Ghassan Charbel Reveals Secrets in His 'Visits to the Wounds of Iraq' Book

Visits to the Wounds of Iraq  by Ghassan Charbel
Visits to the Wounds of Iraq by Ghassan Charbel
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Ghassan Charbel Reveals Secrets in His 'Visits to the Wounds of Iraq' Book

Visits to the Wounds of Iraq  by Ghassan Charbel
Visits to the Wounds of Iraq by Ghassan Charbel

My Colleague Ghassan Charbel has maintained a journalistic eye that allowed him to witness major shifts, and to become aware of all the details of what is happening in Mesopotamia.

Following his book "Saddam Was Here," which included many interviews with several powerful players in Iraq, he felt the mission was incomplete, so he decided to make more exciting interviews he released in his new book "Visits to the Wounds of Iraq" published by Riad El-Rayyes Books, Beirut. The visits offer tons of information that were long kept hidden and will make the core of this book.

Some of the details in the interviews are being disclosed for the first time, either because their keepers never had the chance to unveil them, or simply because they were never asked about them despite their huge significance.

Eight men, who played historic roles in Iraq, opened up about dangerous and brutal phases that didn't just make the history of Iraq, but also toppled a lot of dominos in this fragile region, and triggered turmoil in neighboring countries.

Jalal Talabani, Hoshyar Zebari, Nouri al-Maliki, Haider al-Abadi, Hamed al – Jubouri, Abdul-Ghani al-Rawi, Ibrahim al-Dawood, and Aziz Mohammed… they all revealed secrets that drew the history extending from the collapse of Saddam Hussein until their interview.

Some were more honest like the late Jalal Talabani who was once a president. Unlike the other figures, Talabani had two interviews in the book, "The Kurd, the Arab Iraqi Player," and "The Years of the Palace."

The late Iraqi president opened up about the huge mistake committed two months after the liberation battle when the Interim Governor Jay Garner and Khalilzad met Iraqi dissidents and requested them to form an interim government, but they didn't respond. During a meeting with Talabani, Masoud Barzani, Ahmed Chalabi, Ayad Allawi, and Adil Abdul-Mahdi from the Supreme Council of the Islamic Revolution of Iraq, along with many others, Garner said: "You should form an interim government to run the country. You, the opposition we dealt with, should form a government from your side."

However, this historic opportunity was lost. A month passed and nothing happened, which pushed the Americans toward other options.

"I believe that the failure of the opposition in forming an interim government in Iraq was one of the major reasons behind what happened later in the country," said Talabani. Later, Garner was replaced by Bremer, who acted like he was "the deputy to the king of India."

The lost opportunities explored in the book are many. The constant confusion of the opposition when it comes to selecting the right people, slow initiatives, failure to seize opportunities, all were among the many complicated reasons that led to the tragedies we all know.

The interviews also unveil a lot about the Saddam Hussein era. One of the witnesses from that phase was Hussein's foreign minister Hamed al Jubouri, who denounced the toppled Iraqi president. He said in his interview that Saddam deeply hated Khomeini, but his biggest fear was "the idea of Iraqi Shiites leaning toward Iran."

"This might be one of the reasons that sparked the Iraqi-Iranian war, but, I believe that the main reason was Hussein's aspiration to become the master of the Gulf," he added.

When Saddam Hussein felt that Europe and the US wanted to contain the Islamic Revolution, he thought that facing Khomeini's Iran would pave the road for him to become America's first man in the region.

"Of course, an Arab leader played a major role in motivating Saddam to take this step, and promised him to win the West's support," explained Jubouri without naming this leader. In the same interview, the former foreign minister said that "the first tank shell in the Iraqi-Iranian war was launched by King Hussein of Jordan."

"This occurred on September 22, 1980, when Saddam and the king stood on a tank near the battle lines. The Jordanian king was an expert. He blessed the war with the first shell," he revealed.

For his part, Hoshyar Zebari, the most prominent foreign minister during the post-Saddam phase, recalled his political life before Saddam, highlighting how Iraq returned to the Arab world following the US invasion and spoke about his experience as a leader in the Kurdistan Democratic Party.

Ghassan Charbel knows well how to comfort his guest, and how to get confessions. This is why it's hard to read an interview in this book without discovering secrets that you didn't know before. Perhaps, the most cautious speaker in this book was former Prime Minister Nouri al-Maliki. Yet, he admitted that under pressure, and despite that he never met him when he was alive, but he stood in front of Saddam Hussein's body after he was executed and asked him with regret: "What good can come from your execution? Would it bring back our martyrs and the country you destroyed?"

Among the most exciting things we read in this book is what former Prime Minister Abdul-Ghani al-Rawi confessed about his cooperation with the Iranian SAVAK, established by Shah Mohammad Reza Pahlavi, to topple the Ba'ath Party in the early 1970s. But Saddam discovered the plot at the time and carried out a series of executions.

Let us not spoil the excitement of reading what these Iraqi figures revealed in their smooth conversations. But we can say that what Ghassan Charbel calls journalistic interviews also often reveal backgrounds, and try to form a picture of Iraq under the rules of Ahmed Hassan al-Bakr, Saddam, and those who followed him, from a different point of view. Given that these figures come from different political backgrounds and affiliations, they can provide, combined, an almost complete picture of the general scene, which is one of the book's goals.

In his introduction, in which he seeks to briefly highlight the new Iraqi pain, Charbel believes that "newspapers are the guardians of the memory." So, these interviews come as another written version of a history that is still alive. The interviews were left intact, without trimming or editing, so future historians can "examine these testimonies to rewrite the Iraqi story."

These interviews are so valuable because they extract the truth from experts and decision-makers before they leave and take their stories with them. The third goal, according to the writer, is "providing this collection to colleagues who have newly engaged in the Iraqi matters, and missed the developments that led to the current situation."

Finally, the fourth goal, which wasn't mentioned by Charbel, is that these plain conversations with their simple yet exciting language, allow those who see a blurry Iraqi scene because of its many events and dense details, to reorganize the picture in their minds and see more clearly. They might also allow the reader to understand the complexities of this country through these different narrations, which ensures a level of objectivity that we often miss in the books that focus on one point of view. This lack of objectivity has become a serious problem for those who are seeking the truth.



Work to Save the Afghan Capital’s Crumbling Ancient Fortress Uncovers Archaeological Treasures

 In this photo provided by Aga Khan Trust for Culture foundation, the Bala Hissar fortress is seen in Kabul, Afghanistan, Nov. 9, 2023. (Aga Khan Trust for Culture via AP)
In this photo provided by Aga Khan Trust for Culture foundation, the Bala Hissar fortress is seen in Kabul, Afghanistan, Nov. 9, 2023. (Aga Khan Trust for Culture via AP)
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Work to Save the Afghan Capital’s Crumbling Ancient Fortress Uncovers Archaeological Treasures

 In this photo provided by Aga Khan Trust for Culture foundation, the Bala Hissar fortress is seen in Kabul, Afghanistan, Nov. 9, 2023. (Aga Khan Trust for Culture via AP)
In this photo provided by Aga Khan Trust for Culture foundation, the Bala Hissar fortress is seen in Kabul, Afghanistan, Nov. 9, 2023. (Aga Khan Trust for Culture via AP)

Perched high above the southern edge of Kabul’s old city, the imposing fortress of Bala Hissar has endured centuries of invasions, uprisings and conflict that scarred Afghanistan and left the citadel crumbling.

Now, an extensive, yearslong project by the Aga Khan Trust for Culture, or AKTC, is painstakingly conserving Bala Hissar. The aim is to turn the site into a public archaeological park, complete with landscaped gardens, restaurants and a museum.

Despite decades of neglect and war, archaeological treasures gradually unearthed within the walls of the strategic fortress in the Afghan capital are revealing more than two millennia of the country’s tumultuous history.

'Like a submarine coming out of the ocean'

The excavations are uncovering an astonishing wealth of finds, from evidence of ancient human habitation to the remains of a Buddhist monastery and the luxurious baths of a Mughal palace.

“We never thought we would find so much,” said archaeologist Babak Rafiei-Alavi, standing at one of Bala Hissar’s excavation sites as workers with trowels painstakingly sifted through the earth. “It’s like a submarine coming out of the ocean.”

Work in five separate trenches at the site has unearthed ancient coins, fragments of Buddhist statues, glazed Islamic ceramics, oil lamps, countless pieces of pottery and the remains of palaces, monasteries and dwellings.

“In some parts we were expecting something. But not this,” Rafiei-Alavi said of the discovery of remnants of a Mughal palace, complete with murals, a thronelike structure and a star-shaped pool carved into the rock at the top of the hill.

A view of the historic Bala Hissar fortress as it undergoes restoration, with a hillside neighborhood in the background, in Kabul, Afghanistan, Thursday, Oct. 8, 2026. (AP)

The location of Bala Hissar, which means High Fort in Dari, is key to its significance. Cascading down a prominent outcrop of the Kuh-e-Sher Darwaza mountain ridge, the fortress occupies a commanding position above the old city that helped it protect access routes to Kabul.

Bala Hissar also was an important religious settlement and political center of power along a crucial trade route connecting the Indian subcontinent to Central Asia and beyond. It was “part of a string of pearls of these types of cultural and human settlements,” Aga Khan Cultural Services Project Manager Mustafa Nouri said.

Through the ages, the site has served as a fortress, palace complex, arsenal, administrative center, prison and military garrison.

“Bala Hissar embodies every stage of Afghan history until the American presence and the post-American presence,” Nouri said.

Only traces remain of its royal palaces and Buddhist monasteries. But an enduring characteristic has been the site’s use as a strategic defensive location, from the first century BC to the Mughal empire, Anglo-Afghan wars, Soviet invasion, civil war and the US-led coalition. Part of the site’s lower areas are still used by the Afghan military.

“Effectively, whoever controlled Bala Hissar controlled Kabul, and controlled the region,” Nouri explained.

Workers carry out restoration work at the historic Bala Hissar fortress in Kabul, Afghanistan, Thursday, Oct. 8, 2026. (AP Photo/Siddiqullah Alizai)

Destruction through the centuries

While Bala Hissar suffered repeated destruction and rebuilding through the centuries, the heaviest blow came when British troops avenged the 1879 killing of British envoy Sir Louis Cavagnari and his entourage inside Bala Hissar by destroying much of the complex.

Today, the sprawling site still bears the scars of years of neglect and Afghanistan's repeated conflicts.

Parts of its defensive walls have crumbled. The hulk of a rusting Soviet tank, one of several still within the walls, sits on the slope leading to the highest point of the fortress. At the foot of the hill, destroyed and decaying Soviet military hardware lies tangled in a rusty heap. Nearby, large-caliber weapons abandoned after the US withdrawal in 2021 stand in neat rows, now property of Afghanistan’s military.

Part of the site within the walls was leveled off in 2008 by US forces who “destroyed many archaeological layers,” Rafiei-Alavi said.

Ambitious plans

Planning for the AKTC’s ambitious conservation project began in 2017, with work starting the following year. Initial surveying and documenting, including with ground-penetrating radar and 3D laser scans, were followed by emergency stabilization to prevent further collapse of the historic fortifications.

The French Archaeological Delegation in Afghanistan was initially involved in excavations, but work temporarily halted after the Taliban seized power in Afghanistan in 2021.

The French delegation did not return. But the AKTC continued operating and has carried out its most extensive work since 2022, Nouri said.

Using locally sourced rock, parts of the defensive walls are being rebuilt. In keeping with international norms of conservation and restoration, new segments are deliberately distinguishable, slightly recessed or protruding from the original construction, Nouri explained.

Metal reinforcements now hold together one of the exterior towers, which had split open and was in danger of crumbling.

The main objective is to turn Bala Hissar into an archaeological public park.

Workers wash artifacts from the historic Bala Hissar fortress compound during restoration work in Kabul, Afghanistan, Thursday, Oct. 8, 2026. (AP Photo/Siddiqullah Alizai)

The extensive site and ambition of the project, which includes a training program for Afghan archaeology students, is a “long-term commitment ... in terms of decades, due to the fact that it’s not only conservation works, but also it’s quite rich in archaeology,” Nouri explained.

One of the archaeological trenches is already 11 meters (36 feet) deep, with more to be uncovered.

“Everywhere in Bala Hissar when you dig you find something, because it’s inhabited for more than 2,000 years,” Rafiei-Alavi said.

Taliban government says committed to preserving history

Afghan authorities say they are keen to preserve the country’s cultural artifacts and historical sites, a radical departure from the previous Taliban rule of Afghanistan from 1996 to 2001.

The current Taliban government says it is keen to safeguard the nation’s monuments.

“We recognize the importance of preserving the country’s ancient sites,” said Ministry of Information and Culture spokesperson Khubaib Ghufran. “We view these remnants of past civilizations as valuable sources of insight and lessons. We fully appreciate their significance.”

The government prioritizes restoring monuments facing threats, such as Bala Hissar, “ensuring that we can pass on the legacy of both past and present civilizations to future generations in a well-preserved state,” Ghufran said.


Yoshitomo Nara’s ‘Big-Headed Girls’ Take Over the World

Yoshitomo Nara's figures, at turns haunting, delightful, or menacing, have made him an art world favorite (David Zwirner Gallery) 
Yoshitomo Nara's figures, at turns haunting, delightful, or menacing, have made him an art world favorite (David Zwirner Gallery) 
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Yoshitomo Nara’s ‘Big-Headed Girls’ Take Over the World

Yoshitomo Nara's figures, at turns haunting, delightful, or menacing, have made him an art world favorite (David Zwirner Gallery) 
Yoshitomo Nara's figures, at turns haunting, delightful, or menacing, have made him an art world favorite (David Zwirner Gallery) 

The big-headed, wide-eyed girls that made Yoshitomo Nara one of the most beloved Japanese artists of the 21st century are everywhere — if you know where to look.

They can be found on T-shirts, skateboards, plastered on water bottles as stickers, or blown up and rendered in monumental scale in the artist's sculptural works, according to CNN.

They can also be found scrawled by the artist himself in confident, graphic lines, on the walls of a Manhattan dive bar he visited in 2009.

Angry, spiteful, mischievous, bored, confused: Nara's figures are both enigmatic and instantly legible, recognizable both for the artist's distinct style and their punching emotional effect.

Now, Nara's characters are conquering new territory with a retrospective at David Zwirner Gallery, his first major solo show in New York City in close to a decade.

The exhibition, which dovetails with a show at the Hirshhorn Museum and Sculpture Garden in Washington, DC, features new, unseen works along with older pieces.

There are both tiny drawings on torn fragments of paper as well as huge, richly painted portraits whose luminescent eyes seem to follow you around the room.

At the Zwirner show's opening night last Thursday, Nara fans queued for close to an hour in a line that extended two blocks, some holding umbrellas to ward off the rain. It was a distinctly young and stylish crowd: There was no shortage of Labubus dangling from bags and tabi ballet flats.

A few subway stops away at Niagara — the East Village bar that Nara graffitied a decade ago — a steady stream of devotees made pilgrimages before or after the opening, a bartender said. There they found a series of graphic drawings, now protected behind plastic, of Nara figures rocking out.

These isolated, defiant figures have become a throughline for the artist's nearly four-decade career. They are, in Nara's telling, self-portraits of a sort, ciphers for his own emotions in the aftermath of Japan's wartime history and multiple environmental disasters.

For the waves of young fans who flock to Nara exhibits and emblazon his images on their belongings, they’re a representation of something different: The ennui and turmoil that has defined Gen Z's coming-of-age in a turbulent world marked by existential threats at every turn.

No matter how they’re perceived, the artworks have made Nara a significant name in the art world, with his work selling for millions, such as “Knife Behind Back,” a huge painting of a frowning girl, one arm tucked behind her back, which went for a whopping $24.94 million at an auction in 2019 (a record high for the artist).

It's classic Nara, featuring a figure who is both adorable and slightly menacing, resisting the reduction of herself to something simple and endearing.

Nara grew up the 1960s and 70s in rural northern Japan, during the delicate decades after World War II. The war haunts his work, said Mika Yoshitake, an independent curator specializing in postwar and contemporary Japanese art, and curator of the artist's 2021 LACMA retrospective and forthcoming 2027 exhibition at SFMOMA.

“There's lots of hidden messages about solitude and bearing the history of the loss that Japan had felt.”

Nara’s experiences in Germany, where he studied at the prestigious Kunstakademie Düsseldorf in the late 80s, further added to the political dimensions of his work (“Stop the Bombs,” an acrylic painting from 2019 later repurposed as a design for one of his collaborations with fashion designer Stella McCartney, is one example of the more literal political messaging of his art, what Yoshitake calls his “resistance to the system, or to war, or to things that he feels wrong in society.”)

Amanda Quach, a Los Angeles-based fashion and lifestyle content creator whose videos include a roll call of all her Nara merch, said she first discovered Nara's work at LACMA’s 2021-2022 retrospective. In the aftermath of the Covid-19 pandemic, she felt isolated and disaffected.

In Nara's paintings and drawings, she saw younger versions of herself. He has a startling ability, she said, to “capture what it feels like to be a young girl with those complex, frustrating emotions, but looking so cute and innocent at the same time.”


RCU Launches ‘An Ongoing Story’ Exhibition

The displayed items include stone tools, inscriptions, coins, pottery, jewellery, books, and historical photographs - SPA
The displayed items include stone tools, inscriptions, coins, pottery, jewellery, books, and historical photographs - SPA
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RCU Launches ‘An Ongoing Story’ Exhibition

The displayed items include stone tools, inscriptions, coins, pottery, jewellery, books, and historical photographs - SPA
The displayed items include stone tools, inscriptions, coins, pottery, jewellery, books, and historical photographs - SPA

The Royal Commission for AlUla (RCU) has launched the “An Ongoing Story” exhibition in the AlJadidah Arts District, featuring a collection curated by 16 trainees as part of a training program in museum studies and exhibition curation.

The program was conducted in collaboration with SOAS University of London and supported by the British Council through the AlUla Grants Program, SPA reported.

The exhibition features 25 archaeological and heritage artifacts from the RCU’s collections, highlighting AlUla’s history and cultural heritage across four sections: “Pre-Writing,” “Enduring Words,” “Trade Routes,” and “Documentation and Memory.”

The displayed items include stone tools, inscriptions, coins, pottery, jewellery, books, and historical photographs.

The exhibition marks the practical outcome of the training program and contributes to developing local talent in the museum sector.

It also promotes community engagement in heritage preservation and public presentation, paving the way for the future opening of several museums in AlUla, in line with Saudi Vision 2030.

The exhibition is open to the public free of charge at The Workshop in the AlJadidah Arts District until December 5, 2026. Visiting hours are Wednesday to Sunday, from 3:30 p.m. to 11:00 p.m.