Omar Mohammed:
There was one man who did not run. I heard him. From inside the house, beginning at three in the morning on June 6—the hour the attack on Mosul began—I could hear sustained gunfire from a single position. It did not stop when the other positions fell silent. Through the hours that followed, I heard ISIS fighters calling out to him, telling him to surrender, promising that if he gave himself up, he would live. Each time they called, he answered with gunfire. The exchange repeated itself for hours-the voices, the offer, and then the shots that refused it. Around six in the morning, the shooting from his position stopped. I do not know whether his weapon jammed or whether his ammunition was simply gone. What I heard next was a storm of gunfire directed at him—a concentrated volley from multiple weapons at once. Then silence. He was the last man to stand against ISIS in Mosul. I never learned his name.
The emergency bell at the University of Mosul rang at the wrong time—and it had never worked before, not once in all my years on that campus; when trouble came we got warning shots from security if we were lucky, and if we were not we found ourselves caught in the cross fire berween soldiers and terrorists, but on June 5, 2014, the bell that had never rung actually rang—and then an ambulance was burning with a policeman’s body still inside it, and then the city I had spent my life studying began to disappear. Not slowly. Not in stages that could be debated, contested, and perhaps reversed. It disappeared the way a man disappears when soldiers abandon their uniforms and walk away from their posts: all at once, and with a silence underneath the noise that was worse than the noise itself.
The beginning of Mosul’s fall does not return to me as a clean sequence of facts. It comes back first as a disturbance. Heat. Dust. A bell ringing at the wrong time. A city loses confidence before it understands that it is losing itself.
Mosul sits on the Tigris River in northern Iraq, roughly halfway between Baghdad and the Turkish border. The Tigris is one of the two rivers of ancient Mesopotamia—the land between the rivers, the territory that textbooks call the Cradle of Civilization—and Mosul is built on and around the ruins of Nineveh, the Assyrian capital that fell to Babylon in 612 BC, a city whose name appears in the Hebrew Bible and whose stones are still visible from across the streets. For most of the modern era, it was Iraq’s second-largest city, home to more than a million people, and it was the kind of place that carried its age consciously. The Tigris runs wide there, the color of hammered tin, and the old city rises from its western bank in a dense layering of neighborhoods that have been inhabited continuously for centuries. Moslawis—the city’s people—had a word for those who did not understand this: They were people who had not yet sat long enough by the river.
My family had sat by that river for a long time. My grandfather on my father’s side came from generations of wool traders who had shipped their goods south to Basra along the Tigris, with England as the ultimate destination—families whose trade news had once flown between Mosul and Basra by pigeon, long before any nation called Iraq existed.
The family home was in the city’s oldest neighborhood, a few minutes walk from the water. My grandfather on my mother’s side had been an unrepentant communist under first a monarchy and then a succession of military dictators, sentenced to death four separate times for refusing to bend to prevailing political winds. Each time, a change of government spared his life, and he died in his seventies—a normal death, I would later say, after Mosul had spent years learning what abnormal deaths looked like. Between them, these two men gave me something I would not fully understand until my city was occupied: the wool trader’s patience with systems, routes, and the slow accumulation of practical knowledge, and the communist’s insistence that it was possible to refuse the terms imposed by powerful men, even when refusal seemed futile. I grew up in a house that loved the sound of music—a house where music was part of the air, part of how the family understood itself, long before anyone thought to forbid it.
I could quote every paragraph of the opening chapter. I’m sure I’ll quote more. This is a book and a “topic” — a landmark event and tragedy beyond words — that I can neglect other things for.


