Waugh's view of terrorism and communism as inherently the same underlines how the CIA is often 'fighting the last war' when it creates its policies, rather than creatively responding to the new geopolitical environment.
This simple elision of all forces against the U.S. As evil can be seen in Waugh's comment: "From Korea to Afghanistan and every conflict in between, I have fought whomever my country ordered me to fight. For fifty years in sixty-four countries, I have sought and destroyed my country's enemies -- whether they be called Communists or terrorists -- wherever they hide" (Waugh xv). He credits his determination to his mother's willingness to 'tan his hide' unless he made perfect marks as a child. Even today, succeed or fail, Waugh wants to hunt down the evil-doers who hate the United States, and there is little moral ambiguity to his quest.
The failure to appreciate, for example, the different factions of Islam and the complex tensions of the Middle East, even the difference between the hatred for the U.S. Of the secular dictator Saddam Hussein for America vs. The religiously-fueled hate of Bin Laden, quickly becomes manifest in Waugh's prose. The blindness that was exhibited by America's leadership regarding Iraq is reflected in a Cold War, bipolar analysis with little applicability to the Middle East. The jackal of the book's title is the terrorist Waugh tracked during the 1990s, Carlos the Jackal in Khartoum, (colloquially called K-town) but other than the Jackal's inhuman dangerousness, there is little understanding as to why the world spawns people like Carlos and who so many people in the Islamic world follow Bin Laden and hate the U.S. This mentality is further reinforced by Waugh's statement when he is training foreign nationals in counter-terrorist strategy: "I will not participate in discussions of a political nature…usually this statement would be enough...
William Carlos Williams comments on the brutal persistence of patriarchy in "The Raper from Passenack." The title immediately conjures the imagery of rape, and the title fuses into the first line of the poem. "The Raper from Passenack" is written in a narrative format, describing a scene in which the titular character is driving home the nameless girl who he just violated. Most of the narrative takes place inside the
William Carlos Williams' "Pastoral" and "Proletarian Portrait" William Carlos Williams' poem "Pastoral" is narrated in an introspective, confessional voice that describes the narrator's attitude toward the streets in which he was raised. There is very little plot in the poem, and it consists mainly of details concerning the street locale. Given the minimal plot that occurs, the details assume great significance. The reader must therefore be cognizant of how the details
Proletarian Portrait" is a poem by William Carlos Williams that presents a brief snapshot of a working class woman, a proletarian. She is bogged down by two stigmas: class and gender. Because the reader has no other cues of the woman's identity, it is also possible that she is not white, either. Being of the non-dominant culture would make the woman an emblem of the underclass, presuming the setting
684). Arguably the first line in which Williams introduces an aesthetic sensation, "glazed with rain water" lends itself to a bit of a play on words. Water is redundant after the word rain, but rain modifies water as well. Easterbrook writes of Williams as being a poet unique in his ability to "present imagistic pictures." The whole poem "The Red Wheelbarrow," the title itself, and the line "glazed with rain
Tract" by William Carlos Williams Throughout the poem, Williams uses free verse, which results in "Tract" reading more like prose than traditional poetry. This is one of the main concerns Williams an other modern poets had with creating their work. They were concerned with creating new forms of creating art an poetry. A sense of poetic evolution is at the heart of this type of art. In his essay, William
E.E. cummings's "she being Brand/-new" appears to be, at its surface, a poem about a man taking his car for a spin and learning the nuances of his new vehicle. The imagery and descriptions cummings uses allows the reader to understand the various things that need to be broken in. The poem's narrator freely admits the car was "consequently a little stiff," which can be further seen in how the
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