My Friend the Mercenary
A Memoir
-
-
4.5 • 2 Ratings
-
-
- $2.99
-
- $2.99
Publisher Description
“Intensely vivid story of war and the peculiar breed of warriors who fight in 21st-century Africa . . . and tribute to an extraordinary comrade-at-arms.” —Kirkus Reviews
In February 2002, British journalist James Brabazon set out to travel with guerrilla forces into Liberia to show the world what was happening in that war-torn country. To protect him, he hired Nick du Toit, a former South African Defence Force soldier who had fought in conflicts across Africa for over three decades. What follows is an incredible behind-the-scenes account of the Liberian rebels—known as the LURD—as they attempt to seize control of the country from government troops led by President Charles Taylor.
In this gripping narrative, James Brabazon paints a brilliant portrait of the chaos that tore West Africa apart: nations run by warlords and kleptocrats, rebels fighting to displace them, ordinary people caught in the crossfire—and everywhere adventurers and mercenaries operating in war’s dark shadows. It is a brutally honest book about what it takes to be a journalist, survivor, and friend in this morally corrosive crucible.
“A classic story of intrigue, greed, and violence in one of the most dysfunctional countries in the world. It is a gripping story that I couldn’t read fast enough.” —Sebastian Junger, New York Times–bestselling author
PUBLISHERS WEEKLY
The fog of war, informational and moral, permeates this adrenalized memoir of Africa's dirty wars and the men who fight them. British documentarian Brabazon entered Liberia in 2002 to film rebel forces in that country's civil war, taking along bodyguard Nick du Toit, a mercenary and former soldier in South Africa's apartheid-era army. Worlds apart politically, the two men bond amid the savage conflict in one excruciating scene, Brabazon films rebels cannibalizing a prisoner as the author comes to depend on and admire his tough, courageous companion. Nick joins a byzantine conspiracy to overthrow the government of oil-rich Equatorial Guinea and invites Brabazon to film the prospective coup, a proposal that crosses the boundaries of journalistic ethics, though it strongly appeals to Brabazon's lust for adventure and cash. His postmortem on the plot's disastrous outcome, with its cast of shadowy financiers, rival intelligence agencies, and soldiers of fortune, reads like a political thriller. Brabazon's searing narrative captures both the allure of war the rush of danger, the deep camaraderie, the get-rich-quick mirages and its brutal realities. It's both a seductive paean to and a harsh expos of the mercenary ethos that fattens off of Africa's travails.
