Big & sweeping, hotly recalling & recording many sensationalized episodes, often igniting all the powderkeg suspense of a thriller, this appears to be a work of popular punch & persuasion, undoubtedly destined for some best-seller notchings. Based on documents, manuscripts, private diaries, letters, hundreds of interviews in 8 countries with generals & admirals, privates & civilians, including Homilo, Nimitz & Akirn Nara, But Not in Shame has both the aura of authenticity & the sting of a not-till-now-could-it-be-told disclosure. It tackles much of the sub-rosa political intrigue & hysteria of American & British policy, the agonizing early Pacific defeats, Singapore's shocking downfall, MacArthur's escape to Australia, the unplanned, gratuitous barbarism of the average Japanese soldier towards American & Filipino prisoners on the infamous Death March, the brutal Java Sea battle, Bataan's tragic surrender & the ultimate Midway victory. It analyses Japanese tactics, our own shortsightedness, unpreparedness & confusion, along with many telling portraits of Roosevelt, Wainwright, Colin Kelly, Doolittle, Colonel Hattori, Halsey, Tom Dooley & all the other famous figures & the myths & tales that rose around them. This is hard-hitting, snappy, gripping & gritty set-the-record-straight reporting, a major addition to the coverage of the Pacific WWII campaign, one which will hardly go unnoticed.--Kirkus (edited)Part I - Timetable for ConquestPart II - The Defenses CrumblePart III - Battle for BataanPart IV - Death of Two EmpiresPart V - The Battling Bastards of BataanPart VI - From Humiliation to VictoryAcknowledgmentsNotesIndex

    Count Harry Kessler (1868-1937), the son of a German banker and an Irish beauty, was a diplomat and publisher who moved easily among the worlds of art, politics, and society. He lived in Berlin but traveled throughout Europe, always with a keen eye to the political climate of the times. His diaries encompass an extraordinary variety of people: Einstein engages him in long discussions on his theories, and Josephine Baker dances naked in Kessler's drawing room. Kessler had lunch with Bertolt Brecht, Kurt Weill, and Erik Satie, and dinner with Max Reinhardt, George Grosz, Virginia Woolf, Jean Cocteau, and Andre Gide, to name a few. His diaries encapsulate this tumultuous time frame, recording at first hand the agonizing collapse and death of Weimar Germany and the arrival of the Nazis. Beautifully written, the diaries provide rare insight into the frenetic, constantly changing mood and give us a brilliant portrait of Germany and Europe between the wars. "What distinguishes his diary is Kessler's distanziert tone -- its elegance, precision and shrewdness." -- Iain Bamforth, The New York Times Book Review

     The first American frontier along the Appalachian barrier was a drama: terrible to be part of, magnificent to look back on. Its components were full measures of horror, war, confusion, and supercharged politicking from campfire site to European chancellery. This opening phase of the settlement epic has receded in memory, overshadowed by the later westward roll of the wagon trains. Personalities covered include the "gatekeepers": George Croghan, Henry Bouquet, William Johnson, and John Stuart. Events covered include the French and Indian War, the war of Pontiac, and Lord Dunmore's War. It is brought now to the forefront of our minds by a historian, Dale Van Every, in a remarkable recreation, Forth to the Wilderness... Born in 1896, American author Dale Van Every turned out a number of volumes on American history, including a biography of Charles Lindbergh. Van Every was also a busy playwright in the 1920s; his Broadway offering Telling the World was filmed in 1929, whereupon the writer set up shop in Hollywood. His screenplays include the literary adaptations Trader Horn (1931) and Murders in the Rue Morgue (1932). In 1937, he shared an Oscar nomination for the film version of Kipling's Captains Courageous. In 1940, Dale Van Every produced the Paramount actioner Rangers of Fortunes, then returned to screenwriting, remaining in this field until 1957.

    University of Washington professor Melvin Rader was a victim of the Canwell Committee's rush to judgment, but he fought back. False Witness tells of his struggle to clear his name. It is a testament of personal courage in the face of mass hysteria and a cautionary example of how basic freedoms can rapidly erode when the powers of the state are allowed to serve a rigid ideological agenda.