In The Body of War, Dubravka Žarkov analyzes representations of female and male bodies in the Croatian and Serbian press in the late 1980s and in the early 1990s, during the war in which Yugoslavia disintegrated. Žarkov proposes that the Balkan war was not a war between ethnic groups; rather, ethnicity was produced by the war itself. Žarkov explores the process through which ethnicity was generated, showing how lived and symbolic female and male bodies became central to it. She does not posit a direct causal relationship between hate speech published in the press during the mid-1980s and the acts of violence in the war. Instead, she argues that both the representational practices of the “media war” and the violent practices of the “ethnic war” depended on specific, shared notions of femininity and masculinity, norms of (hetero)sexuality, and definitions of ethnicity. Tracing the links between the war and press representations of ethnicity, gender, and sexuality, Žarkov examines the media’s coverage of two major protests by women who explicitly identified themselves as mothers, of sexual violence against women and men during the war, and of women as militants. She draws on contemporary feminist analyses of violence to scrutinize international and local feminist writings on the war in former Yugoslavia. Demonstrating that some of the same essentialist ideas of gender and sexuality used to produce and reinforce the significance of ethnic differences during the war often have been invoked by feminists, she points out the political and theoretical drawbacks to grounding feminist strategies against violence in ideas of female victimhood.

Your Body Is War contemplates the psychology of the female human body, looking at the ways it exists and moves in the world, refusing to be contained in the face of grief and trauma. Bold and raw, Mahtem Shiferraw’s poems explore what the woman’s body has to do to survive and persevere in the world, especially in the aftermath of abuse. A groundbreaking collection, the poems in Your Body Is War embody elements of conflict, making them simultaneously a place of destruction and of freedom.

A War on My Body; A War on My Rights--a profoundly personal and collaborative book led by Texas high school Valedictorian Paxton Smith, with contributions from numerous reproductive rights activists and public personalities, including renowned women's rights lawyer Gloria Allred, reproductive and immigrant justice warrior Sadie Hernandez, New York Congresswoman Carolyn B. Maloney, victims rights attorney Judie Saunders and former Texas Senator Wendy Davis. The book will be released on January 22, 2022 --49 years after the U.S. Supreme Court ruled to protect a pregnant woman's rights to abortion in the landmark Roe vs. Wade case.A riveting, educational, and powerful assemblage from a multitude of global leaders, entertainers, educators, medical and legal professionals spanning several generations and walks of life. A War on My Body; A War on My Rights chronicles the history of abortion rights, its role in gender equality and its cruciality to healthcare infrastructure while offering a mosaic of raw, passionate perspective of the crisis concerning women's reproductive rights and the dire impending consequences should the right to choose wane in the United States and on a global scale. It is a tribute to leadership and advocacy, illuminating the voices of those willing to take a stand on an issue that has long been cloaked in controversy and dishonor.

Explore the body's incredible immune system. New material is included on organ transplants, allergies, cancer, AIDS, and chronic fatigue syndrome.

This edited volume places the body at the centre of critical thinking about war and its consequences. War is fundamentally embodied. The reality of war is not just politics by any other means but politics incarnate, politics written on and experienced through the thinking, feeling bodies of men and women. From steeled combatants to abject victims, war occupies innumerable bodies in a multitude of ways, profoundly shaping lives and ways of being human. Giving the body an analytic recognition that it warrants and has often been denied in conventional war studies, this book brings together new interdisciplinary scholarship that explores the numerous affective, sensory and embodied practices through which war lives and breeds. It focuses on how war is prepared, enacted and reproduced through embodied action, suffering and memory. As such, the book promotes new directions in theorising war and transformations in warfare, via an explicit focus on the body. This book will be of much interest to students and scholars of war studies, security studies, sociology, anthropology, military studies, politics and IR in general.

Tomas Young’s War is the tragic yet life affirming story of a paralyzed Iraq War veteran who spent his last ten years battling heroically with his injuries, while courageously speaking against America's wars. Based on hours of interviews with Young and those close to him, the book puts the reader alongside Young as he struggles with life as a paralyzed veteran, suffering frustration and humiliation as he attempts to reenter society and resume as normal an existence as possible. It shows his fight to balance his precarious health with his drive to speak out for veterans care and against the war, and the impact his catastrophic injuries had on his family and his relationships. This emotional and powerful book sheds light on many crucial but often overlooked issues such as veterans’ care, public attitudes toward the disabled, medical marijuana, and the terminally ill. Tomas Young’s War shares everything, as unflinchingly honest as Tomas himself: the depression, the pain, the love, and laughter . . . the life of this man whose world was turned upside down by an Iraqi bullet more than ten years ago. Throughout, it serves as a powerful testament to the true cost of war.

From Christina Lamb, the coauthor of the bestselling I Am Malala and an award-winning journalist—an essential, groundbreaking examination of how women experience war. In Our Bodies, Their Battlefields, longtime intrepid war correspondent Christina Lamb makes us witness to the lives of women in wartime. An award-winning war correspondent for twenty-five years (she’s never had a female editor) Lamb reports two wars—the “bang-bang” war and the story of how the people behind the lines live and survive. At the same time, since men usually act as the fighters, women are rarely interviewed about their experience of wartime, other than as grieving widows and mothers, though their experience is markedly different from that of the men involved in battle. Lamb chronicles extraordinary tragedy and challenges in the lives of women in wartime. And none is more devastating than the increase of the use of rape as a weapon of war. Visiting warzones including the Congo, Rwanda, Nigeria, Bosnia, and Iraq, and spending time with the Rohingya fleeing Myanmar, she records the harrowing stories of survivors, from Yazidi girls kept as sex slaves by ISIS fighters and the beekeeper risking his life to rescue them; to the thousands of schoolgirls abducted across northern Nigeria by Boko Haram, to the Congolese gynecologist who stitches up more rape victims than anyone on earth. Told as a journey, and structured by country, Our Bodies, Their Battlefields gives these women voice. We have made significant progress in international women’s rights, but across the world women are victimized by wartime atrocities that are rarely recorded, much less punished. The first ever prosecution for war rape was in 1997 and there have been remarkably few convictions since, as if rape doesn’t matter in the reckoning of war, only killing. Some courageous women in countries around the world are taking things in their own hands, hunting down the war criminals themselves, trying to trap them through Facebook. In this profoundly important book, Christina Lamb shines a light on some of the darkest parts of the human experience—so that we might find a new way forward. Our Bodies, Their Battlefields is as inspiring and empowering is as it is urgent, a clarion call for necessary change.

Stripping Bare the Body shows at close hand how terrorism works and how war looks and smells and feels. Drawing on rich narratives of politics and violence and war from around the world, Stripping Bare the Body is a moral history of American power...

This vibrant collection of essays reveals the intimate politics of how people with a wide range of relationships to war identify with, and against, the military and its gendered and racialised norms. It synthesises three recent turns in the study of international politics: aesthetics, embodiment and the everyday, into a new conceptual framework. This helps us to understand how militarism permeates society and how far its practices can be re-appropriated or even turned against it.

In 1998, acclaimed photojournalist Teun Voeten headed to Sierra Leone for what he thought would be a standard assignment on the child soldiers there. But the cease-fire ended just as he arrived, and the clash between the military junta and the West African peace-keeping troops forced him to hide in the bush from rebels who were intent on killing him. How de Body? ("how are you?" in Sierra Leone's Creole English) is a dramatic account of the conflict that has been raging in the country for nearly a decade-and how Voeten nearly became a casualty of it. Accessible and conversational, it's a look into the dangerous diamond trade that fuels the conflict, the legacy of war practices such as forced amputations, the tragic use of child soldiers, and more. The book is also a tribute to the people who never make the headlines: Eddy Smith, a BBC correspondent who eventually helps Voeten escape; Alfred Kanu, a school principal who risks his life to keep his students and teachers going amidst the bullets and raids; and Padre Victor, who runs a safe haven for ex-child soldiers; among others. Featuring Voeten's stunning black-and-white photos from his multiple trips to the conflict area, How de Body? is a crucial testament to a relatively unknown tragedy.