In Living with War, Robert Teigrob examines how war is experienced and remembered on both sides of the 49th parallel.

During World War II more than one thousand Filipinas were kidnapped by the Imperial Japanese Army. Lolas’ House tells the stories of sixteen surviving Filipino “comfort women.” M. Evelina Galang enters into the lives of the women at Lolas’ House, a community center in metro Manila. She accompanies them to the sites of their abduction and protests with them at the gates of the Japanese embassy. Each woman gives her testimony, and even though the women relive their horror at each telling, they offer their stories so that no woman anywhere should suffer wartime rape and torture. Lolas’ House is a book of testimony, but it is also a book of witness, of survival, and of the female body. Intensely personal and globally political, it is the legacy of Lolas’ House to the world.

Hosam Katan's awarded photo series shows us people who refuse to have their lives and dignity stripped away by war.

Since 1986, the Acholi people of northern Uganda have lived in the crossfire of a violent civil war, with the Lord’s Resistance Army and other groups fighting the Ugandan government. Acholi have been murdered, maimed, and driven into displacement. Thousands of children have been abducted and forced to fight. Many observers have perceived Acholiland and northern Uganda to be an exception in contemporary Uganda, which has been celebrated by the international community for its increased political stability and particularly for its fight against AIDS. These observers tend to portray the Acholi as war-prone, whether because of religious fanaticism or intractable ethnic hatreds. In Living with Bad Surroundings, Sverker Finnström rejects these characterizations and challenges other simplistic explanations for the violence in northern Uganda. Foregrounding the narratives of individual Acholi, Finnström enables those most affected by the ongoing “dirty war” to explain how they participate in, comprehend, survive, and even resist it. Finnström draws on fieldwork conducted in northern Uganda between 1997 and 2006 to describe how the Acholi—especially the younger generation, those born into the era of civil strife—understand and attempt to control their moral universe and material circumstances. Structuring his argument around indigenous metaphors and images, notably the Acholi concepts of good and bad surroundings, he vividly renders struggles in war and the related ills of impoverishment, sickness, and marginalization. In this rich ethnography, Finnström provides a clear-eyed assessment of the historical, cultural, and political underpinnings of the civil war while maintaining his focus on Acholi efforts to achieve “good surroundings,” viable futures for themselves and their families.

“For those puzzled by Northern Ireland, Belfast Diary offers a well-written, sympathetic and clear-eyed view” of life during the Troubles (New York Times Book Review) In the late 1960s, the ongoing conflict between the Protestant unionists and Catholic nationalists of Northern Ireland—divided by their stance on the country’s constitutional position as part of the United Kingdom—escalated to new, terrifying heights. Chicago journalist John Conroy was there on the frontlines, living among the people most affected by it. In Belfast Diary, Conroy offers a street-level view of life in a Catholic Ghetto in West Belfast, painting vivid portraits of its citizens and the violence they faced during the Troubles: bomb threats, murder, police brutality, and more. Conroy’s recounting of this tumultuous moment in Northern Irish history has been hailed as the best explanation of the more than twenty-five-year conflict. Now with a new afterword, Belfast Diary conveys an understanding that is an essential prerequisite to peace: the resolution of intractable problems around the world requires understanding ordinary people as well as leaders.

In the photographs by Judith Joy Ross the person is caught in his time and historic dimension. Living With War contains three groups of portraits of American citizens in relation to USA war missions during the past 30 years. The most recent pictures present people who demonstrated in 2006/07 against USA involvement in the war in Iraq. They are accompanied by shots made more than 15 years earlier of soldiers who were photographed shortly before their initial deployment in the first Gulf war. The third group of photos is from 1983/84 at the Vietnam Veterans Memorial in Washington. It shows individual portraits of visitors paying tribute to the victims of war in Southeast Asia. These close shots dont take sides with any particular political orientation. They simply tell how irreplaceable the individual is and how keeping his memory serves as the basis of human interaction. Judith Joy Ross, born in Hazleton, Pennsylvania, in 1946, studied photography at the Chicago Art Institute. She has received several awards and prizes, including the Charles Pratt Memorial Award, an Artist Fellowship from the National Endowment for the Arts and a John Simon Guggenheim Memorial Foundation Fellowship. Ms. Ross lives in Bethlehem, Pennsylvania.