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The term conflict porn identifies videos and images brought back from combat areas - IED explosions, air attacks, firefights, images of loss of life and gore essentially shorn of context, sometimes even evidence of potential war crimes (most famously, the photographs of detainee misuse at Abu Ghraib). Battle porn is also, in Scranton's searing debut, a metaphor for the fragmentation and distress of modern combat, the broken shards of experience that form the wartime activities of troops and civilians alike. The three parts of Battle Porn fit inside each other like nesting dolls: from an end-of-summer barbecue in the American Southwest to the perspective of a US soldier in the first months of the occupation of Iraq to the storyline of Qasim al-Zabadi, an Iraqi mathematics professor who encounters the American invasion with a mixture of dread, denial, and determination. Through the eye of the occupiers, we watch Qasim become an interpreter for US pushes, then prisoner and victim. As the arena switches from America to Iraq and again, as home and hell merge, Qasim discloses the fragile humanity that links occupier and occupied, torturer and tortured.