By Jason Burke
To such a lot within the West, 'al-Qaeda' is noticeable as a byword for terror: a dangerous, hugely organised fanatical team masterminded through Osama bin weighted down. yet does this inform the entire truth?
Prize-winning journalist Jason Burke has spent a decade reporting from the guts of the center East and gaining unheard of entry to the area of radical Islam. Now, drawing on his frontline adventure of contemporary occasions in Iraq and Afghanistan, on mystery files and impressive interviews with intelligence officials, militants, mujahideen commanders and bin Laden's affiliates, he finds the complete tale of al-Qaeda - and demolishes the myths that underpin the 'war on terror'.
Burke demonstrates that during truth 'al-Qaeda' is in simple terms a handy label utilized through the West to a much broader - and therefore extra harmful - phenomenon of Islamic militancy, and indicates how removing a unmarried determine or team will do not anything to strive against terrorism. simply via realizing the genuine, advanced nature of al-Qaeda, he argues, will we handle the genuine concerns surrounding our protection today.
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Additional info for Al-Qaeda: The True Story of Radical Islam
6. The Guard says: ‘We have heard everything and seen everything. From where you were standing it might have seemed comical. For us spying through the eyepiece, it has been a beautiful scene from a tragedy. ’ (Genet, 2002, pp. 31–2). By stating that the scene between the three prisoners resembles a classical tragedy, the Guard self-consciously indicates the play’s theatricality. 7. One might say that a theatre of action is historically dated and that for this reason Genet avoids it. In fact, one of the several ways in which Genet lays traps is by giving the impression that he continues to inscribe his dramaturgy in the order of action (plot that develops; relationships between characters; more or less clearly defined space and time) so that he can blow it all apart from within, and locate his dramaturgy in the order of being.
Once the author writes the words ‘The End’ on the last page of the manuscript, s/he withdraws into the wings and leaves the work to stand alone. It begins its independent life, and the author continues her/his life, without interference between the two—not on a theatrical level at least. The work is the child of its author, but one that is snatched away at birth—a fact which the author of course cannot bear. Hence the continual and lively debate between writers and directors: the former feel robbed and betrayed, whilst the latter appropriate for themselves a resource that is, literally speaking, anonymous; there to be consumed in whatever way one desires.
9 Only a few pivotal characters escape this grand illusion: Carmen, the assistant brothel-keeper in The Balcony, is not taken in by Irma’s rhetoric. She even dares to make fun of the Chief of Police whom she pushes around like a child. It is she who knows how to tell a story—as Irma says, ‘Carmen has a genius for describing things’ (1991, p. 41)—and who enjoys a privileged relationship to language. She alone escapes the insults of the revolutionaries, and her clothes remain intact unlike those of the others, which are reduced to tatters by the rubble.
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