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Fresh out of college and passionate about photography, Deborah Copaken Kogan moved to Paris in 1988 and began knocking on photo agency doors, begging to be given a photojournalism assignment. Within weeks she was on the back of a truck in Afghanistan, the only woman—and the only journalist—in a convoy of mujahideen, the rebel “freedom fighters” at the time. She had traveled there with a handsome but dangerously unpredictable Frenchman, and the interwoven stories of their relationship and the assignment set the pace for Shutterbabe’s six chapters, each covering a different corner of the globe, each linked to a man in Kogan’s life at the time.

From Zimbabwe to Romania, from Russia to Haiti, Kogan takes her readers on a heartbreaking yet surprisingly hilarious journey through a mine-strewn decade, seamlessly blending her personal battles—sexism, battery, life-threatening danger—with the historical ones—wars, revolution, unfathomable suffering—it was her job to record.

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From the Publisher:
Suggested Reading
Anne Frank’s The Diary of Anne Frank was the first book to whack me over the head. J.D. Salinger’s The Catcher in the Rye was the second. As a teenager, I loved Harper Lee’s To Kill a Mockingbird, George Orwell’s Animal Farm and William Golding’s The Lord of the Flies. In college, my favorite book was On the Road. If you can find a copy of Robert Frank’s The Americans, I suggest you read Kerouac’s words while flipping through Frank’s pictures.

Other memoirs worth reading, the first of which should be required reading in all schools everywhere: Primo Levi’s Survival in Auschwitz (a.k.a. If This is a Man), Ernest Hemingway’s A Moveable Feast, Frank McCourt’s Angela’s Ashes, Mary Karr’s The Liar’s Club, Tobias Wolff’s This Boy’s Life, Anthony Lloyd’s My War Gone By I Miss it So.

My fiction hit list: Leo Tolstoy’s Anna Karenina, Philip Roth’s The Counterlife, Milan Kundera’s The Unbearable Lightness of Being, Mikhail Bulgakov’s The Master and Margarita, Gustav Flaubert’s Madame Bovary, William Styron’s Sophie’s Choice, Gabriel Garcia Marquez’s One Hundred Years of Solitude, Virginia Woolf’s Mrs. Dalloway.

If you’re looking for good photography books, try anything by Henri Cartier-Bresson, Gilles Peress’ Telex Iran, Sebastiao Salgado’s Workers, Diane Arbus’ Diane Arbus: An Aperture Mongraph, Luc Delahaye’s Winterreise, and Jane Evelyn Atwood’s Too Much Time: Women in Prison. These will at least get you started.

Finally, there is no way I would have been able to write this book had I not read Anne Lamott’s Bird by Bird.
From the Back Cover:
Shutterbabe zooms in on passionate self-discovery.”
USA Today

“Eloquent and well observed, not only about the memoirist, but about the world: war, death, photojournalism and, of course, the worldwide battle between the sexes.”
The Washington Post Book World

“A candid account of one woman’s attempt to claim the spoils of the American feminist revolution under trying circumstances: alone, abroad, practicing an art that fosters machismo and thrusts her into the midst of the most paternalistic cultures in the world.”
Chicago Tribune

Shutterbabe, like all good war stories, is flashy and exciting, but it also tells the story of a tender-hearted woman who traded war’s excitement for that of family life.”
The New York Times Book Review

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Book Description Paperback. Condition: new. Paperback. NATIONAL BESTSELLER The remarkable memoir of an ambitious young photojournalist who went off to war as a twenty-two-year-old girland came back, four years and many adventures later, a woman Eloquent and well observed, not only about the memoirist, but about the world: war, death, photojournalism and, of course, the worldwide battle between the sexes. The Washington Post Book WorldIn 1988, fresh out of Harvard, Deborah Copaken Kogan moved to Paris with a small backpack, a couple of cameras, the hubris of a superhero, and a strong thirst for danger. She wanted to see what a war would look like when seen from up close. Naively, she figured it would be easy to filter death through the prism of her wide-angle lens. She was dead wrong.Within weeks of arriving in Paris, after begging to be sent where the action was, Kogan found herself on the back of a truck in Afghanistan, her tiny frame veiled from head to toe, the only womanand the only journalistin a convoy of rebel freedom fighters. Kogan had not actually planned on shooting the Afghan war alone. However, the beguiling French photographer shed entrusted with both her itinerary and her heart turned out to be as dangerously unpredictable as, well, a war. Kogan found herself running from one corner of the globe to another, each linked to the man she was involved with at the time. From Zimbabwe to Romania, from Russia to Haiti, Kogan takes her readers on a heartbreaking yet surprisingly hilarious journey through a mine-strewn decade, her personal battles against sexism, battery, and even rape blending seamlessly with the historical struggles of war, revolution, and unfathomable abuse it was her job to record.In the end, what was once adventurous to the girl began to weigh heavily on the woman. Though she had finally been accepted into photojournalisms macho fraternity, her photographs splashed across the front pages of international newspapers and magazines, Kogan began to feel there was something more she was after. Ultimately, what she discovered in herself was a persona womanfor whom life, not death, is the one true adventure to be cherished above all. From Afghanistan to Zimbabwe to Romania to Haiti, Kogan takes her readers on a heartbreaking yet surprisingly hilarious journey through a mine-strewn decade, seamlessly blending her personal battles with the historical ones it was her job to record. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. Seller Inventory # 9780375758683

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