War Porn

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Recorded Books, Inc., 2016.
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7h 48m 0s
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APA Citation (style guide)

Roy Scranton., Roy Scranton|AUTHOR., & Brian Hutchison|READER. (2016). War Porn. Recorded Books, Inc.

Chicago / Turabian - Author Date Citation (style guide)

Roy Scranton, Roy Scranton|AUTHOR and Brian Hutchison|READER. 2016. War Porn. Recorded Books, Inc.

Chicago / Turabian - Humanities Citation (style guide)

Roy Scranton, Roy Scranton|AUTHOR and Brian Hutchison|READER, War Porn. Recorded Books, Inc, 2016.

MLA Citation (style guide)

Roy Scranton, Roy Scranton|AUTHOR, and Brian Hutchison|READER. War Porn. Recorded Books, Inc, 2016.

Note! Citation formats are based on standards as of July 2010. Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy.
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Grouped Work IDd812591d-d881-5a95-0e4c-aa2f1a2af03b
Full titlewar porn
Authorscranton roy
Grouping Categorybook
Last Update2021-04-29 08:04:08AM
Last Indexed2021-05-11 03:48:28AM

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Image Sourcesyndetics
First LoadedDec 14, 2020
Last UsedMay 7, 2021

Hoopla Extract Information

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    [synopsis] => The term "war porn" refers to videos and images brought back from combat zones. IED explosions, air strikes, firefights, images of death and gore largely shorn of context, at times even evidence of potential war crimes (most famously, the photos of detainee abuse at Abu Ghraib). "War porn" is also, in Scranton's searing debut, a metaphor for the fragmentation and confusion of modern combat, the broken shards of experience that form the wartime experiences of soldiers and civilians alike. The three sections of War Porn fit inside one another like nesting dolls: from an end of summer barbecue in the American Southwest; to the perspective of a young US soldier in the early months of the occupation of Iraq; to the story of Qasim al-Zabadi, an Iraqi math professor who faces the American invasion with a blend of fear, denial, and perseverance. Through the eyes of the occupiers, we watch Qasim become an interpreter for US forces, then prisoner and victim. As the scene switches from America to Iraq and back again, as home and hell merge, Qasim reveals the fragile humanity that connects occupier and occupied, torturer and tortured.
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