In/Visible War addresses a paradox of twenty-first century American warfare. The contemporary visual American experience of war is ubiquitous, and yet war is simultaneously invisible or absent; we lack a lived sense that “America” is at war. This paradox of in/visibility concerns the gap between the experiences of war zones and the visual, mediated experience of war in public, popular culture, which absents and renders invisible the former. Large portions of the domestic public experience war only at a distance. For these citizens, war seems abstract, or may even seem to have disappeared altogether due to a relative absence of visual images of casualties. Perhaps even more significantly, wars can be fought without sacrifice by the vast majority of Americans. Yet, the normalization of twenty-first century war also renders it highly visible. War is made visible through popular, commercial, mediated culture. The spectacle of war occupies the contemporary public sphere in the forms of celebrations at athletic events and in films, video games, and other media, coming together as MIME, the Military-Industrial-Media-Entertainment Network.

In/Visible War addresses a paradox of twenty-first century American warfare. The contemporary visual American experience of war is ubiquitous, and yet war is simultaneously invisible or absent; we lack a lived sense that "America" is at war. This paradox of in/visibility concerns the gap between the experiences of war zones and the visual, mediated experience of war in public, popular culture, which absents and renders invisible the former. Large portions of the domestic public experience war only at a distance. For these citizens, war seems abstract, or may even seem to have disappeared altogether due to a relative absence of visual images of casualties. Perhaps even more significantly, wars can be fought without sacrifice by the vast majority of Americans. Yet, the normalization of twenty-first century war also renders it highly visible. War is made visible through popular, commercial, mediated culture. The spectacle of war occupies the contemporary public sphere in the forms of celebrations at athletic events and in films, video games, and other media, coming together as MIME, the Military-Industrial-Media-Entertainment Network.

In our wired world, visual images of military conflict and political strife are ubiquitous. Far less obvious, far more elusive, is how we see such images, how witnessing military violence and suffering affects us. Distant Wars Visible brings a new perspective to such enduring questions about conflict photography and other forms of visual advocacy, whether in support of U.S. military objectives or in critique of the nation at war. At the book’s center is what author Wendy Kozol calls an analytic of ambivalence—a critical approach to the tensions between spectacle and empathy provoked by gazing at military atrocities and trauma. Through this approach, Distant Wars Visible uses key concepts such as the politics of recoil, the notion of looking elsewhere, skeptical documents, and ethical spectatorship to examine multiple visual cultural practices depicting war, on and off the battlefield, from the 1999 NATO bombings in Kosovo to the present. Kozol’s analysis draws from collections of family photographs, human rights photography, independent film production, photojournalism, and other examples of war’s visual culture, as well as extensive visual evidence of the ways in which U.S. militarism operates to maintain geopolitical dominance—from Fallujah and Abu Ghraib to the most recent drone strikes in Pakistan. Throughout, Kozol reveals how factors such as gender, race, and sexuality construct competing visualizations of identity in a range of media from graphic narrative and film to conflict photography and battlefield souvenirs—and how contingencies and contradictions in visual culture shape the politics and ethics of witnessing.

The economic sanctions imposed on Iraq from 1990 to 2003 were the most comprehensive and devastating of any established in the name of international governance. In a sharp indictment of U.S. policy, Gordon examines the key role the nation played in shaping the sanctions.

In the early morning of April 12, 1861, Captain George S. James ordered the bombardment of Fort Sumter, beginning a war that would last four years and claim many lives. This book brings together a collection of voices to help explain the commencement of Am.

On August 9, 1945, on the tiny island of Tinian in the South Pacific, a twenty-five-year-old American Army Air Corps major named Charles W. Sweeney climbed aboard a B-29 Superfortress in command of his first combat mission, one devised specifically to bring a long and terrible war to a necessary conclusion. In the belly of his bomber, Bock's Car, was a newly developed, fully armed weapon that had never been tested in a combat situation. It was a weapon capable of a level of destruction never before dreamed of in the history of the human race, a bomb whose terrifying aftershock would ultimately determine the direction of the twentieth century and change the world forever. The last military officer to command an atomic mission, Major General Charles W. Sweeney has the unique distinction of having been an integral part of both the Hiroshima and the Nagasaki bombing runs. Now updated with a new epilogue from the co-author, his book is an extraordinary chronicle of the months of careful planning and training; the setbacks, secrecy, and snafus; and the nerve-shattering final seconds and the astonishing aftermath of what is arguably the most significant single event in modern history: the employment of an atomic weapon during wartime. The last military officer to command an atomic mission, Major General Charles W. Sweeney has the unique distinction of having been an integral part of both the Hiroshima and the Nagasaki bombing runs. His book is an extraordinary chronicle of the months of careful planning and training; the setbacks, secrecy, and snafus; and the nerve-shattering final seconds and the astonishing aftermath of what is arguably the most significant single event in modern history: the employment of an atomic weapon during wartime.

As a senior foreign correspondent for The Times of London, Janine di Giovanni was a firsthand witness to the brutal and protracted break-up of Yugoslavia. With unflinching sensitivity, Madness Visible follows the arc of the wars in the Balkans through the experience of those caught up in them: soldiers numbed by the atrocities they commit, women driven to despair by their life in paramilitary rape camps, civilians (di Giovanni among them) caught in bombing raids of uncertain origin, babies murdered in hate-induced rage. Di Giovanni’s searing memoir examines the turmoil of the Balkans in acute detail, and uncovers the motives of the leaders who created hell on earth; it raises challenging questions about ethnic conflict and the responsibilities of foreign governments in times of mass murder. Perceptive and compelling, this unique work of reportage from the physical and psychological front lines makes the madness of war wholly visible.

"The dramatic story of West Point's class of 2002, the first in a generation to graduate during wartime"--Publisher's description.

Some Christians believe strongly in the existence of demons and spiritual warfare. Others downplay or even ignore the idea. With such divergent views, how are Christians supposed to know the truth about demonic forces at work in this world? The Invisible War examines what every believer needs to know about Satan, demons, and spiritual warfare, offering a balanced look at this controversial subject. This provocative book will help Christians understand what the Bible says about these threats and will show them how they can safeguard themselves and their families through prayer. Now repackaged for a new generation, The Invisible War offers a balanced look at what is going on in the spiritual realm and what believers can do to defend themselves.

War in history and theory -- Ancient war -- Medieval to modern war -- Theories of war and war's more recent history -- The causes and effects of war -- The causes of war -- The effects of war -- Ethics, law and war -- The future of war.