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.



Libyans Savor Shared Heritage at Reopened National Museum

Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
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Libyans Savor Shared Heritage at Reopened National Museum

Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)

In a historic building in central Tripoli, Libyans wander past ancient statues and artifacts, rediscovering a heritage that transcends political divides at their national museum which reopened this month after a 2011 uprising.

"I got here barely 15 minutes ago but I already feel like I've been transported somewhere. It's a different world," said architecture student Nirmine Miladi, 22.

In the waterfront building known as the red citadel -- once the seat of power -- visitors journey through a history that includes ancient art, Greek and Roman antiquities and Ottoman-era weapons and jewellery.

Miladi's sister Aya, 26, an interior design student, said she liked the bright new museum's layout, "the careful lighting, the screens and interactive tools" that all help make the museum accessible to all.

Libya plunged into chaos after a NATO-backed uprising toppled and killed longtime leader Moammar al-Gadhafi in 2011, and the country has struggled to regain stability.

Since then, the North African country has been divided, with two rival executives vying for power: a Tripoli-based Government of National Unity and an administration based in Benghazi in the country's east.

Mohamed Fakroun, head of international cooperation at the antiquities department, said the museum went through "a dark period during its 14-year closure".

Fearing looting and vandalism after Gadhafi's overthrow, the antiquities department removed "all the artifacts until the country re-stabilized", said Fakroun, 63, who has worked at the French archaeological mission to Libya for almost four decades.

- 'National symbol' -

Curator Fathiya Abdallah Ahmad is among a handful of people who knew the location of secret, sealed rooms where the museum's treasures were taken into hiding for more than a decade.

She said the antiquities department and staff worked to "preserve a historic and cultural heritage that belongs to all Libyans".

This allowed the works to be safeguarded until the museum could reopen "in a modern format that conforms to international standards", she added.

The bright new facility includes digital projections and interactive screens as well as videos, audio guides and QR codes enabling visitors to delve further.

Fakroun noted the museum has a room dedicated to Roman emperor Septimius Severus, who was born in the ancient city of Leptis Magna -- now a UNESCO World Heritage site east of Tripoli.

Another room is dedicated to stolen items that have since been returned, including from the United States and the United Kingdom, he added.

Interior design student Aya Miladi said many Libyans saw the museum's inauguration as the "return of a national symbol".

It is also "a step towards reconciliation between Libyans and with their often little-known past", after years of war, as well as a sign of stability, she added.

- 'Not without past' -

Teacher Fatima al-Faqi, 48, said there was "a world of difference" between the reopened museum and the dark, dusty facility she visited 30 years ago on a school trip.

This time, she was leading a group of high-school students to help them "discover Libya's history and nourish their sense of patriotism", she said, as pupils goggled at items from Roman statues to stuffed animals in the natural history section.

The Tripoli government has invested more than five million dollars in rehabilitating the museum and its surrounding area, despite the oil-rich country's economic woes including frequent cash and fuel shortages.

Fakroun said the six-year renovations were carried out in cooperation with the French mission and the ALIPH foundation -- the International Alliance for the Protection of Heritage.

The museum seeks to convey a hope-filled message about Libya's identity to its visitors, most of whom "were not born when it was last open before 2011", he added.

Visitor Sarah al-Motamid, 34, said that "many people don't know about our country's ancient history and look at us as if we were worthless".

She said she was visiting with her six-year-old daughter Mariam because she wanted her to "understand that we are not without a past or civilization".


Cultural Camp at King Abdulaziz Camel Festival Showcases Saudi Heritage

The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
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Cultural Camp at King Abdulaziz Camel Festival Showcases Saudi Heritage

The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA

The cultural camp is a key feature of the 10th King Abdulaziz Camel Festival, held in Al-Sayahid desert. The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity, according to SPA.

It offers a range of programs, including live performances and interactive events, that highlight camels' historical significance in Arab culture and illustrate the values of patience, strength, and belonging.

The camp has attracted over 2,000 guests from 71 nationalities, emphasizing its global appeal as a cultural platform for diversity and tradition.

Visitors engage with cultural content through innovative methods that merge authenticity with modern technology, enhancing awareness of the camel's cultural legacy. This initiative aligns with Saudi Vision 2030 by preserving heritage and connecting younger generations with their roots.


Tuwaiq Sculpture 2026 Announces 25 Participating Artists for Seventh Edition

The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
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Tuwaiq Sculpture 2026 Announces 25 Participating Artists for Seventh Edition

The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA

Under the Royal Commission for Riyadh City and Riyadh Art, Tuwaiq Sculpture has announced the selection of 25 artists for the seventh edition of the annual sculpture symposium and exhibition, taking place from January 10 to February 22, 2026.

This year’s edition unfolds under the curatorial theme “Traces of What Will Be,” inviting artists to reflect on how sculptural form can express the physical, cultural and conceptual traces that shape the future of cities and communities, SPA reported.

A total of 25 artists from 18 countries, including Saudi artists, have been selected for the seventh edition. Their proposals reflect a diverse range of artistic approaches, responding to the theme through explorations of transformation, place, and materiality.

Director of the Tuwaiq Sculpture Symposium Sarah Alruwayti said: "The seventh edition of Tuwaiq Sculpture received more than 590 applications, reflecting the cultural diversity and global interest in the symposium. The selection of the 25 participating artists was carried out by a jury of industry experts and specialists. Their proposals show meaningful engagement with the theme and reflect the strength and diversity of contemporary sculptural practice. We look forward to welcoming them to Riyadh for the creation of new works that will become lasting additions to the city.”

Building on the evolving material practice of the symposium, Tuwaiq Sculpture 2026 introduces two sculpting categories: granite with optional stainless-steel integration and reclaimed metal. Twenty artists will work in granite, while five will create new works in reclaimed metal. Over four weeks, they will produce large-scale sculptures that will later be added to Riyadh Art’s permanent public art collection.

The 2026 edition features a month-long live sculpting phase alongside a community engagement program, inviting visitors to witness the creation of artworks and take part in panel discussions and workshops. The symposium will conclude with a public exhibition showcasing the completed sculptures from its seventh edition.