Inshallah

Hailed upon its European publication as a masterpiece, Inshallah is Oriana Fallaci’s great achievement, a twentieth-century epic about the catastrophic civil war in Lebanon. Writing in Italy’s Il Giorno, Giancarlo Vigorelli has announced, “One must make room for Fallaci next to Hemingway and Malraux. For Whom the Bell Tolls and Man’s Hope are to the Spanish Civil War what Inshallah is to the dirty genocide of Lebanon.” In France, Le Figaro has praised Inshallah’s Goya-like depictions of the disasters of war, and Le Nouvel Observateur has called it “The Iliad in Beirut.” At the center of this teeming, extraordinary novel is the divided city of Beirut, besieged and battered by foreign armies, rival Lebanese factions, and fundamentalist terrorists. In the opening pages we witness the devastating suicide bombing of the American and French marine barracks in 1983, and in its aftermath we meet the large and colorful cast of soldiers in the Italian contingent of the trilateral peacekeeping force, as well as the women of Beirut and the residents whose lives are caught up in the conflict. The loves and hates, hopes and anxieties, heroic actions and cowardly betrayals, reflect the horror and madness of this brutal, never-ending nightmare. Inshallah is a war novel about destiny, a study of love in all its aspects. It is engrossing, dramatic, funny, and always intensely readable. Only Oriana Fallaci, with her unique breadth of experience and masterful command of language and image, could have written such a profound novel, one filled with compassion for men and women, a work that will long stand as a monumental testament to the imperishable human spirit.