Shooting ghosts : a U.S. Marine, a combat photographer, and their journey back from war /Material type: BookDescription: x, 340 pages, 16 unnumbered pages of plates ; illustrations (chiefly color) ; 24 cm.ISBN: 9780399562549; 0399562540.Subject(s): Brennan, Thomas J. (Thomas James) | O'Reilly, Finbarr, 1971- | United States. Marine Corps -- Officers -- Biography | Afghan War, 2001- -- Personal narratives, American | War correspondents -- United States -- Biography | Post-traumatic stress disorder -- Patients -- United States -- Biography | War -- Psychological aspects | Autobiographies
|Item type||Current location||Call number||Status||Date due||Item holds|
|Non-Fiction||New Shelf||NF 958.104 Bre Sho (Browse shelf)||Checked out||03/20/2018|
Includes bibliographical references and index.
Prologue: An odd alliance -- Part one: Afghanistan. Misfits go to war ; Outpost Kunjak ; Ambushed ; Walking wounded ; The in-between ; Human triggers ; Limbs lost and skull tattoos - Part two: After Afghanistan. Witnessing war, living through loss ; Coming home ; Nosedive ; Forward into the past ; The voice ; Media boot camp ; Coming undone -- Part three: After war. Home, again ; Echoes of Iraq ; Marching back through time ; Moving forward, sliding back ; No easy fix ; Another war ; Yellow footprints ; No wars and no jobs, but another tasty chicken.
War tears people apart, but it can also bring them together. Through the unpredictability of war and its aftermath, a decorated Marine sergeant and a world-trotting war photographer became friends, their bond forged as they patrolled together through the dusty alleyways of Helmand province and camped side by side in the desert. It deepened after Sergeant T. J. Brennan was injured during a Taliban ambush, and both returned home. Brennan began to suffer from the effects of his injury and from the fallout of his tours in Iraq and Afghanistan. But war correspondents experience similar rates of posttraumatic stress as combat veterans. The causes can be different, but guilt plays a prominent role in both. For Brennan, it’s the things he’s done, or didn’t do, that haunt him. Finbarr O’Reilly’s conscience is nagged by the task of photographing people at their most vulnerable while being able to do little to help, and his survival guilt as colleagues die on the job. Their friendship offered them both a shot at redemption.