Captain Jake Grafton faces the duel threats of a determined assassin and a vicious drug lord, both intent on plunging the U.S. into chaos.

Under Siege is Rashid Khalidi's firsthand account of the 1982 Lebanon War and the complex negotiations for the evacuation of the P.L.O. from Beirut. Utilizing unconventional sources and interviews with key officials and diplomats, Khalidi paints a detailed portrait of the siege and ensuing massacres, providing insight into the military pressure experienced by the P.L.O., the war's impact on Palestinian and Lebanese civilians, and diplomatic efforts by the United States. A new preface by Khalidi considers developments across the Middle East in the thirty years since the conflict. The preface also cites recently declassified Israeli documents to offer surprising new revelations about the roles and responsibilities of both Israeli leaders and American diplomats in the tragic coda to the war, the Sabra and Shatila massacres.

"Collected here are fifty contributions by writers who have paid dearly for the privilege of writing. Some have been tortured; some have been killed.. .[t]he contributors come from more than twenty-five countries; many are well-known in the English-speaking world ... other contributors are less famous ... In prose and poetry, in fiction and non-fiction, the pieces, grouped into four sections ... reveal the personal consequences of war, conflict, terrorism, and authoritarianism."--Cover.

Liberty Under Siege is an extraordinary book. Here, finally, is a reveille for reality, a call to stop this long intoxication with illusion and look at what has been happening to our republic. Walter Karp combines the passion of Tom Paine with the urgency of Paul Revere to sound a patriot's alarm for his country.

Spotlights the remarkable writers who will not be silenced by persecution Following the August 12 attack on author Salman Rushdie, readers everywhere realized the vulnerability — and the courage — of writers who speak truth to power. The freedom to write is under threat today throughout the world, with more than 1,000 writers, journalists, and publishers known to be imprisoned or persecuted in more than 100 countries. Writers Under Siege bears witness to the power and danger of the pen, and to the powerful longing for the right to use it without fear. Collected here are fifty contributions by writers who have paid dearly for the privilege of writing. Some have been tortured; some have been killed. All understand the cost of speaking up and speaking out. This book was prepared by PEN, which is both the world’s oldest human rights organization and the oldest international literary organization. It commemorates PEN’s eighty-fifth anniversary and celebrates PEN’s work by giving voice to persecuted writers from around the globe. The contributors come from more than twenty countries, from Belarus to Zimbabwe. Many are well-known in the English-speaking world, including Orhan Pamuk, from Turkey, winner of the 2006 Nobel Prize for Literature; Harold Pinter, from England, winner of the 2005 Nobel Prize for Literature; Aung San Suu Kyi, from Burma, winner of the 1991 Nobel Peace Prize; and Anna Politkovskaya, from Russia, the noted journalist and author who was murdered in 2006, shortly after writing the piece that appears in this collection. Other contributors are less famous, perhaps, but their contributions are no less compelling. In prose and poetry, in fiction and non-fiction, they reveal the personal consequences of war, conflict, terrorism, and authoritarianism. While the pieces collected here differ in their settings and their subjects, all are riveting. Grouped into four sections — Prison, Death, Asylum, and The Freedom to Write — they call our attention to the fundamental humanity we share and highlight the inhumanity we can so easily condone. Contributors include: Chris Abani, Angel Cuadra Landrove, Asiye Guzel, Augusto Ernesto Llosa Giraldo, Mamadali Makhmudov, Orhan Pamuk, Harold Pinter, Anna Politkovskaya, Aung San Suu Kyi, Thich Tue Sy, Gai Tho, and Ken Saro-Wiwa.

In 1988, director Martin Scorsese fulfilled his lifelong dream of making a film about Jesus Christ. Rather than celebrating the film as a statement of faith, churches and religious leaders immediately went on the attack, alleging blasphemy. At the height of the controversy, thousands of phone calls a day flooded the Universal switchboard, and before the year was out, more than three million mailings protesting the film fanned out across the country. For the first time in history, a studio took responsibility for protecting theaters and scrambled to recruit a "field crisis team" to guide The Last Temptation of Christ through its contentious American openings. Overseas, the film faced widespread censorship actions, with thirteen countries eventually banning the film. The response in Europe turned violent when opposition groups sacked theaters in France and Greece and caused injuries to dozens of moviegoers. Twenty years later, author Thomas R. Lindlof offers a comprehensive account of how this provocative film came to be made and how Universal Pictures and its parent company MCA became targets of the most intense, unremitting attacks ever mounted against a media company. The film faced early and determined opposition from elements of the religious Right when it was being developed at Paramount during the last year the studio was run by the celebrated troika of Barry Diller, Michael Eisner, and Jeffrey Katzenberg. By the mid-1980s, Scorsese's film was widely regarded as unmakeable—a political stick of dynamite that no one dared touch. Through the joint efforts of two of the era's most influential executives, CAA president Michael Ovitz and Universal Pictures chairman Thomas P. Pollock, this improbable project found its way into production. The making of The Last Temptation of Christ caught evangelical Christians at a moment when they were suffering a crisis of confidence in their leadership. The religious right seized on the film as a way to rehabilitate its image and to mobilize ordinary citizens to attack liberalism in art and culture. The ensuing controversy over the film's alleged blasphemy escalated into a full-scale war fought out very openly in the media. Universal/MCA faced unprecedented calls for boycotts of its business interests, anti-Semitic rhetoric and death threats were directed at MCA chairman Lew Wasserman and other MCA executives, and the industry faced the specter of violence at theaters. Hollywood Under Siege draws upon interviews with many of the key figures—Martin Scorsese, Paul Schrader, Michael Ovitz, Jeffrey Katzenberg, Jack Valenti, Thomas P. Pollock, and Willem Dafoe—to explore the trajectory of the film from its conception to the subsequent epic controversy and beyond. Lindlof offers a fascinating dissection of a critical episode in the embryonic culture wars, illuminating the explosive effects of the clash between the interests of the media industry and the forces of social conservatism.

At 13, Pedro and Miguel are too young to fight, but they realize they must sneak behind enemy lines to help, or the town of St. Augustine may perish during the siege of 1702.

An history that presents a canvas of post-war Czech literary developments within the cultural and political context of the times. It provides information about the many English-language translations from Czech literature, and the circumstances in which these translations came about.

All in all Steve Fraser had enjoyed his three-year stint in the former Dutch Southeast Asian colony of Sunda, and he’d been well compensated. But now he was looking forward to a last weekend in the capital before heading home. But Sunda was newly independent, and not entirely stable. An opposition faction with fundamentalist Islamic leanings was set on overthrowing the provisional government. And instead of enjoying a sybaritic weekend with the Eurasian beauty Rosalie, Fraser finds himself trapped with her by a fanatical group who’ve taken over the country’s radio station and made their headquarters in his friend Jebb’s apartment. As the government launches a counterattack, the couple’s survival depends on their ability to dodge bullets and the shifting loyalties of the coup’s lieutenants.