Vasily Grossman's masterpiece LIFE AND FATE is rated by many as the greatest Russian novel of the twentieth century. Among its admirers is Antony Beevor, the bestselling author of STALINGRAD and BERLIN. A WRITER AT WAR is based on the notebooks in which Grossman gathered his raw material. It depicts as never before the crushing conditions on the Eastern Front and the lives and deaths of infantrymen, tank drivers, pilots, snipers and civilians alike. Deemed unfit for service when the Germans invaded in 1941, Grossman became a special correspondent for Red Star, the Red Army newspaper. A portly novelist in his mid-thirties with no military experience, he was given a uniform and hastily taught to use a pistol. Remarkably, he spent three of the following four years at the front observing with a writer's eye the most pitiless fighting ever known. Grossman witnessed almost all the major events on the Eastern Front: the appalling defeats and desperate retreats of 1941, the defence of Moscow and fighting in the Ukraine. In August 1942 he was posted to Stalingrad where he remained during four months of brutal street-fighting. He was present at the battle of Kursk, the largest tank engagement in history, and, as the Red Army advanced, he reached Berdichev where his worst fears for his mother and other relations were confirmed. A Jew himself, he undertook the faithful recording of Holocaust atrocities as their extent dawned. His supremely powerful report 'The Hell of Treblinka' was used in evidence at the Nuremberg tribunal.

When the Germans invaded Russia in 1941, Vasily Grossman became a special correspondent for the Red Star, the Soviet Army's newspaper, and reported from the frontlines of the war. A Writer at War depicts in vivid detail the crushing conditions on the Eastern Front, and the lives and deaths of soldiers and civilians alike. Witnessing some of the most savage fighting of the war, Grossman saw firsthand the repeated early defeats of the Red Army, the brutal street fighting in Stalingrad, the Battle of Kursk (the largest tank engagement in history), the defense of Moscow, the battles in Ukraine, the atrocities at Treblinka, and much more. Antony Beevor and Luba Vinogradova have taken Grossman's raw notebooks, and fashioned them into a gripping narrative providing one of the most even-handed descriptions --at once unflinching and sensitive -- we have ever had of what Grossman called “the ruthless truth of war.”

These never before published writings comprise Iris Murdoch's passionate wartime correspondence with two early intimates: the poet Frank Thompson, brother of the historian E.P. Thompson, who was killed in 1944, and David Hicks, with whom she had a dramatic affair, engagement, and breakup. It also includes the journal that Murdoch kept as a touring actress during August of 1939. The selection sheds new light on a brilliant young mind ("sharp and polished as a sword" as Frances Wilson describes it), while painting a vivid picture of life during the Second World War.

Beginning with his debut masterpiece, The Naked and the Dead, Norman Mailer has repeatedly told the truth about war. Why Are We at War? returns Mailer to the gravity of the battlefield and the grand hubris of the politicians who send soldiers there to die. First published in the early days of the Iraq War, Why Are We at War? is an explosive argument about the American quest for empire that still carries weight today. Scrutinizing the Bush administration’s words and actions, Mailer unleashes his trademark moral rigor: “Because democracy is noble, it is always endangered. . . . To assume blithely that we can export democracy into any country we choose can serve paradoxically to encourage more fascism at home and abroad.” Praise for Why Are We at War? “We’re overloaded with information these days, some of it possibly true. Mailer offers a provocative—and persuasive—cultural and intellectual frame.”—Newsweek “[Mailer] still has the stamina to churn out hard-hitting criticism.”—Los Angeles Times “Penetrating . . . There’s plenty of irreverent wit and fresh thinking on display.”—San Francisco Chronicle “Eloquent . . . thoughtful . . . Why Are We at War? pulls no punches.”—Fort Worth Star-Telegram Praise for Norman Mailer “[Norman Mailer] loomed over American letters longer and larger than any other writer of his generation.”—The New York Times “A writer of the greatest and most reckless talent.”—The New Yorker “Mailer is indispensable, an American treasure.”—The Washington Post “A devastatingly alive and original creative mind.”—Life “Mailer is fierce, courageous, and reckless and nearly everything he writes has sections of headlong brilliance.”—The New York Review of Books “The largest mind and imagination [in modern] American literature . . . Unlike just about every American writer since Henry James, Mailer has managed to grow and become richer in wisdom with each new book.”—Chicago Tribune “Mailer is a master of his craft. His language carries you through the story like a leaf on a stream.”—The Cincinnati Post

Letters Wormeley wrote while a hospital volunteer caring for wounded soldiers during the peninsular campaign of the Civil War in 1862.

Now available in paperback -- as seen on PBS, America's greatest and most influential combat journalists tell their own harrowing and revealing stories about the experience of covering war. At the turning points of modern American history, from the beaches of Normandy to the jungles of Southeast Asia, war correspondents have served as our eyes and ears -- sometimes even as our conscience. Courageous and controversial, they have captured war in all its brutality, folly, and drama. In the process, they have both reflected and altered America's sense of itself. In this unique book -- which covers all of our nation's major conflicts from World War II to the presentpersonal tales intermingle with explorations of such critical issues as censorship, propaganda, press ethics, and the press's relationship with the Pentagon, both before and after the terrorist attacks of September 11, 2001. Together, they form a vivid and illuminating account that is essential reading for all who seek to understand the nature of war and how we learn about it.

What must the mind of a defense policymaker be like? Can nuclear Holocaust be rationalized? Can reality be subverted by patriotism or competition? Can an intelligent person think the unthinkable as a viable possibility? This investigation into the psychology of defense planners and cabinet members is interesting and frightening. Annotation copyrighted by Book News, Inc., Portland, OR