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.



Royal Commission for Makkah Draws 17.5 Million Visitors to Historical Sites

Since the strategy's launch in early 2024, the sites have attracted more than 17.5 million visitors, with a satisfaction rate of 97.5% - SPA
Since the strategy's launch in early 2024, the sites have attracted more than 17.5 million visitors, with a satisfaction rate of 97.5% - SPA
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Royal Commission for Makkah Draws 17.5 Million Visitors to Historical Sites

Since the strategy's launch in early 2024, the sites have attracted more than 17.5 million visitors, with a satisfaction rate of 97.5% - SPA
Since the strategy's launch in early 2024, the sites have attracted more than 17.5 million visitors, with a satisfaction rate of 97.5% - SPA

The Royal Commission for Makkah City and Holy Sites is implementing an integrated strategy to conserve historical and enrichment sites and transform them into sustainable cultural destinations, enhancing Makkah's position as a city of ancient heritage in line with Saudi Vision 2030.

The commission has developed and rehabilitated 28 historical sites each, documented 60 sites, opened 27 sites to visitors, and established seven visitor service centers.

Since the strategy's launch in early 2024, the sites have attracted more than 17.5 million visitors, with a satisfaction rate of 97.5%, SPA reported.

The commission has also executed more than 200 promotional announcements and prepared 65 development studies to support conservation and rehabilitation plans, achieving a 100% activation rate in implementing planned operational targets.

These efforts reflect the commission's commitment to balancing the preservation of Makkah's historical identity with modern development requirements, reinforcing the city's position as a global destination combining holiness, history, and culture.


Jazan’s Performing Arts Preserve Heritage and Showcase Regional Identity

In recent years, Jazan has witnessed increased cultural activity through festivals, creative initiatives, and support for local talent, strengthening community participation and promoting heritage preservation - SPA
In recent years, Jazan has witnessed increased cultural activity through festivals, creative initiatives, and support for local talent, strengthening community participation and promoting heritage preservation - SPA
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Jazan’s Performing Arts Preserve Heritage and Showcase Regional Identity

In recent years, Jazan has witnessed increased cultural activity through festivals, creative initiatives, and support for local talent, strengthening community participation and promoting heritage preservation - SPA
In recent years, Jazan has witnessed increased cultural activity through festivals, creative initiatives, and support for local talent, strengthening community participation and promoting heritage preservation - SPA

Jazan Region holds a distinguished place in Saudi Arabia’s cultural landscape, shaped by its rich heritage and diverse traditions, which have enriched the national cultural scene through a wide range of performing and folk arts preserved and showcased across generations.

The region’s diverse geography, including mountains, plains, coastlines, and islands, has influenced the development of unique performing arts connected to local lifestyles, agricultural seasons, and maritime activities.

These arts form a vibrant cultural heritage that has maintained its authenticity while evolving with the Kingdom’s cultural growth, SPA reported.

In recent years, Jazan has witnessed increased cultural activity through festivals, creative initiatives, and support for local talent, strengthening community participation and promoting heritage preservation.

Its folk arts remain a key expression of regional identity, reflecting its history, values, and customs while maintaining a strong presence in national events and cultural programs.


Bayeux Tapestry is at the British Museum after Secret Journey from France

Workers prepare to unload a specially designed crate (back L) carrying the Bayeux Tapestry at the British Museum in central London early on July 10, 2026. (Photo by Richard A. Brooks / AFP)
Workers prepare to unload a specially designed crate (back L) carrying the Bayeux Tapestry at the British Museum in central London early on July 10, 2026. (Photo by Richard A. Brooks / AFP)
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Bayeux Tapestry is at the British Museum after Secret Journey from France

Workers prepare to unload a specially designed crate (back L) carrying the Bayeux Tapestry at the British Museum in central London early on July 10, 2026. (Photo by Richard A. Brooks / AFP)
Workers prepare to unload a specially designed crate (back L) carrying the Bayeux Tapestry at the British Museum in central London early on July 10, 2026. (Photo by Richard A. Brooks / AFP)

After almost 1,000 years, the Bayeux Tapestry is back on English soil.

In scenes like a heist movie in reverse, the priceless Medieval artwork was spirited into the British Museum on Friday in the dead of night, after a high-tech, tight-security operation where any slip-up could have spelled disaster.

On loan from its home in France, the tapestry will go on display at the London museum from Sept. 10 until July 2027. It's a public homecoming for a vivid visual record of the 1066 Norman invasion, the last successful conquest of England.

The tapestry's arrival in London has been widely anticipated, but due to security concerns all details of when and how it would arrive have been kept under wraps.

“It feels extraordinary that after so much work and planning and care and thought that it’s actually happening,” The Associated Press quoted British Museum Director Nicholas Cullinan as saying as he awaited the arrival after a secrecy-shrouded journey.

“It’s the first time in 1,000 years that such an important piece of British — French too — history is going to be on these shores,” he said. “It’s incredibly exciting.”

The 70-meter (230-foot) tapestry was folded accordion-style in a climate-controlled case that was placed inside a shock-absorbing cradle. That went into a truck that crossed from France on a vehicle shuttle train through the Channel Tunnel.

After an 11-hour, 350-mile (560-kilometer) trip, escorted by police, the truck backed slowly into a loading bay at the museum, where workers gingerly eased the container, the size of a small car, to the ground. Museum staff and British and French diplomats who had been watching in hushed silence broke into applause.

The priceless cargo will spend several days acclimatizing before it is carefully unpacked and unfolded for an exhibition that the museum expects to be one of the most popular in its history. Some 100,000 tickets were sold in their first day on sale this month.

“It was like trying to get tickets to Glastonbury,” Cullinan said. “I don’t take for granted that people care that much about a 1,000-year-old embroidery. I think that’s an amazing thing.”

The tapestry is a symbol of Anglo-French relations Stitched in wool thread on linen fabric, the artwork depicts the events leading up to the Battle of Hastings in October 1066, when William, Duke of Normandy defeated King Harald’s Anglo-Saxon army. The invasion ended Saxon rule and made William the Conqueror the first Norman king of England.

Historians believe the tapestry was commissioned by Bishop Odo of Bayeux, William’s half brother, and was probably sewn by women in England — possibly nuns — before being taken across the Channel. It has spent most of the last millennium in the town of Bayeux in northwest France, apart from two short periods at the Louvre in Paris.

The tapestry symbolizes the sometimes fractious, intertwined histories of France and Britain, and securing the loan was a high-stakes diplomatic mission. It was announced during a state visit to the UK by French President Emmanuel Macron in July 2025. The loan coincides with renovations at the museum in Bayeux that houses it.

In return, the British Museum will loan treasures from the Sutton Hoo hoard — artifacts from a 7th century Anglo Saxon ship burial — and other items to museums in Normandy.

Retired British diplomat Peter Ricketts, who helped secure the deal as the UK’s special envoy for the tapestry, said “it’s an extraordinary mark of friendship and confidence in the UK to entrust this object to us for a year.”

“Macron, when he offered us the tapestry, I think he understood that it would have far more impact in the UK than it does in France, because it’s more fundamental to our national story,” he said. Everybody (in Britain) knows 1066.”

It's a vivid record of 11th century life and death It features 627 people and 737 animals and tells its story in 58 scenes brimming with vivid and sometimes gory detail. There are scenes of hand-to-hand combat, mutilated bodies and the unlucky Harold, felled by an arrow through his eye.

“It has an emotional richness that is really difficult to get from written sources,” said Millie Horton-Insch, project curator for the British Museum exhibition. “It just brings people closer to this history than any other object can. It’s not the same as reading a text. You are looking at something that was handled by the people who lived through it and felt compelled to record these events in this way. “

She said the document’s survival for 10 centuries despite myriad dangers — “moths, mice, mold damp, fire” — is miraculous, and may be partly due to its humble materials.

“It’s not really made of any blingy fabric,” she said. “It’s not gold, it’s not silver. There wasn’t the same temptation to cut it up and make it into vestments or repurpose it for anything.”

Some French cultural figures opposed the loan, arguing that moving the tapestry was too risky. Cullinan said the expert teams went to great lengths to ensure its safety, including making two trial runs of the journey to show it would not cause the fragile item too much stress.

“Such care has gone into it. I can’t think of a level of care for any other museum loan,” he said.
He said he understands why there are concerns.

“The tapestry arouses great interest and passion,” he said. “Which is a wonderful thing."