Sunday, September 06, 2026

US congressman rejects Trump’s 'failed state' rhetoric on Iran

TEHRAN — Six months after the US and Israel launched their unprovoked aggressive campaign against Iran, domestic political fissures in the United States are tearing open the official White House narrative. 

As the economic fallout hits American consumers and missile stockpiles run dry, lawmakers in Washington are increasingly calling out the administration’s desperate propaganda.

Speaking with US broadcaster MS Now, US Representative Ted Lieu explicitly questioned Washington’s insistence that Iran is a "failed state" or on the verge of collapsing under Western military pressure. Pointing to the uninterrupted tactical operational capabilities of Iran’s defense forces, Lieu dismantled the administration’s talking points. “If Iran is a failed state, then how does Iran keep launching drones and missiles at our bases and our allies?” Lieu asked. The congressman then highlighted the mounting domestic economic burden of Washington’s foreign adventurism, noting that working-class Americans are paying the price at the pump. “How come the average price of gas is $4.12 across America?” Lieu demanded, calling out the administration's severe disconnect from reality. “The White House is clearly not telling the truth. They need to come clean to the American people. How are we going to exit this endless war in Iran instead of trading strikes back and forth?”

US miscalculation

The joint US-Israeli aggression began on February 28. Miscalculating the resilience of the Islamic Republic, Western strategists envisioned a quick, decisive campaign that would cripple Iran’s military infrastructure and break the spirit of the nation.  Instead, Iran’s retaliatory response quickly shattered Western arrogance. Iran’s Armed Forces executed defense operations across the region. Utilizing high-precision, domestically manufactured ballistic missiles and advanced swarming drone platforms, Iranian forces repeatedly bypassed multi-billion-dollar Western air defense systems. Key enemy targets, regional facilities hosting US forces, and vital logistics nodes were methodically targeted, demonstrating that Iran retained full strategic initiative.  

Concurrently, Tehran exercised its sovereign control over the Strait of Hormuz—the vital global energy choke point. By shutting down transit access to hostile entities, Iran exposed the extreme fragility of the imperial economy.  

By early April, the sheer scale of Iran’s relentless defense forced Washington to reckon with the staggering cost of its aggression. The US had to announce a ceasefire that went into effect on April 8. Faced with a rapidly worsening strategic crisis, Washington sought diplomatic channels to halt the escalation. These initial pauses culminated on June 17, when the United States and Iran signed a 14-point memorandum of understanding (MOU). Under the provisions of the MOU, Washington agreed to an immediate cessation of military operations, was forced to lift its naval blockade on Iranian ports, and was coerced into issuing broad oil sanctions waivers to allow Iranian crude to re-enter global markets freely.  However, the US continues to violate its commitments. 

Far from demonstrating American strength, the months of conflict have severely drained Western military reserves and decimated domestic stability. Military analysts and congressional insiders have openly warned that months of firing multimillion-dollar interceptors—such as the Patriot, SM-3, and THAAD batteries—to counter Iran's cost-effective drone and missile strikes have led to a dangerous depletion of US missile inventories. Washington’s defense-industrial base has simply proved incapable of keeping pace with the attrition rates demanded by modern high-intensity warfare against a peer adversary. 

On the home front, the American public is suffering the direct consequences of Washington’s military recklessness. Gas prices across the US have skyrocketed. The severe disruption of global energy supplies triggered a second major inflation surge in Western economies, driving up consumer prices, destabilizing global financial markets, and pushing the US economy toward severe stagflation. 

 As public outrage mounts and gas lines lengthen across the country, a growing coalition of US lawmakers from across the political spectrum is demanding an immediate end to the war. Congress is increasingly balking at the endless defense spending requests, leaving the administration isolated at home and abroad. Faced with mounting military exhaustion, depleted arsenals, severe economic disruption, and widespread domestic dissent, the White House is now quietly attempting to negotiate a face-saving exit from its self-inflicted Iranian quagmire. Yet, as Rep. Lieu's remarks illustrate, the American public is no longer accepting official rhetoric when the reality on the ground—and at the gas pump—tells a completely different story. 

Tehran has consistently maintained that while it does not seek war, it remains fully prepared to deliver crushing responses to any violation of its territorial integrity or national sovereignty. Washington's aggression has only served to prove that no amount of Western military power can dictate terms to a resilient, unified Iran. 

Children’s Book Council announces Iranian nominees for 2028 Hans Christian Andersen Award

TEHRAN – Author Ahmad Akbarpour and illustrator Reza Dalvand have been selected by the Children’s Book Council (CBC) of Iran as the Iranian nominees for the 2028 Hans Christian Andersen Award.

Akbarpour has been selected by the CBC for the second time. In 2026, he was one of the final six authors nominated for the awards in the authors section though he did not win it, IRNA reported.

Born in Fars Province, Ahmad Akbarpour, 56, is a novelist and author of short stories and children's books. He got his bachelor’s degree in psychology from Shahid Beheshti University in Tehran and his master's degree in children's literature from Shiraz University in Shiraz.

He began writing for adults before turning to children’s and young adult literature after discovering Constantin Virgil Gheorghiu’s “Twenty-Fifth Hour”. A student of Reza Baraheni and Houshang Golshiri, he soon started writing fiction for adolescents, adopting a postmodern style of writing. 

Introduced to Iran’s Children’s Book Council, he submitted his first poem, and soon became one of Iran’s most celebrated authors for young readers, with over 50 books to his name. 

His short novel “That Night’s Train” (1999) received the Book of the Year award from Iran's Ministry of Culture and Islamic Guidance. During his career, Akbarpour discussed such topics as fear, loneliness, and peace.

In some of his works, he shows his disdain for the destructive impact of war on children. His children’s anti-war book “Good Night Commander” and “That Night’s Train,” illustrated by Isabelle Arsenault, were published in English by Groundwood Books in the US and Canada in 2010 and 2012, respectively.

Known for inventive storytelling that challenges conventional narratives, Akbarpour invites readers to think critically and empathetically, weaving universal themes such as peace, friendship, and family into works like “The Giant and the Bicycle”. 

His versatility spans humor, fantasy, realism, and myth, as seen in “Good Night Commander,” “Roc Girl,” and “That Night’s Train”. He also addresses social issues, including the experiences of children with special needs or from marginalized backgrounds. His stories often collaborate closely with Iranian illustrators, enhancing their visual and emotional impact.

Translated into multiple languages, including English, German, Korean, Chinese, Turkish, Italian, Portuguese, and Arabic, and adapted into films, his works have earned recognition, including the 2024 White Ravens list (Munich), the National Children’s Literature Festival of Shiraz, and inclusion in Iran’s “Must Read and Influential Books of the Last Thirty-Three Years.” He was shortlisted for the Astrid Lindgren Memorial Award in 2023 and 2025.

The most distinguishing characteristic of his works is their humor, which makes his writings captivating and agreeable. Akbarpour, who is always on the lookout for new and different elements, is thus able to look at his subject from a different perspective in some of his works and pull the reader’s imagination along. He has also had the experience of rewriting some old legends. He conducted some research and gathered Persian satire proverbs and traditional children’s games.

Beyond writing, Akbarpour mentors emerging writers through workshops, helping shape the next generation of Iranian children’s literature. His commitment to creativity, inclusivity, and critical thinking has made him a leading voice in global children’s literature.

Reza Dalvand, 37, is an award-winning author and illustrator of more than 30 books for readers of all ages, including “Where Is My House?” and “Mrs. Bibi’s Elephant”. His works have been showcased in many solo and group exhibitions in Iran, England, Japan, South Korea, Ukraine, and several other countries.

His illustration has received worldwide recognition; he has been longlisted for the World Illustration Awards, has been featured twice by the Bologna Exhibition Book Fair, received the Grand Prize of the Oshima Picture Book Museum Award of Japan, was a nominee for two Astrid Lindgren Memorial Awards, was highlighted at Sharjah Children Reading Festival, and many more.

Dalvand is a member of Iranian Illustrators Society. He graduated from Isfahan Art University, and gained a Master’s in Illustration from Tehran University. He has taught at Tehran University and worked as art director on hundreds of children’s books.

His work blends emotional storytelling with poetic visuals, often exploring themes such as childhood, self-acceptance, social justice, and identity. 

Creating magical worlds rooted in real cultures, details, and feelings, he invites both children and adults into stories that are whimsical yet deeply human. 

Strongly influenced by his Persian heritage, his work carries a universal resonance that has reached readers around the world.

The Hans Christian Andersen Awards are two literary awards given biennially by the International Board on Books for Young People (IBBY), recognizing one living author and one living illustrator for their lasting contribution to children's literature. 

The writing award was first given in 1956, the illustration award in 1966. The former is sometimes called the Nobel Prize for children's literature.

The awards are named after Hans Christian Andersen, a 19th-century Danish author of fairy tales, and each winner receives the Hans Christian Andersen Medaille (a gold medal with the bust of Andersen) and a diploma.

TCCIMA to dispatch trade delegation to Kazakhstan intl. oil, gas exhibition, conference

TEHRAN- The 30th Kazakhstan International Oil & Gas Exhibition and Conference (KIOGE 2026) will be held from September 30 to October 2, 2026 (8 to 10 Mehr 1405) in Almaty. The Tehran Chamber of Commerce, Industries, Mines and Agriculture (TCCIMA) intends to dispatch a trade delegation consisting of economic activists and capable Iranian companies to Kazakhstan concurrently with this event.

Participation in the exhibition, the opportunity to attend the specialized conference, and holding business-to-business (B2B) matchmaking meetings with Kazakh companies and economic activists will provide an excellent opportunity to showcase the capabilities of Iranian companies and identify areas for cooperation and development of commercial relations.

Priority areas of work for participation in this delegation include: oil and gas equipment and machinery, drilling and well services, technical and engineering services, refineries and petrochemicals, pipelines and oil and gas transmission, oil and gas field services, automation and processing, instrumentation and control, electronic equipment and information technology, and HSE and environmental services.

KIOGE 2026, the key industry event in Kazakhstan and Central Asia, brings together leaders of the oil and gas and energy industries.

The anniversary year marks an important milestone for the project: over three decades, KIOGE has evolved from a specialized industry platform into a strategic international forum where decisions shaping the future of the region’s energy sector are formed. Today, KIOGE is a space where the interests of government, business, and international partners converge, where the challenges of the global energy transition are discussed, and where practical mechanisms are developed to help the industry adapt to new realities.

How journalists navigate the chaos of war

A firsthand account of reporting the 40-day war from the ground

TEHRAN - Journalism is essential in any society, as it provides the information necessary for people to navigate and understand the world around them. This role becomes even more critical during wartime, when the public relies on on-the-ground reporting to distinguish between fact and fiction amid the chaos of conflict. For journalists, covering a war is a uniquely demanding task, as it is rife with existential and logistical challenges rarely encountered during peacetime.

With this in mind, the Tehran Times sat down with Mohammad Neginipour, who recently covered the 40-day US-Israeli war against Iran from start to finish. He shared his first-hand experiences, offered an intimate look at what he witnessed, and revealed the raw realities of reporting from the heart of a war in 2026.

Below is the full text of the interview:

To start, could you explain what it means to be a crisis or war reporter? How does this field differ from other areas of journalism?

To define crisis journalism, we first need to understand what a “crisis” actually is. There are many academic and scientific definitions of crisis. Also, Everyone has their own interpretation. The closest understanding I have is that a crisis is a situation where a specific location is affected by both time and place—meaning that a certain event or condition causes disorder and instability in a particular environment.

For example, we are currently in an economic crisis due to sanctions and pressure, but that doesn’t necessarily fall under crisis reporting unless there’s a specific event that causes chaos — like an explosion, a flood, or a collapse of order — where normal routines are broken and control is lost. In such cases, both the location and the timing are affected by the crisis, and journalists or documentarians can play an active role.

More than defining crisis journalism itself, I believe crisis documentation—paired with artistic and cinematic techniques—has a special importance. It involves creating a documentary that combines journalistic integrity with visual storytelling, often with an artistic or cinematic angle. This form of crisis documentation helps produce a journalistic documentary or film that captures the human and emotional layers of a crisis.

A crisis journalist or documentary filmmaker needs both journalistic skills and film-making expertise: understanding how to use cameras during chaotic moments, how to shoot meaningful shots, and how to structure a compelling narrative. It’s crucial to shoot footage that can be effectively used in editing, where the choice of shots and their emotional impact matter greatly.

It’s essential to understand that working in a crisis situation is fundamentally different from working in normal conditions. For example, right now we’re sitting calmly, talking about crises. What we’re discussing might be a crisis or a conflict, but we’re not inside one. In a real crisis—say, during a missile attack, a riot, or a natural disaster—people react emotionally, sometimes violently. Blood, anger, fear, and chaos are common. 

In such situations, you can’t approach people the same way you do in regular interviews. Someone who has just lost a loved one or witnessed violence may react unpredictably or violently. A crisis reporter must have emotional intelligence and behavioral sensitivity. Understanding human reactions—fear, anger, grief—and how to approach victims and witnesses without exacerbating their trauma is vital.

Without this experience, a journalist or documentary filmmaker can inadvertently worsen the crisis, or fail to handle it properly. I’ve seen cases where a journalist entered a scene without understanding the emotional tension, filming grieving families or traumatized individuals, which often led to anger or violence from them. It’s very important to manage the interaction carefully and respectfully, especially when dealing with grief-stricken families.

During the recent war, when was the first time you left your home or office to cover the situation? Can you tell us about that experience?

The first time I left home was right after the missile strikes on the Leader's office. I went up to the rooftop because cruise missiles were passing overhead. They came very close—about fifty or a hundred meters away—and I filmed them. The sound of the missiles and the jets was very loud, and I documented them from above. 

My first major report was during the explosion at Ferdowsi Square. The site of the explosion was near the police diplomatic headquarters, and opposite it, there was a cultural and film center that was hit. You might have seen footage of the debris falling on civilians. Most military sites are evacuated during war, but many civilian and civilian-adjacent buildings—like the police station or cultural centers—were targeted and destroyed, even if they were apparently empty.

One story that sticks with me is about a woman I saw in a video later sent to me. She said her husband was martyred in the explosion. She was still alive when I filmed her. Later, someone told me her husband died in a secondary explosion. He had gone to help rescue neighbors trapped in the rubble, and the second strike killed him. Many martyrs fall in these secondary phases because no human can stand by and watch others suffer beneath debris without trying to help.

Most of these rescue operations are urgent and life-saving. Emergency teams work tirelessly: controlling bleeding, clearing airways, and trying to save those trapped beneath rubble. But explosive secondary strikes and falling debris often result in more loss of life. Sometimes it takes days or even a week to recover bodies that are buried deep or covered under heavy debris.

Covering war must have been incredibly difficult. If you had to choose the hardest day during the 40 days of fighting, what would it be?

On a personal level, the hardest day was when news about the Leader's martyrdom first began circulating in foreign media. The news brought with it a lot of anxiety and fear. When it was officially confirmed, it felt as if the entire world had turned upside down.

I’ve experienced many tragic scenes—sometimes thousands of our compatriots lost—but the emotional toll was most intense when the reality of these losses hit home. I remember trembling, feeling my heart pounding, and suffering from depression over the images I witnessed. Yet, I kept myself together because I knew that in such moments, the priority is to keep the media coverage going. There will be time to mourn later. Right now, my mission is to report, document, and keep the narrative alive.

Some journalists and documentary filmmakers are highly skilled under normal circumstances, but during a crisis, their mind can become overwhelmed, their thinking clouded. That’s where crisis media practitioners with behavioral training and experience are crucial—they can avoid mistakes that intensify the crisis.

I recall a specific incident when, during a crisis, a colleague from another media outlet was filming grieving families, which caused serious anger. Families yelled at him, sometimes even physically reacted because their emotions were overwhelmed. Such incidents highlight how delicate these situations are and how important it is to approach victims with compassion and awareness.

How do you think crisis journalism or documentary work can continue after the main phase of a conflict? Is the work over, or are there still important stories to tell?

The conflict on the surface might have ended for most people, but for many individuals, trauma and crisis continue. There are still thousands of stories that remain untold—stories of loss, resilience, and survival. Even after the fighting stops, the psychological scars, unhealed wounds, and ongoing struggles remain.

In fact, some of the most compelling stories come after the main events. Many victims have strange or tragic stories—like those of children who lost their parents, families torn apart, or individuals suffering from long-term trauma. These stories need careful, human-focused storytelling. 

A crisis journalist or documentary maker who understands these layers can continue to produce meaningful content, even after hostilities have ceased. It’s not just about covering explosions or battlefield scenes but telling the human stories that are often hidden.

There are also professional journalists who specialize in crisis or conflict now, although most of their work is focused on war zones abroad. We don’t have many war correspondents in Iran who work extensively in conflict zones like Syria or Iraq, but we do have a few—who produce crisis documentaries or cover ongoing struggles.

Lastly, it’s important to acknowledge that the war itself has several layers: beyond the violent chaos and destruction, there is also a narrative of victory. Iran’s resilience and eventual victory are important stories that must also be told, in human terms—stories of mothers mourning their children, or families whose loved ones returned as martyrs. These human stories provide a deeper understanding of victory beyond just military achievements.

As a final point, do you have a message for the Iranian people?

I’d like to say that the biggest mistake we made was disconnecting ourselves from the wider social media and network platforms, and instead focusing only on domestic channels and loyal supporters. This created an echo chamber, excluding many people—especially the moderates and those in the grey zones—so that even when something significant happened, they weren’t part of the larger narrative.

Iran’s children’s theater festival announces sections, calls for entries

TEHRAN- The call for entries for the 31st edition of Iran's International Theater Festival for Children and Young Adults, scheduled to take place from November 29 December 4 in Hamedan under the direction of Iranian theater artist Marzieh Boroumand, has been published.

Organized with the slogan “Today’s Children’s Well-being, Tomorrow’s Iran’s Well-being,” the festival will feature eight sections, including competitions for theater for toddlers, children and young adults, outdoor and alternative performances, playwriting, productions from other countries, international theater, as well as academic and research workshops and experience-sharing sessions.

The festival will accept productions that have already been staged or are ready for performance.

In the toddler theater competition, particular attention will be paid to active participation of young audiences in the play-performance process, age-appropriate concepts and language, comprehensible imagery and suitable performance duration. Up to seven productions will be selected, with preference given to works that can be staged in kindergartens, play centers, educational institutions and similar venues. 

The children’s and young adults’ theater competitions will each accept up to seven productions. The competition for outdoor and alternative forms of performance will cover theatrical works presented in venues other than conventional theater halls. Up to seven productions will be admitted in this section. 

The playwriting competition will focus exclusively on the theme of “water and its importance to sustainable development, the resilience of Iran’s land, and the need to safeguard water resources.” Applicants must submit a one-page synopsis along with their plays. Previously staged or published plays will not be eligible. 

A non-competitive guest section will also feature productions selected by the festival director. Specialized children’s and young adults’ theater festivals may nominate their winning productions for consideration in this section.

The international theater section is designated for productions by non-Iranian theater groups.

Applications for all sections must be submitted online through the festival’s website, icy.theater.ir, along with the required documents. Applications will only be accepted within the specified registration period. Performance videos may be submitted through Google Drive links.

Performance videos must be of sufficient quality to allow the selection council to clearly assess the production and its artistic details. No specific filming method has been imposed by the festival secretariat.

Written authorization from the playwright, translator or publisher is mandatory for registration in all sections. Any production found at any stage to lack the required authorization will be disqualified.

The festival secretariat will recognize only the director of a production as its artistic owner and head of the participating group. For performance sections, only complete video recordings of productions will be accepted. Each applicant may submit a maximum of two productions, but may participate in the final festival with only one work and in only one section.

Productions that have appeared in previous editions of the festival will not be eligible unless they have undergone substantial and clearly observable changes in their performance structure, staging, set design or other artistic elements and an updated version is submitted.

Registration will begin on September 6 and close on October 17. The deadline for submitting plays to the playwriting competition is November 1, while the results of the productions advancing to the next stage are scheduled to be announced on November 1.

Iran’s International Theater Festival for Children and Young Adults is one of the country’s major cultural events dedicated to theater for younger audiences. Held annually, the festival brings together Iranian and international theater groups and provides a platform for productions created for toddlers, children and young adults. 

Alongside competitive sections, it features international and guest performances, outdoor and alternative theater, playwriting, and educational and research programs, seeking to promote creativity, cultural exchange and new approaches to theater for younger generations.

Media Diplomacy in Action: CIPCC 2026 Program Brings World to China

TEHRAN- The China International Press Communication Center (CIPCC) program officially commenced its second half of 2026 with an orientation session held on Friday morning at the Renmin University of China (RUC) in Beijing. This flagship initiative, initiated by the China Public Diplomacy Association (CPDA), continues to serve as a vital platform for practical cooperation between Chinese media organizations and their counterparts in emerging markets and developing countries (EMDCs), particularly across the Global South.

The program has demonstrated remarkable growth since its inception in 2014. This year's edition has brought together over 100 journalists from approximately 100 countries for a three-and-a-half-month immersive experience in China.

More Than Media: A Commitment to Development

Media Diplomacy in Action: CIPCC 2026 Program Brings World to China

At the orientation session, CIPCC Director Yu Lei warmly welcomed the participants, emphasizing the profound opportunity before them. "This is a chance for communicators to convey the true and comprehensive reality of China to their various audiences," he stated. He elaborated that over the course of the program, participants would gain a complete, multidimensional understanding of China. Yu Lei emphasized that the program not only focuses on developing media relations with developing countries and Global South nations, but also pursues the goal of assisting these countries in their development. Yu Lei also fielded questions from the journalists, continuing the tradition of open dialogue that has characterized previous editions.

Life as International Students at RUC

The program is structured around six regional press communication centers, each with dedicated coordinators and student volunteers who facilitate training sessions, interviews, and cultural activities. This year, participants are accommodated on the RUC campus, offering journalists a unique opportunity to experience life as international students at one of China's premier institutions for journalism and communication studies.

Iran's Growing Presence in the CIPCC Family

Iranian participation has become a meaningful thread in the CIPCC's expanding tapestry. Following Tehran Times journalists who represented Iran in the 2024 and 2025 editions, a journalist from Iran Daily has now joined the 2026 program. Like their predecessors, the current participant has received an exceptionally warm welcome in China, reflecting the strengthening media ties between the two nations.

Timely Topics, Expert Insights

Media Diplomacy in Action: CIPCC 2026 Program Brings World to China

Following the orientation, participants attended their first lecture delivered by Dr. Zhong Xin, Professor at the School of Journalism and Communication at RUC and Director of the CIPCC-RUC Program. The lecture addressed the recent earthquake along the Nepal-China border, demonstrating the program's commitment to timely and relevant subject matter.

Building Bridges Through Media Diplomacy

The CIPCC distinguishes itself through its comprehensive approach to professional development. As outlined by Director Yu Lei, participants will engage in journalism training, diplomatic programs, cultural immersion, and official visits both within and outside Beijing, including practical training attachments at major Chinese media organizations. Previous editions have included visits to diverse regions including Hebei, Tianjin, and Xinjiang, enabling journalists to witness China's development firsthand.

China's media diplomacy programs have gained significant global attention, complementing its emergence as an economic, technological, and industrial role model. Participants are encouraged to observe China with their own eyes, feel China with their heart, and present to the Global South both ancient and modern China.

Through its commitment to international communication and mutual learning among civilizations, the CIPCC program continues to build bridges between China and the Global South, fostering cross-cultural understanding and accurate storytelling in an era of global transformation.

Tehran warns Americans against becoming ‘cannon fodder’ in war on Iran

TEHRAN — Iran’s Foreign Ministry spokesman Esmaeil Baqaei has warned Americans against allowing their children to become what he called “cannon fodder” in a war against Iran, after an opinion article in The Jerusalem Post proposed using debt relief as an incentive to recruit young Americans for a potential ground offensive.

In a post on X on Friday night, Baqaei questioned why American families should bear the human and financial costs of a conflict they had not chosen, arguing that offering student-loan and credit-card debt relief in exchange for military service would amount to exploiting the financial pressures facing younger Americans.

“Americans, ask yourselves one question: Why should your sons and daughters be offered debt forgiveness in exchange for fighting and dying in a war Israel wants continued & expanded?” Baqaei wrote.

He was referring to an opinion column published by The Jerusalem Post by AJ Jaff, which outlined three possible approaches Washington could pursue to bring the conflict with Iran to an end. One of the proposals was a federally administered debt-forgiveness program aimed at encouraging military enlistment among young Americans carrying substantial student, credit-card and other consumer debt.

Baqaei said the proposal was an explicit attempt to use Americans’ financial liabilities as a recruitment tool.

“An opinion column in The Jerusalem Post is openly floating exactly that idea: using student-loan and credit-card debt to recruit Americans for war with Iran,” he said.

“Your lives. Your taxes. Someone else’s war. Do not let anyone turn you into the cannon fodder — and the bill — for a war you never chose. Do not let anyone turn your children into mercenaries for their illegal ‘war of choice’,” Baqaei added.

Debt relief as a military recruitment incentive

Jaff’s article argues that the scale of personnel required for a possible ground campaign in Iran would far exceed the current size of the US Army. The author estimated that a successful ground operation could require between 750,000 and 1.5 million US troops, compared with an active-duty Army of roughly 452,000 personnel.

The column proposed a voluntary enlistment program under which the US government could discharge qualifying student loans, credit-card balances, and other debts after a period of military service, potentially alongside expanded educational benefits under the GI Bill.

Jaff argued that such a mechanism could provide an alternative to conventional conscription by linking military service to an immediate and potentially substantial financial incentive for indebted Americans in their 20s and 30s.

The proposal has drawn attention precisely because it links military recruitment to the growing burden of household and consumer debt, turning personal financial obligations into a potential instrument of wartime mobilization. Media coverage of the proposal has described it as a controversial and ethically troubling approach to recruiting personnel for a possible war with Iran.

Iran frames proposal as evidence of the costs of war

Baqaei’s response sought to shift attention from the military dimensions of the conflict to its potential social and economic consequences for American households.

By invoking student debt, credit-card liabilities and taxes, the Iranian spokesman portrayed the proposed recruitment mechanism as an attempt to transfer the costs of a foreign conflict onto ordinary American families.

His remarks also echoed Tehran’s longstanding argument that US involvement in the conflict serves Israeli strategic objectives rather than core American interests.

The exchange comes as the debate over the scale, objectives and sustainability of the war increasingly extends beyond the battlefield to questions of military manpower, public support and the economic burden of prolonged conflict.

Jaff’s article itself argues that US air power alone has failed to resolve the strategic challenge posed by Iran and proposes additional measures involving Iran’s internal political structure, military recruitment and relations between Washington and Beijing.

For Tehran, however, the debt-for-enlistment proposal offers a particularly potent political message: that a prolonged war could eventually force the United States to seek new ways of persuading ordinary Americans to bear its human and financial costs.

Baqaei ended his message by urging Americans to reject an attempt to turn their children into soldiers for a war they had not chosen, warning that the price of such a conflict would be paid not only through public finances but potentially through American lives.