In Shooting at the Moon, Roger Warner chronicles a covert operation that used Hmong villagers as guerrilla fighters against the North during the Vietnamese War. Thought to be an expendable resource by Central Intelligence Agency strategists, the Hmong died by the thousands fighting the North Vietnamese. Those who survived were abandoned to their fate when the United States pulled out of the war. Warner's history is the moving and tragic story of how America's 'secret war' devastated its own allies in Southeast Asia.

Films about the moon show that even after the lunar landing of 1969 our celestial neighbor has lost none of its aptitude for being made of green cheese. In fact, as soon as you put the moon on screen it is lost. This is equally true for a wide range of moon films, including the theatricality of Méliès, the incredulity of camp, the illegibility of footage shot by Apollo astronauts and the revisionary history of Transformers 3. Yet, as paradoxical as it might seem at first, it is only when we "lose sight" of the moon that lunar truths begin to come forth. This is because fantastic elements of the moon—by their mere absurdity—can indicate non-fantastic elements. However, what is of interest here is not realistic or fantastic lunar truths but rather that the moon is an object which invites, or even demands, more than one truth at once.

When her brother is sent to fight in Vietnam, twelve-year-old Jamie begins to reconsider the army world that she has grown up in.

Shooting Ladders is a book of advice written to a little girl named Tori. She was four years old when the author started writing the fi rst topic, and she was eight years old when he fi nished the last topic. But he didnt write it for the Tori of then or even the Tori of now; instead he wrote it for the Tori of the future, as something to help her make the right decisions in her late childhood/early adult yearsand throughout her life. The book contains the authors opinions on hundreds of various subjectssome of them practical, many of them philosophical; some serious, some whimsical. On a typical subject, the author tells a story from his own personal experiences and then adds a morala lesson for her to learn from the story. Although hes not trying to tell her what to think; he is trying to guide her into making the proper decisions in life. The author hopes that shell carefully weigh all the options and choose the paths that lead her to a good and happy life

Take a ride with New York Times bestselling author Brenda Novak in this touching story of family, forgiveness…and bad reputations. Ten years ago, Harley Nelson got on his motorcycle and drove out of Portland, Oregon, leaving behind a bad reputation, a baby, and the woman responsible for both—Audra Worthington. Now Audra's dead, and their son, Brandon, is being raised by her perfect sister Lauren. But Harley is a changed man. He's a self-made success down in California, and he's finally ready to take responsible for the son he left behind. Lauren is a good girl from a good family. She's a rule follower, and she knows that Harley Nelson is anything but. It feels like trouble has walked right back into town when he shows up at her door saying he wants to get to know his son. Regardless of how good he still looks in that leather jacket, he's still ten years too late, in her opinion. It's clear that they both only want the best for Brandon—the only question is whether they can set aside their differences long enough for him to be in Brandon's life without it getting complicated.The more time they spend together, the more Lauren realizes that the man with the bad reputation isn't so bad afterall. When hidden truths of the past come to light, Lauren has to decide whether it's better to follow the rules, or follow her heart. Previously published.

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

New York Times bestseller for fans of First Man: A “breathtaking” insider history of NASA’s space program—from astronauts Alan Shepard and Deke Slayton (Entertainment Weekly). On October 4, 1957, the Soviet Union launched Sputnik I, and the space race was born. Desperate to beat the Russians into space, NASA put together a crew of the nation’s most daring test pilots: the seven men who were to lead America to the moon. The first into space was Alan Shepard; the last was Deke Slayton, whose irregular heartbeat kept him grounded until 1975. They spent the 1960s at the forefront of NASA’s effort to conquer space, and Moon Shot is their inside account of what many call the twentieth century’s greatest feat—landing humans on another world. Collaborating with NBC’s veteran space reporter Jay Barbree, Shepard and Slayton narrate in gripping detail the story of America’s space exploration from the time of Shepard’s first flight until he and eleven others had walked on the moon.

As command module pilot of Apollo 17, the last crewed flight to the moon, Ron Evans combined precision flying and painstaking geological observation with moments of delight and enthusiasm. On his way to the launchpad, he literally jumped for joy in his spacesuit. Emerging from the command module to conduct his crucial spacewalk, he exclaimed, "Hot diggity dog!" and waved a greeting to his family. As a patriotic American in charge of command module America, Evans was nicknamed "Captain America" by his fellow crew members. Born in 1933 in St. Francis, Kansas, Evans distinguished himself academically and athletically in school, earned degrees in electrical engineering and aeronautical engineering, and became a naval aviator and a combat flight instructor. He was one of the few astronauts who served in combat during the Vietnam War, flying more than a hundred missions off the deck of the USS Ticonderoga, the same aircraft carrier that would recover him and his fellow astronauts after the splashdown of Apollo 17. Evans's astronaut career spans the Apollo missions and beyond. He served on the support crews for 1, 7, and 11 and on the Apollo 14 backup crew before being selected for Apollo 17 and flying on the final moon mission in 1972. He next trained with Soviet cosmonauts as backup command module pilot for the 1975 Apollo-Soyuz mission and carried out early work on the space shuttle program. Evans then left NASA to pursue a business career. He died suddenly in 1990 at the age of fifty-six.