When I was about five years old, I saw on the front page of The New York Times a grainy black and white photo of sad, dirty, hopeless looking people. I asked my dad about it and he told me there was a war going on in a faraway country called Korea. I have been against war since that day. No matter how urbane he appears in his interviews, it is clear to me that Chang-rae Lee has written his antiwar manifesto in The Surrendered. With his most powerful prose yet, Lee shows us that war damages people far beyond any other kind of abuse life offers and that persons damaged by the losses, violence and displacement of war will go to great lengths to work out either retribution or salvation.
In recent years I have felt that the technical level of current photo-journalism, while it brings us instant images of war, has also inured us to its horrors because of the high-definition, cinematic ...
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