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Bye Bye Babylon Beirut 1975-1979 Ziade, Lamia

Material type: TextTextPublication details: Massachusetts, USA Interlink Graphic, Interlink Publishing Group 2012Description: 21cmISBN:
  • 9781566568777
Other title:
  • بيروت
Subject(s): DDC classification:
  • 956.9204'4092 dc 23
LOC classification:
  • DS89.B4Z53 2012
Summary: Beirut in the 1970s is a paradise. Wealthy families ride escalators and fill shopping carts with imported food and luxury products from Paris and New York. Lamia Ziadé, seven years old, dreams of banana splits, American candy, flying on Pan Am Airways, and visiting the local cinema. Considered by the elite the “Paris, Las Vegas or Monaco of the Middle East,” Beirut was in reality a powder keg, waiting for a spark. On April 13, 1975 Lamia and her family returned from lunch in the countryside to find a city in flames. Looking back on the golden days before the war, and its immediate, devastating effects, Bye Bye Babylon positions an elegiac and shocking narrative next to a child’s perspective of the years 1975–79: of consumer icons next to burning buildings, scenes of violence and sparkling new weapons painted in vivid Technicolor—war as pop.
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Holdings
Item type Current library Collection Call number Status Date due Barcode
Book Book SAF Reference Library Visual Arts N7560-8266 219 (Browse shelf(Opens below)) Available 1545

Beirut in the 1970s is a paradise. Wealthy families ride escalators and fill shopping carts with imported food and luxury products from Paris and New York. Lamia Ziadé, seven years old, dreams of banana splits, American candy, flying on Pan Am Airways, and visiting the local cinema. Considered by the elite the “Paris, Las Vegas or Monaco of the Middle East,” Beirut was in reality a powder keg, waiting for a spark. On April 13, 1975 Lamia and her family returned from lunch in the countryside to find a city in flames. Looking back on the golden days before the war, and its immediate, devastating effects, Bye Bye Babylon positions an elegiac and shocking narrative next to a child’s perspective of the years 1975–79: of consumer icons next to burning buildings, scenes of violence and sparkling new weapons painted in vivid Technicolor—war as pop.

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