Among Africa's suffering is the little- known war in Mozambique, now in its second decade. Finnegan traveled through the country in 1988 to assess the impact of a war waged by guerrillas who are armed and often directed by South Africa. He tells a compelling story of rural misery caused by the war, which in turn offers a fertile ground for its continuation. Finnegan's narrative includes historical background and critical analysis of the Mozambique government whose policies have not created an inclusive framework for the nation. Finnegan is drawn to the conclusion that Mozambique's peasants long have been denied the fruits of peace: first under centuries of Portuguese colonialism; and now as they are exposed to the current war that is destroying their future.

War is a fact of human nature. As long as we exist, it exists. That's how the argument goes. But longtime Scientific American writer John Horgan disagrees. Applying the scientific method to war leads Horgan to a radical conclusion: biologically speaking, we are just as likely to be peaceful as violent. War is not preordained, and furthermore, it should be thought of as a solvable, scientific problem—like curing cancer. But war and cancer differ in at least one crucial way: whereas cancer is a stubborn aspect of nature, war is our creation. It’s our choice whether to unmake it or not. In this compact, methodical treatise, Horgan examines dozens of examples and counterexamples—discussing chimpanzees and bonobos, warring and peaceful indigenous people, the World War I and Vietnam, Margaret Mead and General Sherman—as he finds his way to war’s complicated origins. Horgan argues for a far-reaching paradigm shift with profound implications for policy students, ethicists, military men and women, teachers, philosophers, or really, any engaged citizen.

Powerful, instructive, and full of humanity, this book challenges the current understanding of the war that has turned Mozambique—a naturally rich country—into the world's poorest nation. Before going to Mozambique, William Finnegan saw the war, like so many foreign observers, through a South African lens, viewing the conflict as apartheid's "forward defense." This lens was shattered by what he witnessed and what he heard from Mozambicans, especially those who had lived with the bandidos armado, the "armed bandits" otherwise known as the Renamo rebels. The shifting, wrenching, ground-level stories that people told combine to form an account of the war more local and nuanced, more complex, more African—than anything that has been politically convenient to describe. A Complicated War combines frontline reporting, personal narrative, political analysis, and comparative scholarship to present a picture of a Mozambique harrowed by profound local conflicts—ethnic, religious, political and personal. Finnegan writes that South Africa's domination and destabilization are basic elements of Mozambique's plight, but he offers a subtle description and analysis that will allow us to see the post-apartheid region from a new, more realistic, if less comfortable, point of view.

An exposé of forefront military contractor Lockheed Martin discusses its power and influence while tracing the company's billion-dollar growth and presence in every aspect of American life.

An investigation into how the Pentagon, NSA, and other government agencies are uniting with corporations to fight in cyberspace, the next great theater of war.

With the rise of drones and computer-controlled weapons, the line between war and video games continues to blur. In this book, the authors trace how the realities of war are deeply inflected by their representation in popular entertainment. War games and other media, in turn, feature an increasing number of weapons, tactics, and threat scenarios from the War on Terror. While past analyses have emphasized top-down circulation of pro-military ideologies through government public relations efforts and a cooperative media industry, The Military-Entertainment Complex argues for a nonlinear relationship, defined largely by market and institutional pressures. Tim Lenoir and Luke Caldwell explore the history of the early days of the video game industry, when personnel and expertise flowed from military contractors to game companies; to a middle period when the military drew on the booming game industry to train troops; to a present in which media corporations and the military influence one another cyclically to predict the future of warfare. In addition to obvious military-entertainment titles like AmericaÕs Army, Lenoir and Caldwell investigate the rise of best-selling franchise games such as Call of Duty, Battlefield, Medal of Honor, and Ghost Recon. The narratives and aesthetics of these video games permeate other media, including films and television programs. This commodification and marketing of the future of combat has shaped the publicÕs imagination of war in the post-9/11 era and naturalized the U.S. PentagonÕs vision of a new way of war.