A definitive study of a film genre, Encyclopedia of Journalists on Film will b
With this practical book, you’ll learn effective ways to engage students in reading and writing by teaching them narrative nonfiction. By engaging adolescents in narrative, literary, or creative nonfiction, they can cultivate a greater understanding of themselves, the world around them, and what it means to feel empathy for others. This book will guide you to first structure a reading unit around a narrative nonfiction text, and then develop lessons and activities for students to craft their own personal essays. Topics include: Engaging your students in the reading of a nonfiction narrative with collaborative chapter notes, empathy check-ins, and a mini-research paper to deepen students’ understanding; Helping your students identify meaningful life events, recount their experiences creatively, and construct effective opening and closing lines for their personal essays; Encouraging your students to use dialogue, outside research, and a clear plot structure to make their narrative nonfiction more compelling and polished. The strategies in this book are supplemented by examples of student work and snapshots from the author’s own classroom. The book also includes interviews with narrative nonfiction writers MK Asante and Johanna Bear. The appendices offer additional tips for using narrative nonfiction in English class, text and online resources for teaching narrative nonfiction, and a correlation chart between the activities in this book and the Common Core Standards.
- Author : Masood Ashraf Raja
- Publisher : Springer
- Release Date : 2016-05-06
- Genre : Political Science
- Pages : 122
- ISBN : 9781137584908
This highly original book suggests that the practices of Taliban and the American far right, two very significant and poorly understood groups, share common features. This commonality can be found in the philosophical basis of their ideological beliefs, in their comparative worldviews, and in their political practices. As Raja argues, the Taliban are much less the product of an irrational fundamentalism, and the radical right in America is much more the result of such a mindset, than Americans recognize. After providing a detailed explanation of his theoretical concepts and specialized vocabulary, the author develops a discussion of the subject in this brief but penetrating book. This is a book that should attract a wide readership among both academics and the general public.
With the vague intention of winning hearts and minds in Afghanistan, the US government has mismanaged billions of development and logistics dollars, bolstered the drug trade, and dumped untold millions into Taliban hands. That is the sobering message of this scathing critique of our war effort in Afghanistan. According to this book, America has already lost the war. While conducting extensive research and fieldwork in Afghanistan’s war zones, a drumbeat of off-the-record and offhand remarks pointed the author to one conclusion: "We blew it." The sentiment was even blazoned across a US military fortification, as the author saw at Forward Operating Base Mehtar Lam in insurgency-wracked Laghman Province: "I glanced over at a concrete blast barrier while waiting for a helicopter," Wissing says. "Someone had spray-painted in jagged letters: ‘The GAME. You Lost It.’" The author’s vivid narrative takes the reader down to ground level in frontline Afghanistan. It draws on the voices of hundreds of combat soldiers, ordinary Afghans, private contractors, aid workers, international consultants, and government officials. From these contacts it became glaringly clear, as the author details, that American taxpayer dollars have been flowing into Taliban coffers, courtesy of scandalously mismanaged US development and counterinsurgency programs, with calamitous military and social consequences. This is the first book to detail the toxic embrace of American policymakers and careerists, Afghan kleptocrats, and the opportunistic Taliban. The result? US taxpayers have been footing the bill for both sides of a disastrous Afghanistan war.
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.
Pakistan is still on the brink of becoming a failed state as a consequence of its decades-old practice of using proxy warriors in the region. Because of the weakening of the writ of the state, neither governance nor the economy can function normally; in fact, some say the two strong entities in today’s Pakistan are the Taliban and the army. Non-state actors, and the extremist terror outfits they control, pursue extortion, kidnapping and murder to fund their activities, and receive ideological, financial and logistical support from the deep state. The army continues to use them in its India-centric agenda. Civilian institutions are intimidated and individuals who speak out against the terror outfits become targets of their retribution. Violence, not law, increasingly commands human conduct, and the state’s willingness to enter into ‘peace talks’ with the Taliban is viewed as a form of surrender to extremism. Khaled Ahmed is Pakistan’s most respected columnist, and his formidable expertise on the ideologies of extremism is internationally acknowledged. In Sleepwalking to Surrender, he analyses the terrible toll terrorism has taken on Pakistan and appraises the portents for the future.
Journalists are actors in international relations, mediating communications between governments and publics, but also between the administrations of different countries. American and foreign officials simultaneously consume the work of U.S. journalists and use it in their own thinking about how to conduct their work. As such, journalists play an unofficial diplomatic role. However, the U.S. news media largely amplifies American power. Instead of stimulating greater understanding, the U.S. elite, mainstream press can often widen mistrust as they promote an American worldview and, with the exception of some outliers, reduce the world into a tight security frame in which the U.S. is the hegemon. This has been the case in Afghanistan since 2001, particularly as emerging Afghan journalists have relied significantly on U.S. and other Western news outlets to report events within their government and their country. Based on eight years of interviews in Kabul, Washington, and New York, Your Country, Our War demonstrates how news has intersected with international politics during the War in Afghanistan and shows the global power and reach of the U.S. news media, especially within the context of the post-9/11 era. It reviews the trajectory of the U.S. news narrative about Afghanistan and America's never-ending war, and the rise of Afghan journalism, from 2001 to 2017. The book also examines the impact of the American news media inside a war theater. It examines how U.S. journalists affected the U.S.-Afghan relationship and chronicles their contribution to the rapid development of a community of Afghan journalists who grappled daily with how to define themselves and their country during a tumultuous and uneven transition from fundamentalist to democratic rule. Providing rich detail about the U.S.-Afghan relationship, especially former President of Afghanistan Hamid Karzai's convictions about the role of the Western press, we begin to understand how journalists are not merely ob
Imagining Afghanistan examines how Afghanistan has been imagined in literary and visual texts that were published after the 9/11 attacks and the subsequent U.S.-led invasion—the era that propelled Afghanistan into the center of global media visibility. Through an analysis of fiction, graphic novels, memoirs, drama, and film, the book demonstrates that writing and screening “Afghanistan” has become a conduit for understanding our shared post-9/11 condition. “Afghanistan” serves as a lens through which contemporary cultural producers contend with the moral ambiguities of twenty-first-century humanitarianism, interpret the legacy of the Cold War, debate the role of the U.S. in the rise of transnational terror, and grapple with the long-term impact of war on both human and nonhuman ecologies. Post-9/11 global Afghanistan literary production remains largely NATO-centric insofar as it is marked by an uncritical investment in humanitarianism as an approach to Third World suffering and in anti-communism as an unquestioned premise. The book’s first half exposes how persisting anti-socialist biases—including anti-statist bias—not only shaped recent literary and visual texts on Afghanistan, resulting in a distorted portrayal of its tragic history, but also informed these texts’ reception by critics. In the book’s second half, the author examines cultural texts that challenge this limited horizon and forge alternative ways of representing traumatic histories. Captured by the author through the concepts of deep time, nonhuman witness, and war as a multispecies ecology, these new aesthetics bring readers a sophisticated portrait of Afghanistan as a rich multispecies habitat affected in dramatic ways by decades of war but not annihilated.
This collection provides a broad analysis of Afghanistan and its neighbors in recent decades and investigates the various historical and political contexts into which the region has been placed. It examines the legacy of Soviet intervention, patterns of cooperation and conflict among regional states, and recent US strategic initiatives.
This book examines ten reasons for global jihad today. Specifically, the reasons are (1) radicalization, (2) group dynamics and socialization, (3) social alienation, (4) religious motivations, (5) legal motivations, (6) political motivations, (7) a Clash of Civilizations, (8) economic conditions, (9) transformative learning, and (10) outbidding and internal rifts. To investigate these points, all chapters include the historical background, specific case studies (both past and current), statistics, and theoretical approaches to the subject of global jihad. The main purpose of jihad is to achieve global domination—through any means, including violence—and establish the Caliphate. The Caliphate is a Muslim system of world government that seeks to establish a new world order by overthrowing the current order, effectively creating an all-encompassing Islamic state.
Owen W. Gilman Jr. stresses the US experience of war in the twenty-first century and argues that wherever and whenever there is war, there will be imaginative responses to it, especially the recent wars in Afghanistan and Iraq. Since the trauma of September 11, the experience of Americans at war has been rendered honestly and fully in a wide range of texts--creative nonfiction and journalism, film, poetry, and fiction. These responses, Gilman contends, have packed a lot of power and measure up even to World War II's literature and film. Like few other books, Gilman's volume studies these new texts-- among them Kevin Powers's debut novel The Yellow Birds and Phil Klay's short stories Redeployment, along with the films The Hurt Locker, American Sniper, and Billy Lynn's Long Halftime Walk. For perspective, Gilman also looks at some touchstones from the Vietnam War. Compared to a few of the big Vietnam books and films, this new material has mostly been read and watched by small audiences and generated less discussion. Gilman exposes the circumstances in American culture currently preventing literature and film of our recent wars from making a significant impact. He contends that Americans' inclination to demand distraction limits learning from these compelling responses to war in the past decade. According to Gilman, where there should be clarity and depth of knowledge, we instead face misunderstanding and the anguish endured by veterans betrayed by war and our lack of understanding.
At turns poignant, funny, philosophical, and raw—but always real—The Wolves of Helmand is both a heartfelt homage to the Marine brotherhood with whom Biggio served and an expression of respect and love for the people of Afghanistan who ultimately trusted, shared, and appreciated their purpose. Ten years after serving his country as a U.S. Marine, Captain Frank “Gus” Biggio signed up once again because he missed the brotherhood of the military. Leaving behind his budding law career, his young wife, and newborn son, he was deployed to Helmand Province—the most violent region in war-torn Afghanistan—for reasons few would likely understand before reading this book. Riven by conflict and occupation for centuries because of its strategic location, the region he landed in was, at that time, a hotbed of Taliban insurgency. As a participant in the landmark U.S.-led Operation Khanjar, Biggio and his fellow Marines were executing a new-era military strategy. Focused largely on empowerment of the local population, the offensive began with a troop surge designed to thwart the Taliban, but was more importantly followed by the restoration of the local government and real-time capacity building among the withdrawn and destitute Afghan people. The Wolves of Helmand is unlike other war memoirs. It takes us less into the action—though there is that too—and more into the quiet places of today’s war zones. Yes, you’ll read of our Marines’ stealth arrival in a single night, our advanced weaponry, and our pop-up industrial village command centers. You’ll read, as well, about the ambushed patrols and the carnage of IEDs. But you will also read of the persistence, humility, ruggedness, loneliness, tedium, diplomacy, and humanity of our Marines’ jobs there, which more than anything else reveals the magnitude of even the smallest victories. Completed years after the author’s return from his mission, The Wolves of Helmand is most of all a decade-long self-examinatio
In its earliest days, the American-led war in Afghanistan appeared to be a triumph - a ‘good war’ in comparison to the debacle in Iraq. It has since turned into one of the longest and most expensive wars in recent history. The story of how this good war went so bad may well turn out to be a defining tragedy of the twenty-first century - yet, as acclaimed war correspondent Jack Fairweather explains, it should also give us reason to hope for an outcome grounded in Afghan reality. In The Good War, Fairweather provides the first full narrative history of the war in Afghanistan, from the 2001 invasion to the 2014 withdrawal. Drawing on hundreds of interviews, previously unpublished archives, and months of experience living and reporting in Afghanistan, Fairweather traces the course of the conflict from its inception after 9/11 to the drawdown in 2014. In the process, he explores the righteous intentions and astounding hubris that caused the West’s strategy in Afghanistan to flounder, refuting the long-held notion that the war could have been won with more troops and cash. Fairweather argues that only by accepting the limitations in Afghanistan - from the presence of the Taliban to the ubiquity of poppy production to the country’s inherent unsuitability for rapid, Western-style development - can we help to restore peace in this shattered land. A timely lesson in the perils of nation-building and a sobering reminder of the limits of military power, The Good War leads readers from the White House Situation Room to Afghan military outposts, from warlords’ palaces to insurgents’ dens, to explain how the US and its British allies might have salvaged the Afghan campaign - and how we must rethink other ‘good’ wars in the future.