Volume 2 takes up the account after Iraq withdrew from Khuzestan and is based upon material from both sides, from US Intelligence data, British Government documents and secret Iraqi files. Iraq's withdrawal exposed the great southern city of Basra to Iranian attack but it was shielded by fortifications based upon a huge anti-tank ditch, the so-called Fish Lake, which the Iranians tried to storm in the summer of 1982. This bloody failure left Tehran in a position where prestige prevented a withdrawal into Iran but the armed forces lacked the resources to bring the conflict to a favourable conclusion. During the next four years the Iranians tried to outflank the Fish Lake defences initially through the marshes in the north and finally through an attack on the Fao Peninsula which increased national prestige but was a strategic failure and paved the way for Iraq's massive victories in 1988. This followed a series of successful defensive battles in which the Iranians were driven back with great loss. This account describes the battles in greater detail than before and, by examining them, provides unique insights and ends many of the myths which are repeated in many other accounts of this conflict.

In Reencounters,Crystal Mun-hye Baik examines what it means to live with and remember an ongoing war when its manifestations-hypervisible and deeply sensed-become everyday formations delinked from militarization. Contemplating beyond notions of inherited trauma and post memory, Baik offers the concept of reencounters to better track the Korean War's illegible entanglements through an interdisciplinary archive of diasporic memory works that includes oral history projects, performances, and video installations rarely examined by Asian American studies scholars. Baik shows how Korean refugee migrations are repackaged into celebrated immigration narratives, how transnational adoptees are reclaimed by the South Korean state as welcomed "returnees," and how militarized colonial outposts such as Jeju Island are recalibrated into desirable tourist destinations. Baik argues that as the works by Korean and Korean/American artists depict this Cold War historiography, they also offer opportunities to remember otherwise the continuing war. Ultimately, Reencounters wrestles with questions of the nature of war, racial and sexual violence, and neoliberal surveillance in the twenty-first century.