In the heart of Baghdad looms an architectural spectacle that both mesmerizes and horrifies: The Victory Arch. Towering with an imposing dominance, this monument, nearly twice the stature of the Arc de Triomphe, is a stark embodiment of grandiosity and deception. Crafted from the very hands of despotism, its massive forearms and clashing swords are not merely structures of steel and bronze but are the enlarged casts of Saddam Hussein himself, down to the minutest bump and follicle. Yet, beneath its awe-inspiring facade lies a narrative far from victorious—a celebration of a triumph that history denies, a supposed victory over Iran that never truly unfolded. Kanan Makiya's "The Monument" delves deep into the heart of this paradox, where art and politics dance in a dangerous embrace, and culture, which ought to flourish as an unquestioned good, morphs into a tool of tyranny. Through the lens of Saddam Hussein's manufactured culture, Makiya unravels the chilling nature of totalitarianism and the potent, often devastating role of art as an instrument of dictatorship. This profound exploration not only sheds light on the mechanisms through which culture can be co-opted by power but also serves as a vital read for anyone seeking to understand the intricate interplay between the culture of power and the power of culture.