“War porn,” n. Videos, images, and narratives featuring graphic violence, often brought back from combat zones, viewed voyeuristically or for emotional gratification. Such media are often presented and circulated without context, though they may be used as evidence of war crimes.

War porn is also, in Roy Scranton’s searing debut novel, a metaphor for the experience of war in the age of the War on Terror, the fracturing and fragmentation of perspective, time and self that afflicts soldiers and civilians alike, and the global networks and face-to-face moments that suture our fragmented lives together. In WAR PORN, three lives fit inside one another like nesting dolls: a restless young woman at an end-of-summer barbecue in Utah; an American soldier in occupied Baghdad; and Qasim al-Zabadi, an Iraqi math professor, who faces the US invasion of his country with fear, denial and perseverance.

As WAR PORN cuts from America to Iraq and back again, as home and hell merge, we come to see America through the eyes of the occupied, even as we see Qasim become a prisoner of the occupation. Through the looking glass of WAR PORN, Scranton reveals the fragile humanity that connects Americans and Iraqis, torturers and the tortured, victors and their victims.