50 of the world's best known reporters tell the story of what really happened in Iraq in this gripping and gritty narrative history of the war. They discuss the war, the violence they faced and how it impacted their work. But perhaps the most chilling observation is that most saw the disaster unfolding in Iraq long before they were allowed to report it. Includes contributions from New York Times correspondent Dexter Filkins, Pulitzer Prize winner Anthony Shadid and Independent reporter Patrick Cockburn, as well as 21 stunning full-colour photographs.
When war erupted in Europe in 1914, American journalists hurried across the Atlantic ready to cover it the same way they had covered so many other wars. However, very little about this war was like any other. Its scale, brutality, and duration forced journalists to write their own rules for reporting and keeping the American public informed. American Journalists in the Great War tells the dramatic stories of the journalists who covered World War I for the American public. Chris Dubbs draws on personal accounts from contemporary newspaper and magazine articles and books to convey the experiences of the journalists of World War I, from the western front to the Balkans to the Paris Peace Conference. Their accounts reveal the challenges of finding the war news, transmitting a story, and getting it past the censors. Over the course of the war, reporters found that getting their scoop increasingly meant breaking the rules or redefining the very meaning of war news. Dubbs shares the courageous, harrowing, and sometimes humorous stories of the American reporters who risked their lives in war zones to record their experiences and send the news to the people back home.
NATIONAL BESTSELLER • A second American Civil War, a devastating plague, and one family caught deep in the middle—this gripping debut novel asks what might happen if America were to turn its most devastating policies and deadly weapons upon itself. From the author of What Strange Paradise "Powerful ... as haunting a postapocalyptic universe as Cormac McCarthy [created] in The Road." —The New York Times Sarat Chestnut, born in Louisiana, is only six when the Second American Civil War breaks out in 2074. But even she knows that oil is outlawed, that Louisiana is half underwater, and that unmanned drones fill the sky. When her father is killed and her family is forced into Camp Patience for displaced persons, she begins to grow up shaped by her particular time and place. But not everyone at Camp Patience is who they claim to be. Eventually Sarat is befriended by a mysterious functionary, under whose influence she is turned into a deadly instrument of war. The decisions that she makes will have tremendous consequences not just for Sarat but for her family and her country, rippling through generations of strangers and kin alike.
Presents a collection of primary source newspaper articles and correspondence reporting the events of the Revolution, containing both American and British eyewitness accounts and commentary and analysis from thirty-seven historians.
“Imagine George Costanza from Seinfeld being sent off to cover the Iraq War . . . Hilarious.” —Michiko Kakutani, The New York Times Chris Ayres is a small-town boy, a hypochondriac, and a neat freak with an anxiety disorder. Not exactly the picture of a war correspondent. But when his boss asks him if he would like to go to Iraq, he doesn’t have the guts to say no. After signing a one million dollar life-insurance policy, studying a tutorial on repairing severed limbs, and spending twenty thousand dollars on camping gear (only to find out that his bright yellow tent makes him a sitting duck), Ayres is embedded with a battalion of gung ho Marines who either shun him or threaten him when he files an unfavorable story. As time goes on, though, he begins to understand them (and his inexplicably enthusiastic fellow war reporters) more and more: Each night of terrifying combat brings, in the morning, something more visceral than he has ever experienced—the thrill of having won a fight for survival. War Reporting for Cowards tells, with “self-deprecating wit”, the story of Iraq in a way that is extraordinarily honest and bitterly hilarious (The New Yorker). “Heartbreakingly funny.” —Anthony Swofford, author of Jarhead “Chris Ayres has invented a new genre: a rip-roaring tale of adventure and derring-don’t.” —Toby Young, author of How to Lose Friends and Alienate People “Darkly entertaining.” —Los Angeles Times “Ayres’s stories of life with Marines are gripping—in part because he’s the perfect neurotic foil.” —People
Combat, cigars, and whiskeyÑfrom the jungles of Cuba and the mountains of the Northwest Frontier, to the banks of the Nile and the plains of South Africa, comes this action-packed tale of Winston ChurchillÕs adventures as a war correspondent in the Age of Empire.
Reporting War explores the social responsibilities of the journalist during times of military conflict. News media treatments of international crises, especially the one underway in Iraq, are increasingly becoming the subject of public controversy, and discussion is urgently needed. Each of this book's contributors challenges familiar assumptions about war reporting from a distinctive perspective. An array of pressing issues associated with conflicts over recent years are identified and critiqued, always with an eye to what they can tell us about improving journalism today. Special attention is devoted to recent changes in journalistic forms and practices, and the ways in which they are shaping the visual culture of war, and issues discussed, amongst many, include: the influence of censorship and propaganda 'us' and 'them' news narratives access to sources '24/7 rolling news' and the 'CNN effect' military jargon (such as 'friendly fire' and 'collateral damage') 'embedded' and 'unilateral' reporters tensions between objectivity and patriotism. The book raises important questions about the very future of journalism during wartime, questions which demand public dialogue and debate, and is essential reading for students taking courses in news and news journalism, as well as for researchers, teachers and practitioners in the field.
From the time of the Crimean War in 1853 to the Second Gulf War, Evans tells the stories of war correspondents who served as the "eyes of history": Ernest Hemingway, Alexander Dumas, Arthur Conan Doyle, Rudyard Kipling, John Steinback, and others. Full color. 90 photos.
The War Correspondent looks at the role of the war reporter today: the attractions and the risks of the job; the challenge of objectivity and impartiality in the war zone; the danger of journalistic independence being compromised by military control, censorship, and public relations; as well as the commercial and technological pressures of an intensely concentrated, competitive news media environment. This new edition substantially updates the original, ending with an extended section on the return of history and ideology to the reporting of international conflict, and interviews with prominent war and foreign correspondents including John Pilger, Robert Fisk, Mary Dvesky, and Alex Thomson.
