Search Results for: Afghanistan

The Fight of His Life

Longreads Pick

Afghan Noorullah Aminyar was a valuable ally to the American military. Now, after a failed defection attempt and three years in detention, his asylum claims rests on the argument that the U.S. has lost the war in Afghanistan.

Source: Esquire
Published: Aug 16, 2017
Length: 25 minutes (6,425 words)

Innocence Abroad

US passport pages with visa stamps
US Passport via Wikimedia (CC0 1.0)

Do Americans have a unified identity and if so, how is it defined? I remember a summer party in Seattle where, under a twilight sky, a friend insisted it was television that provided our common vernacular. I’d been without TV for a while. Mine had burst into flames (really!) and this was pre-internet everywhere — was my American cred at risk? Travel in the flyover states has shown me how different I am — a textbook “creative class” lefty — from the restrained Midwesterners I encountered. Such disparate characters, yet the same American passports.

At The Guardian, Suzy Hansen considers American identity, partly through the lens of race, partly from the perspective she gained living abroad.

For all their patriotism, Americans rarely think about how their national identities relate to their personal ones. This indifference is particular to the psychology of white Americans and has a history unique to the US. In recent years, however, this national identity has become more difficult to ignore. Americans can no longer travel in foreign countries without noticing the strange weight we carry with us. In these years after the wars in Iraq and Afghanistan, and the many wars that followed, it has become more difficult to gallivant across the world absorbing its wisdom and resources for one’s own personal use. Americans abroad now do not have the same swagger, the easy, enormous smiles. You no longer want to speak so loud. There is always the vague risk of breaking something.

Some years after I moved to Istanbul, I bought a notebook, and unlike that confident child, I wrote down not plans but a question: who do we become if we don’t become Americans? If we discover that our identity as we understood it had been a myth? I asked it because my years as an American abroad in the 21st century were not a joyous romp of self-discovery and romance. Mine were more of a shattering and a shame, and even now, I still don’t know myself.

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My Father’s Adventure Was My Terror

Diana Whitney | Longreads | June 2017 | 8 minutes (2,009 words)

 

Afterward, I wondered whether my father understood there was danger at the Afghan border. He thrived on adventure, had joined the Merchant Marine at age 16 and later driven his blue Alfa Romeo across Europe and a battered VW bus through the Serengeti. He was famous for making ill-considered decisions and delighted in emerging untouched from disaster. When I was a baby in England, he’d taken my mother out in a tiny sailboat and nearly capsized in a storm off the Cornish coast.

My father brought me with him to Pakistan in 1987, when I was 13, deeming me old enough to experience the developing world. He dashed off to his World Bank meetings while I sunbathed poolside in a raspberry colored tank-suit, sipping fizzy lemonade at our gated hotel. If I raised a hand, a silent waiter brought me sweet-and-sour chicken. Deep in my teenage cocoon, I listened to Madonna on my Walkman, applied Coppertone oil SPF 2, and spoke to no one. By the third day I had a sunburn and cried myself to sleep slathered in aloe.

It feels important that I’m the only one left who knows the bomb story. My dad is dead and my mom has dementia and can’t remember or articulate the past. Now the keepers of my childhood are gone, all I have is my own chinked memory, with imaginative caulking to fill in the gaps.

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From a Hawk to a Dove

Illustration by Katie Kosma

Ray Cocks | Longreads | May 2017 | 11 minutes (2,844 words)

Our latest Exclusive is an essay by Vietnam veteran Ray Cocks, co-funded by Longreads Members and published in collaboration with TMI Project, a non-profit that brings empowering memoir writing and true storytelling workshops to underserved populations.

When I graduate high school in the spring of 1967, I’m determined to go to war. I enlist in the army and prepare to leave, proudly, for Vietnam.

Before I go I encounter some older guys coming back home. They speak out against the conflict, but I don’t believe them. “Don’t go,” they tell me. “It’s bullshit. It’s all bullshit.” I think they’re just hogging all the glory for themselves.

Nothing is going to stop me. Besides, what ever happened to “My country, right or wrong”?

***

To tell my story, It helps to back up and start with my father’s.

During World War II, he was a gunner’s mate, third class, on board the aircraft carrier Yorktown — the second one, commissioned after the first was sunk. He was on a five-inch cannon, information that means little to me when I first learn it as a kid. But then I wind up on a four-inch cannon in Vietnam.

My generation was raised by World War II veterans — the iron men who served on such ships and watched as their friends were burned to death, blown to hell, drowned, eaten by sharks, shot to pieces literally. World War II, “the big one,” — a massive, global stroke of insanity that brewed from the ashes of World War I, the war that was to make the world safe for democracy.

These men went through the rest of their lives, for the most part, with untreated PTSD. My father was no exception. Read more…

Stories are Everything: A PJ Harvey-Inspired Reading List

PJ Harvey performs at Alexandra Palace, London. Photo by joeri-c via Wikimedia Commons (CC BY-SA 2.0)

I listened to PJ Harvey’s 2011 album Let England Shake obsessively while researching people who were sickened or died as a result of their work building nuclear weapons. The album is both simple folk storytelling, and a timeless work about war in the grand tradition of Goya or Hemingway; like the best writers, she turns discrete stories into a broader lens through which to view the world. The music helped me grapple with what each data point of suffering and sacrifice meant, the contradictions in our national remembrance of the cold war, and the forces still shaping that memory.
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How ProPublica and NPR Changed the Narrative About Maternity Care in America

A new room in the maternity ward of Maine Medical Center. (Photo by Shawn Patrick Ouellette / Portland Press Herald via Getty Images)

Seventeen years ago, Nina Martin’s sister almost died in childbirth. “I remember the trauma of that experience really, really, really well,” recalled Martin. “The disorientation of it and then also, the silencing of it afterwards.”

Martin is ProPublica’s sexuality and gender reporter, and Martin and NPR special correspondent Renee Montagne recently co-authored the first of several stories on maternal care in America. The first part of the series aired on NPR last week, and the other was published on ProPublica as “The Last Person You’d Expect to Die in Childbirth.”

Over the next several months, Martin and Montagne will release more stories about maternal care in America which will focus on a host of issues surrounding maternal mortality, including racial disparity in care and women with near misses. Every mother has her own story of birth, and all too often these stories go unnoticed, or are buried under platitudes that focus on the health of the baby. Together, Martin and Montagne want to move the conversation back to the mother, and ask why America is the only developed nation where maternal death rates are rising.

Longreads spoke to both journalists about the process of reporting the story, their passion behind the project, and the impact they hope it will have.

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The Sun Never Sets on Oppression and Dominance, or Why You’re More Aztec Than You Think

Aztec calendar, photo by Kim Alaniz (CC BY-ND 2.0)

Aztec priests ripped out people’s hearts daily as a sacrifice to the sun, and for Sam Kriss, the contemporary West might be a lot more like them that we think. In The Outline, he explores the Aztecs’ cosmology and their concept of the apocalypse en route to deciding that we’re actually their social and political heirs.

The Aztecs built an extraordinarily sophisticated state. Their capital, Tenochtitlan, whose ruins still poke haphazardly through Mexico City, might have been the largest city outside China when Europeans first made contact; it was bigger than Paris and Naples combined, and five times bigger than London. Stretching across the Mexican highlands, their empire had, in 150 years, conquered or achieved political dominance over very nearly their entire known world, bounded by impassable mountains to the west and stifling jungle to the east. Without any major enemies left to fight, they found new ways of securing captives for sacrifice: the “flower wars” were a permanent, ritual war against neighboring city-states, in which the armies would meet at an agreed place and fight to capture as many enemy soldiers as possible.

The Roman Empire could never defeat their eternal enemy in Persia, and the dynastic Egyptians were periodically overwhelmed by Semitic tribes to the north, but until the day the Spanish arrived the Aztec monarchs were presumptive kings of absolutely everything under the sun. The only really comparable situation is the one we live under now — the unlimited empire of liberal capitalism, a scurrying hive of private interests held together under an American military power without horizon. We have our own flower wars. The United States and Russia are fighting each other in Syria — never directly, but through their proxies, so that only Syrians suffer, just as they did in Afghanistan, and Latin America, and Vietnam, and Korea. Wars, like Reagan’s attack on Granada or Trump’s on a Syrian airbase, are fought for public consumption. There is a pathology of the end of the world: dominance, ritualization, reification, and massacre.

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The Lost Art of Getting Lost

Rope bridge, Ladakh, 1981

I have two pieces of major travel cred, neither particularly deserved. One is that I’ve been to all seven continents—in a turn of events I still don’t believe actually happened, a client sent me to Antarctica—and the other is that after traveling by train and hitchhiking, I walked over the Himalayas from Leh, in Ladakh, to Manali, in Himachal Pradesh. When people ask me how I came to make that trip, my answer is absurdly naive. I could not, at the time, cross the Khyber Pass as I had wanted, so I did this instead. My motivation was based in complete idiocy; I was very young, and lucky me, I lived to tell the tale.

This was in 1982, and because it was pre-internet, I had no idea I was part of the wandering population exploring what had been called the Hippie Trail: the overland route traveled by free spirits in the 60s and 70s that “wound through Europe via Yugoslavia and Greece (with a possible island side-trip) to Istanbul…a typical path went to Ankara, then through Iran to Tehran, to Kabul in Afghanistan, through the Khyber Pass to Peshawar and Lahore in Pakistan, and then on to Kashmir, Delhi and Goa in India.”

Today, you can fall into a k-hole of photos from that era—I have a wooden box full of them myself—buses and trains full of backpackers armed with little more than a guide book and a few choice phrases. One could met a handful of Westerners, hang out for a few days, trade information, and go along your way.

My current nostalgia is not for the travels themselves, but for a time when this kind of travel was possible, when one could imagine the porousness of borders, disappearing and reappearing weeks later in a post office phone booth in New Delhi or Cairo trying to call home to let your family know you were fine, and also, still alive.

My absurd travel résumé is why I always have time for the similar sentiments from other voices of this rootless era, and to understand their grief for its loss. Every era is a golden age of travel to those traveling in it. In the Financial Times, Charlie English delivers a eulogy for a geographic freedom that is now in short supply.

Everything was fine, of course: as foreign correspondents say, it always is until something happens. Without exception, the people I met were glad to see me, since I represented the outside world, which, Timbuktiens felt, had forgotten them. The famous little caravan town has always loved visitors, and until recently they were a considerable source of income. The highlight of the tourist season in the 2000s was the Festival in the Desert, a showcase of Malian and international music organised by Manny Ansar. Eight or nine hundred foreigners would come, Ansar told me, and spend money all over town: “They paid for travel, they paid in the restaurants, they paid for souvenirs, they rented camels, tents.” But the violence in the desert put a stop to that, and by the time of my visit Timbuktu was filled with unemployed tour guides, empty hotels, and its famous manuscript libraries were shut.

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Considering the Wall

Max Adams | In the Land of Giants: A Journey Through the Dark Ages | Pegasus | October 2016 | 15 minutes (4,012 words) 

Below is an excerpt from In the Land of the Giants, by Max Adams. This story is recommended by Longreads contributing editor Dana Snitzky.

* * *

I am surprised when I come suddenly upon the Wall.

Just after dawn on a late November day the North Pennines air is rigid with cold. A thick hoar of frost blankets pasture and hedge, reflecting white-blue light back at an empty sky. The last russet leaves clinging to a copse of beech trees set snug in the fold of a river valley filter lazy, hanging drifts of smoke from a wood fire. The sunlight is a dreamy veil of cream silk.

I am surprised when I come suddenly upon the Wall. I have not followed the neat, fenced, waymarked route from the little village of Gilsland which straddles the high border between Northumberland and Cumbria, but struck directly across country and, with the sun in my eyes, I do not see Hadrian’s big idea until I am almost in its shadow. Sure, it stops you in your tracks. It is too big to climb over (that being the point), so I walk beside it for a couple of hundred yards. The imperfect regularity of the sandstone blocks is mesmerizing, passing before one’s eyes like the holes on a reel of celluloid. This film is an epic: eighty Roman miles, a strip cartoon story that tells of military might, squaddy boredom, quirky native gods, barbarian onslaught, farmers, archaeologists, ardent modern walkers and oblivious livestock. I am somewhere between Mile 49 and Mile 50, counting west from Wallsend near the mouth of the River Tyne. The gap in the Wall, when I find it, is made by the entrance to Birdoswald fort. Birdoswald: where the Dark ages begin.

There is no one here but me on this shining day. The farm that has stood here in various guises for around fifteen hundred years is now a heritage center. On a winter weekday I have Birdoswald to myself. Just me and the shimmering light and the odd chough cawing away in a skeletal tree. In places the stone walls of this once indomitable military outpost still stand five or six feet high. Visible, in its heyday, from all horizons, the Roman fort layout was built on a well-tested model: from above, it is the shape of a playing card, with the short sides facing north and south. Originally designed so that three of the six gates (two in each long side, one at either end in the center) protruded beyond the line of the Wall, the fort was not so much part of a defensive frontier, more a launching pad for expeditions, patrols and forays in the lands to the north. Rome did not hide behind its walls; the legions did not cower. Any soldier from any part of the Empire would have known which way to turn on entering the gate; where the barrack rooms would be; where to find the latrines and bread ovens; how to avoid the scrutiny of the garrison commander after a late-night binge or an overnight stay in the house of the one of the locals. Uniformity was part of the Roman project. Read more…

The 2017 Pulitzer Prize Winners

2017 Winner for Feature Photography. (E. Jason Wambsgans/Chicago Tribune/TNS via Getty Images)

The winners of the 2017 Pulitzer Prize were announced today — on the 170th birthday of Joseph Pulitzer — and though there were some surprises, the majority of the honors were bestowed on some of the year’s most talked about pieces of writing. For example, Colson Whitehead won for his ground-breaking work of fiction, The Underground Railroad. And C.J. Chivers of the New York Times snagged a Pulitzer for his heart-breaking portrayal of a soldier grappling with his life stateside in “The Fighter.”

The entire list of the other Pulitzer recipients can be found here, but below is a compendium of some of the celebrated works. Read more…