Square octavo. (13)ff. Honda's photographs are reproduced as silkscreens, giving an apt documentary feel to his images. When paired with the book's square format, the pictures recall the grainy quality of newsreel footage displayed on television. The association is likely intentional, and no doubt provocative: the reader views Honda's photographic records of his 2003 tour of Baghdad, Fallujah, and Ramadi during the Iraq War as viscerally present and highly mediated, just as the war had been then. The formal gray areas nod to the moral grays that blanketed the war, which Honda acknowledges throughout his accompanying text. He recognizes his own safety even during raids of Iraqi homes, but he is careful to sympathetically convey the fear of the Iraqis and their own bizarre media environment. As a keen example, he notes his photographs of the bodies of Uday and Qusay Hussein, the sons of Saddam, whose deaths had been obscure and quite unbelievable to the ordinary Iraqi citizens. The story sharply contrasts with Honda's very next comment, in which he notes that many of the lower ranking U.S. soldiers "didn't believe in the war, didn't think there were weapons of mass destruction, and believed that the U.S. was basically fighting for the oil." A whole is a direct confrontation with the vast and perilous distances between jingoist government propaganda, the modern media industrial complex, and real, lived experience. Bound in silkscreened metal covers with exposed spine. Fine.