What We Are Reading Today: My Kurdish oppressor — New York Review of Books

Using teargas, Kurdish government police disperse a demonstration in Erbil on March 25. (Getty Images/AFP)
Updated 23 April 2018
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What We Are Reading Today: My Kurdish oppressor — New York Review of Books

Hoshang Waziri, a writer and journalist, describes in detail how he was arrested by the Iraqi Kurdish security apparatus, known as Asaysh, after a wave of demonstrations against corruption and unpaid salaries swept through Iraqi Kurdistan last month.

On March 27, he was using his cellphone as a “citizen journalist” when he and several others were detained and some were threatened with torture. One of his fellow detainees, a Peshmerga fighter, told Waziri he had fought against Daesh around Mosul but was now disillusioned with the Kurdistan Regional Government. “Enough!” he said. “I’m fed up with these thieves.”

“Irbil, ruled with a tight fist by Masoud Barzani’s Kurdistan Democratic Party, has not faced a public political protest for years,” Waziri writes.  

“Last month’s action was the first major show of political discontent directed at the government since 1996.”

He says the Iraqi Kurds’ new oppressors are the two ruling families, the Barzanis and Talabanis. He stresses that the situation is not as bad as it was under Saddam Hussein. But if Kurdish rulers keep silencing opposition with violence, “Iraqi Kurdistan will soon become another republic of fear.”


What We Are Reading Today: Writing Timbuktu

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Updated 25 January 2026
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What We Are Reading Today: Writing Timbuktu

  • In “Writing Timbuktu,” Shamil Jeppie offers a history of the book as a handwritten, handmade object in West Africa

Author: Shamil Jeppie

Printed books did not reach West Africa until the early 20th century. And yet, between the 15th and 20th centuries, literate and curious readers throughout the region found books to read — books that were written and copied by hand.

In “Writing Timbuktu,” Shamil Jeppie offers a history of the book as a handwritten, handmade object in West Africa.

Centering his account in the historic city of Timbuktu, Jeppie explores the culture of the “manuscript-book” — unbound pages, often held together by carefully crafted leather covers.