ELLIOT ACKERMAN

In media coverage of the war, Afghans are often characterized as corrupt and deceitful. There has certainly been plenty of corruption and deceit in this conflict, but why? What inspires these behaviors? In 'Green on Blue,' I wanted to render a world that is often overlooked: that of the average Afghans who are helping America wage its war.

I tried to render the Afghan war as much as I could fro the perspective of the Afghans. I have served as an advisor to Afghan troops, and much of my war experience was seen through the lens of fighting that war alongside Afghan soldiers.

My war buddies, some were Americans, but some were Afghans. These were the guys that I fought alongside. We bled alongside each other; we mourned together. When I came home, these weren't people I could keep up with on Facebook.

The discomfort of my colleagues, where it existed, didn’t stem from targeted killing itself.... The discomfort existed because it felt like we were doing something, on a large scale, that we’d sworn not to. Most of us felt as though we were violating Executive Order 12333.

Whether your mother is a novelist like mine or a third-generation military wife, the idea of a son or daughter being in mortal danger is terrifying.

Wars have economies. And I don't mean financial economies, although that's often part of it. Why do people continue fighting these wars? There are financial incentives.

When you go to war, it's important for everybody to know that they're going to come home in one way or other.

There are these moments in the military where you're present at these enormous intersections of history and humanity. I came out of the end of that, and I just wanted to write. If you do it well, you know it will last. It can't get blown away like everything else.

Literature has always been a part of my life. I studied history and literature in college. My mother is a novelist; I grew up around books.

All art to me is an empathetic act. Whoever's telling a story is trying to transfer emotion into someone else.

Whether your mother is a novelist like mine or a third-generation military wife, the idea of a son or daughter being in mortal danger is terrifying.

When you go to war, it's important for everybody to know that they're going to come home in one way or other.

I tried to render the Afghan war as much as I could fro the perspective of the Afghans. I have served as an advisor to Afghan troops, and much of my war experience was seen through the lens of fighting that war alongside Afghan soldiers.

My war buddies, some were Americans, but some were Afghans. These were the guys that I fought alongside. We bled alongside each other; we mourned together. When I came home, these weren't people I could keep up with on Facebook.

All art to me is an empathetic act. Whoever's telling a story is trying to transfer emotion into someone else.

Wars have economies. And I don't mean financial economies, although that's often part of it. Why do people continue fighting these wars? There are financial incentives.

In media coverage of the war, Afghans are often characterized as corrupt and deceitful. There has certainly been plenty of corruption and deceit in this conflict, but why? What inspires these behaviors? In 'Green on Blue,' I wanted to render a world that is often overlooked: that of the average Afghans who are helping America wage its war.

The creation is a very internal process, and publishing the book is a very external process. It is nice to see the book out in the world and people having the same reaction as when I created it. The point of all art is the emotional transference, and when that happens, the book has succeeded.

There are these moments in the military where you're present at these enormous intersections of history and humanity. I came out of the end of that, and I just wanted to write. If you do it well, you know it will last. It can't get blown away like everything else.

Literature has always been a part of my life. I studied history and literature in college. My mother is a novelist; I grew up around books.

The discomfort of my colleagues, where it existed, didn’t stem from targeted killing itself.... The discomfort existed because it felt like we were doing something, on a large scale, that we’d sworn not to. Most of us felt as though we were violating Executive Order 12333.