Jason Leopold

“A classic of war reporting...The author’s stories give heart-rending meaning to the lives and deaths of these men and women, even if policymakers generally have not.” —The New York Times Pulitzer Prize winner C.J. Chivers’s unvarnished account of modern combat, told through the eyes of the fighters who have waged America’s longest wars. More than 2.7 million Americans have served in Afghanistan or Iraq since September 11, 2001. C.J. Chivers reported from both wars from their beginnings. The Fighters vividly conveys the physical and emotional experience of war as lived by six combatants: a fighter pilot, a corpsman, a scout helicopter pilot, a grunt, an infantry officer, and a Special Forces sergeant. Chivers captures their courage, commitment, sense of purpose, and ultimately their suffering, frustration, and moral confusion as new enemies arise and invasions give way to counterinsurgency duties for which American forces were often not prepared. The Fighters is a tour de force, a portrait of modern warfare that parts from slogans to do for American troops what Stephen Ambrose did for the G.I.s of World War II and Michael Herr for the grunts in Vietnam. Told with the empathy and understanding of an author who is himself an infantry veteran, The Fighters presents the long arc of two wars.

A comic memoir of growing up as a heavy metal junkie in rural North Dakota in the 1980s retraces the author's coming of age to the soundtrack of Motley Crue, Ratt, Poison, Krokus, and other hard-hitting, take-no-prisoners rock bands.

“Staggeringly good.” —Counterpunch A major new work, a hybrid of history, journalism, and memoir, about the modern Freedom of Information Act—FOIA—and the horrifying, decades-old government misdeeds that it is unable to demystify, from one of America's most celebrated writers Eight years ago, while investigating the possibility that the United States had used biological weapons in the Korean War, Nicholson Baker requested a series of Air Force documents from the early 1950s under the provisions of the Freedom of Information Act. Years went by, and he got no response. Rather than wait forever, Baker set out to keep a personal journal of what it feels like to try to write about major historical events in a world of pervasive redactions, witheld records, and glacially slow governmental responses. The result is one of the most original and daring works of nonfiction in recent memory, a singular and mesmerizing narrative that tunnels into the history of some of the darkest and most shameful plans and projects of the CIA, the Air Force, and the presidencies of Harry Truman and Dwight Eisenhower. In his lucid and unassuming style, Baker assembles what he learns, piece by piece, about Project Baseless, a crash Pentagon program begun in the early fifties that aimed to achieve "an Air Force-wide combat capability in biological and chemical warfare at the earliest possible date." Along the way, he unearths stories of balloons carrying crop disease, leaflet bombs filled with feathers, suicidal scientists, leaky centrifuges, paranoid political-warfare tacticians, insane experiments on animals and humans, weaponized ticks, ferocious propaganda battles with China, and cover and deception plans meant to trick the Kremlin into ramping up its germ-warfare program. At the same time, Baker tells the stories of the heroic journalists and lawyers who have devoted their energies to wresting documentary evidence from government repositories, and he shares anecdotes from his daily life in Maine feeding his dogs and watching the morning light gather on the horizon. The result is an astonishing and utterly disarming story about waiting, bureaucracy, the horrors of war, and, above all, the cruel secrets that the United States government seems determined to keep forever from its citizens.

By June 1993, when Washington, D.C.'s Fugazi released their third full-length album In on the Kill Taker, the quartet was reaching a thunderous peak in popularity and influence. With two EPs (combined into the classic CD 13 songs) and two albums (1990's genre-defining Repeater and 1991's impressionistic follow-up Steady Diet of Nothing) inside of five years, Fugazi was on creative roll, astounding increasingly large audiences as they toured, blasting fist-pumping anthems and jammy noise-workouts that roared into every open underground heart. When the album debuted on the now-SoundScan-driven charts, Fugazi had never been more in the public eye. Few knew how difficult it had been to make this popular breakthrough. Disappointed with the sound of the self-produced Steady Diet, the band recorded with legendary engineer Steve Albini, only to scrap the sessions and record at home in D.C. with Ted Niceley, their brilliant, under-known producer. Inadvertently, Fugazi chose an unsure moment to make In on the Kill Taker: as Nirvana and Sonic Youth were yanking the American rock underground into the media glare, and “breaking” punk in every possible meaning of the word. Despite all of this, Kill Taker became an alt-rock classic in spite of itself, even as its defiant, muscular sound stood in stark contrast to everything represented by the mainstreaming of a culture and worldview they held dear. This book features new interviews with all four members of Fugazi and members of their creative community.

A portrait of singer Jerry Lee Lewis details his early life, music, controversial marriage, problems and decline, endurance, and revival in popularity