Award-winning photographer Eugene Richards was asked by a magazine to report on what happens inside a typical emergency room. Once inside, he took photograps, talked with doctors and nurses and made friends with paramedics. He discovered a world he never knew existed. The Knife And Gun Club is the fascinating account of his exploration of emergency room medicine. Serial in LIFE magazine.

Nurse noir fiction set in America's New Wild West -- a dystopian near-future when nurses and doctors are armed with handguns for self-protection. The author imagines a night shift at the High Plains Medical Center where a crazed shooter is on the loose. Just another Friday night in America.

Determined to survive the crisis she’s sure is imminent, Bex is at a loss when her world collapses in the one way she hasn’t planned for. Preppers. Survivalists. Bex prefers to think of herself as a realist who plans to survive, but regardless of labels, they’re all sure of the same thing: a crisis is coming. And when it does, Bex will be ready. She’s planned exactly what to pack, she knows how to handle a gun, and she’ll drag her family to safety by force if necessary. When her older brother discovers Clearview, a group that takes survival just as seriously as she does, Bex is intrigued. While outsiders might think they’re a delusional doomsday group, she knows there’s nothing crazy about being prepared. But Bex isn’t prepared for Lucy, who is soft and beautiful and hates guns. As her brother’s involvement with some of the members of Clearview grows increasingly alarming and all the pieces of Bex’s life become more difficult to juggle, Bex has to figure out where her loyalties really lie. In a gripping novel, E. M. Kokie questions our assumptions about family, trust, and what it really takes to survive.

Welcome to the world of urban police legend and lore. Homicidal Humor offers a glimpse of life through the eyes of a homicide detective, whose ability to see the funnier side of tragedy has helped keep him sane. These fictional short stories, inspired by real cops and real cases, are set in areas along the Texas Gulf Coast and include historical facts and interesting tidbits about the city of Houston and its police department. All individuals, as well as locations alluded to, are fictitious. You might say the names have been changed to protect the imbeciles. Note: This book contains adult language. From the Author: "As a rookie cop I learned that idiots were put on this earth for our entertainment. I was taught not to take personally those things that street animals said or did. You must actively seek out humor, because if you internalize what you see, it will eat you alive. In this book I have attempted to expose both the humor and the reality I observed as the unwashed wallowed in the mud, the blood, and the beer." What fans are saying about More Homicidal Humor: "Being a trained investigator, I've determined the author of this book is the real deal. His stories, while generally humorous, reveal a side of the criminal element that the media rarely thinks you need to see. It's a reminder of why you should keep a sense of humor, and also own a gun. Jesse Jackson probably won't buy a copy of this book, but you ought to." --Sheriff Jim Wilson, Handgun Editor, Shooting Times "It's like having an old Irish cop tell you 'Now, Lad, let me tell you what really happened out there.'" --Sergeant Brent Boren, Houston P.D. (ret) "Welcome to the real world. Pure fiction based on nothing but the facts. Things Mom never told you about." --Sergeant R. L. Pagel, Houston P.D. Westside Command From More Homicidal Humor: Poor Grandma This scene took place in a cemetery. It was a clear, hot and dry-blast furnace kind of central Texas mid-summer day. It was almost noontime. The flag-draped coffin was still above ground and the preacher was coming to the end of his graveside service. He was going through the Dust to dust, ashes to ashes routine that everybody and their dog knows was wrapping up the show. The dead man was a decorated military veteran. The immediate family sat upon folding chairs and they had been seated under a canvas awning set up for shade. The dead man's aged sister sat on the front row at the far end. Beside her sat a rather angelic looking little girl about seven to eight years old. The child was holding a purse in her lap and wearing ruffled white socks and black Mary Jane shoes. At the end of the ceremony a group of men from the local VFW chapter moved forward and gave the 21-gun salute. At this point the old woman became overcome by either the heat, emotion, grief or a combination of all three. She fainted dead away and passed out-slumping onto the ground. For a moment nobody moved and there was complete silence. Then the angelic-looking little girl sitting next to her blurted out, "God Damn-they done shot Grandma!" Uncle Bob sure as hell would have approved and could not have orchestrated it any better himself.

A diaristic photographic portrait of the memory-laden Mississippi Delta of Arkansas Fifty years ago, New York-based photographer Eugene Richards (born 1944) worked as a VISTA Volunteer and then as a reporter in the Arkansas Delta. Even after the newspaper he helped found closed its doors, Richards kept revisiting the region. In early 2019 he returned to the small town of Earle, Arkansas, where, on a September night in 1970, peaceful protesters were attacked by a crowd of white men and women brandishing sticks and firing guns. Crossing the tracks from what had been the Black side of the town into the white side of the town, Richards happened upon an old appliance store. On the shadowy and cracked walls of the building were painted the faces of Jesus, Malcolm X, H. Rap Brown, Angela Davis, Dr. Martin Luther King and John Brown--the faces of revolution, reconciliation, change. In the months that followed, the old store became for Richards a kind of portal, a doorway into the region's volatile history and into the lives of those who lived, struggled, raised families, grew old and died there. The Day I Was Born interweaves full-bleed images of Earle with deeply personal narratives in the words of people who live there.

“The new American way of war is here, but the debate about it has only just begun. In The Way of the Knife, Mr Mazzetti has made a valuable contribution to it.” —The Economist A Pulitzer Prize–winning reporter’s riveting account of the transformation of the CIA and America’s special operations forces into man-hunting and killing machines in the world’s dark spaces: the new American way of war The most momentous change in American warfare over the past decade has taken place away from the battlefields of Afghanistan and Iraq, in the corners of the world where large armies can’t go. The Way of the Knife is the untold story of that shadow war: a campaign that has blurred the lines between soldiers and spies and lowered the bar for waging war across the globe. America has pursued its enemies with killer drones and special operations troops; trained privateers for assassination missions and used them to set up clandestine spying networks; and relied on mercurial dictators, untrustworthy foreign intelligence services, and proxy armies. This new approach to war has been embraced by Washington as a lower risk, lower cost alternative to the messy wars of occupation and has been championed as a clean and surgical way of conflict. But the knife has created enemies just as it has killed them. It has fomented resentments among allies, fueled instability, and created new weapons unbound by the normal rules of accountability during wartime. Mark Mazzetti tracks an astonishing cast of characters on the ground in the shadow war, from a CIA officer dropped into the tribal areas to learn the hard way how the spy games in Pakistan are played to the chain-smoking Pentagon official running an off-the-books spy operation, from a Virginia socialite whom the Pentagon hired to gather intelligence about militants in Somalia to a CIA contractor imprisoned in Lahore after going off the leash. At the heart of the book is the story of two proud and rival entities, the CIA and the American military, elbowing each other for supremacy. Sometimes, as with the raid that killed Osama bin Laden, their efforts have been perfectly coordinated. Other times, including the failed operations disclosed here for the first time, they have not. For better or worse, their struggles will define American national security in the years to come.

"In 1978, thirty-four-year-old Dorothea Lynch discovered she had breast cancer. In an attempt to gain control of the disease and communicate her experience to others, she asked her longtime companion, Eugene Richards, to visually document her struggle while she kept a written diary. Exploding Into Life is the synthesis of their two experiences. What begins as their need to know the facts about cancer becomes, as the years pass, a highly personal inquiry into what it means to be alive, to face the uncertain future, and to accept death. The book that results is a testament to a woman's strength, intelligence, and sensitivity as she confronts cancer, a medical care system, and cultural attitudes towards illness and mortality"--Eugene Richards' website, viewed on December 1, 2014.

"Steppping Through the Ashes" is a photographic elegy to those who died on September 11, and a portrait of how people are coping in the wake of the terrorist attack on New York. Many photographers have recorded the devastation, but Eugene Richards transcends description to offer instead a way of coming to terms with this tragedy. Interviews with survivors and victims' relatives complement Richards' beautiful and poignant images. It may be the best photo book yet on those hard days. --"Albuquerque Journal" Richards is arguably the most empathetic photographer working when it comes to showing the hard parts of people's lives... Once again, Richards has wrought a personal elegy for those who are just learning to cope with what has happened to them. --"New Yorker"

Eugene Richards first came to the southeastern part of Arkansas--the so-called Delta--in 1968 as a VISTA volunteer. After nearly two years in that organization working to set up a daycare center and recreation programs, he and some of his associates in it left to found RESPECT Inc., a private social-action program providing paralegal services, publishing a community newspaper, and distributing food and clothing in West Memphis (across the Mississippi River from Memphis, Tennessee).As he lived and became increasingly involved in the black community, Richards, a skilled photographer, began to use his camera to record what he observed--not only the poverty and suffering of these people but also their laughter, contemplation, and triumphs. His subjects range from children at play to an African-style wedding to scenes of work and home life. Death, religion, and imprisonment are major elements of Delta existence, and so of these photos.The 110 photographs collected here express the quality of life in a part of the South where 60 percent of the black families barely earn $2000 a year, and 70 percent of the dwellings are deteriorated and without plumbing. Richards' camera catches the cotton compresses, the cement mill, the broken fields and small cafes, Logan the mortician, the two blind brothers Willy and Isaiah McCowan, and the Reverend Ezra Greer at the state capitol in Little Rock, while his few but carefully chosen words complement these images. Together they hold the people and the place in a world that Richards feels "slipping by, while I merely observed its disappearance."I feared being only eyes, only a cameraman," he says, but through his camera his eyes become ours, and the power of his feelings, ours too.