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After We Kill You, We Will Welcome You Back as Honored by Ted Rall

By Ted Rall

An unflinching account—in phrases and pictures—of America's longest warfare via our so much outspoken image journalist

Ted Rall traveled deep into Afghanistan—without embedding himself with U.S. squaddies, with no insulating himself with flak jackets and armored SUVs—where nobody else may cross (except, in fact, Afghans).

He made lengthy journeys: the 1st within the wake of 9-11, and the subsequent ten years later to determine what a decade of U.S. profession had wrought. at the first journey, he shouted his dispatches right into a satellite tv for pc mobile supplied by means of a l. a. radio station, trying to clarify that the booming within the background—and occasionally the foreground—were the sounds of an all-out warfare that nobody at domestic might completely come clean with. Ten years later, the choice newspapers and radio station that had financed his first journey might not come up with the money for to ship him into harm's method, so he grew to become to Kickstarter to fund a groundbreaking attempt to submit on-line a real-time weblog of photograph journalism (essentially, a nonfiction comedian) documenting what was once relatively taking place at the floor, filed day-by-day through satellite.

The results of this intrepid reporting is After We Kill You, we'll Welcome You again as venerated Guests—a singular account of 1 made up our minds journalist's attempt to carry the realities of existence in twenty-first-century Afghanistan to the area within the most sensible manner he understands how: a mixture of travelogue, images, and award-winning comics.

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Extra resources for After We Kill You, We Will Welcome You Back as Honored Guests: Unembedded in Afghanistan

Sample text

Blake objected to shepherds who shear the faithful of their eece, but even stronger objections are appropriate for a God whose intentions are to reduce one to the spiritual equivalent of meat. In any case, do shepherds really love their ock (except collectively), would they lay down their life for it (except inadvertently)? Similarly, Agel seems to have missed the point about the sacricial overtones to the slaughter. Given Franju's anticleriealism, it’s hardly likely to be, as Agel's description suggests it can be taken as being, that butchers are in a sense the priests of life's etemal tragedy, that the animals are, in a kind of pantheistic communion, sacrically allowing their life-force to be transubstantiated into man, who, as a spiritually higher creature, is capable of grasping God on behalf of the lower animals too.

T‘ . ¢ . ' P II49 x ‘\\\%"" I -\ Le Grand Mehes, ' T As Franju remarked, violence and tenderness attract each nther. like opptistte poles, the mlcncc f his g p his intensest lms. <2 should he resisted. The quieter, minor lms have their own quality. simply because they imbue » et Madame Cu I ordinary‘ l'\\\l"|-Sk‘l'1Sll\ll'\3l, everyday reality with elegiac bitterness, \v|th a kind of Surrealist stoicism. In the earlier lms. the poetic synthesis ts het\\'een violence and tenderness; in the minor lms, it is between the humble-banal and the tragic-poetic.

The protection of death), to enjoy a mystic ‘community’ which doesn't exist, whereas the seas of blood through which the singing butchers stride certainly do exist. 36 The hacking of the carcass while the clock strikes provoked two critics to cite John Donne. ' And for this writer, ‘ “For whom the bell tolls” is given a chilling insouciance. The bell creates a dramatic solemnity, akin to a cmcixion (the hanging carcass). ’ The episode is a classic example of montage in the Eisensteinian sense: not because of its quick cutting, which is montage only in the debased Hollywood sense, but because the thesis (the carcass) and the antithesis (the city) produce a synthesis which is as abstruse as the phrases of metaphysical poet.

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