In 1913 Charlie Birger began his career as a bootlegger, supplying southern Illinois with whiskey and beer. He was charismatic, with an easygoing manner and a cavalier generosity that made him popular. The stuff of legend, he was part monster, part Robin Hood. In the early days, he would emerge from his restaurant/saloon in tiny Ledford in Saline County with a cigar box full of coins and throw handfuls in the air for the children. Echoing the consensus on Birger, an anonymous gang member called him "enigmatic," noting that "he had a wonderful quality, a heart of gold. There in Harrisburg sometimes he'd support twelve or fifteen families, buy coal, groceries. . . . [But] he had cold eyes, a killer's eyes. He would kill you for something somebody else would punch you in the nose for."

Drawing from the colorful cast of the living, the dead, and the soon-to-be-dead—a state shared by many associated with Birger and his enemies, the Shelton gang—DeNeal re-creates Prohibition-era southern Illinois. He depicts the fatal shootout between S. Glenn Young and Ora Thomas, the battle on the Herrin Masonic Temple lawn in which six were slain and the Ku Klux Klan crushed, and the wounding of Williamson County state's attorney Arlie O. Boswell. As the gang wars escalated and the roster of corpses lengthened, the gangsters embraced technology. The Sheltons bombed Birger's roadhouse, Shady Rest, from a single-engine airplane. Both Birger and the Sheltons used armored vehicles to intimidate their enemies, and the chatter of machine gun fire grew common.

The gang wars ended with massive arrests, trials, and convictions of gangsters who once had seemed invincible. Charlie Birger was convicted of the murder of West City mayor Joe Adams and sentenced to death. On April 19, 1928, he stood on the gallows looking down on the large crowd that had come to see him die. "It's a beautiful world," Birger said softly as he prepared to leave it.

Kurdistan was erased from world maps after World War I, when the victorious powers carved up the Middle East, leaving the Kurds without a homeland. Today the Kurds, who live on land that straddles the borders of Turkey, Iran, Iraq, and Syria, are by far the largest ethnic group in the world without a state.
Renowned photographer Susan Meiselas entered northern Iraq after the 1991 Gulf War to record the effects of Saddam Hussein’s campaigns against Iraq’s Kurdish population.  She joined Human Rights Watch in documenting the destruction of Kurdish villages (some of which Hussein had attacked with chemical weapons in 1988) and the uncovering of mass graves. Moved by her experiences there, Meiselas began work on a visual history of the Kurds. The result, Kurdistan: In the Shadow of History, gives form to the collective memory of the Kurds and creates from scattered fragments a vital national archive.

In addition to Meiselas’s own photographs, Kurdistan presents images and accounts by colonial administrators, anthropologists, missionaries, soldiers, journalists, and others who have traveled to Kurdistan over the last century, and, not to forget, by Kurds themselves. The book’s pictures, personal memoirs, government reports, letters, advertisements, and mapsprovide multiple layers of representation, juxtaposing different orders of historiographical evidence and memories, thus allowing the reader to discover voices of the Kurds that contest Western notions of them. In its layering of narratives—both textual and photographic—Kurdistan breaks new ground, expanding our understanding of how images can be used as a medium for historical and cultural representation.

A crucial repository of memory for the Kurdish community both in exile and at home, this new edition appears at a time when the world’s attention has once again been drawn to the lands of this little-understood but historically consequential people.