This was a war to make the world safe for democracy. And if democracy was made safe, then nothing else mattered - not the millions of dead bodies, nor the thousands of ruined lives... This is no ordinary novel. This is a novel that never takes the easy way out: it is shocking, violent, terrifying, horrible, uncompromising, brutal, remorseless and gruesome... but so is war. Winner of the National Book Award.

    But one night, at a symposium in Moscow concerning the release of secret Soviet archives, he is approached by Papu Rapava, a former Kremlin bodyguard with a story to tell. No one but the desperate Kelso would believe the tale, for what Rapava describes is a sort of Holy Grail among researchers: an actual diary left by Joseph Stalin himself. Such an artifact, if it's genuine -- and if Kelso can survive the fascist Vladimir Mamantov, who wants it for his own agenda -- would be the coup of a lifetime for the discredited researcher.Before Kelso can learn the location of the diary, Rapava disappears, and Kelso's search for the former bodyguard leads him to the man's daughter, a whore selling herself in the new Moscow of drugs, corruption, and the Russian mafia. With an unscrupulous American journalist hot on their heels, a major of the new KGB close behind, and the shadowy Mamantov following them all, the two follow a trail that leads from Moscow's seedy underbelly to the industrial city of Archangel, where Russia once built her fleets of submarines, to a remote camp on the edge of the Siberian nothingness, and finally to a shocking conclusion that bites like the wind blowing off the tundra. What Kelso sees as the coup of his career might turn out to be the catalyst for an actual coup in Russia. There is a legacy behind the diary, a legacy of evil and death, and Fluke Kelso is unwittingly about to unleash it on the world.

    He is well known for having created the character Conan the Cimmerian, a literary icon whose pop-culture imprint can be compared to such icons as Tarzan of the Apes, Sherlock Holmes, and James Bond. Voracious reading, along with a natural talent for prose writing and the encouragement of teachers, conspired to create in Howard an interest in becoming a professional writer. One by one he discovered the authors that would influence his later work: Jack London and Rudyard Kipling. It's clear from Howard's earliest writings and the recollections of his friends that he suffered from severe depression from an early age. Friends recall him defending the act of suicide as a valid alternative as early as eighteen years old, while many of his stories and poems have a suicidal gloom and intensity that seem prescient in hindsight, describing such an end not as a tragedy but as a release from hell on earth.

    End of mission. The great bomber had been giving the crew trouble since leaving Italy. Finally over occupied France, it settles like a weary, wounded eagle on what seemed to Franklin a hard, smooth field. The five members of the crew were welded by the crash into a single whole, one tiny forged weapon in the vast territory of the enemy--weak and ineffectual--yet confident as only men can be whose minds are free. Francoise's family accepted them calmly. In Francoise it was faith, a simple piety so humble, so complete that all the mechanized myrmidons of the Reich could not touch her spirit. In her father it was stubbornness, that glorious pigheadedness of the French peasant who won't be pushed around. In her grandmother it was a kinship with the infinite. Having survived two wars, she remained unmoved by the swaggering vainglory of the Nazi. And in Pierre it was hatred, a hatred so deep that only rarely did it flash on the surface. It was natural that Francoise should be so strongly drawn to Franklin, the pilot. His gentle strength, his sensitive mind, the careful restrained warmth of his emotion found a calm, sure response in the simple innocence and candor of the girl. All through the delirious pain of his torn, wounded arm, Franklin felt the girl's presence like a cool, comforting hand. In the end it was her courage and, above all, her faith which saved him--saved him--not only from the enemy but from himself.

    In it a Master Bee Keeper, his bees, and the natural beauty of California restore a wounded World War I veteran to health.

    Surrounded by men who are jockeying for power–Cicero, Brutus, Cassius, and Mark Antony–young Octavius must work against the powerful Roman political machinations to claim his destiny as first Roman emperor. Sprung from meticulous research and the pen of a true poet, Augustus tells the story of one man’s dream to liberate a corrupt Rome from the fancy of the capriciously crooked and the wildly wealthy.

    Short, bald, and extremely nearsighted, Sir Nigel's unprepossessing appearance belies his warrior's heart and his chivalrous nature. The rollicking adventures of his company during the Hundred Years War center around Sir Nigel's loyal squire, Alleyne Edricson. Raised in the sheltered confines of a monastery, young Alleyne comes of age amid the rough-and-tumble of armed conflict and the bewildering ways of courtly love.Best known as the creator of Sherlock Holmes, Sir Arthur Conan Doyle was also a passionate historian. The White Company was his favorite among his own works; here, he offers flavorful, realistic depictions of life during the 14th century — from its weapons and apparel to its religious practice, and the close connection between the cycles of human existence, and the rhythm of the seasons. Readers of all ages will thrill to this spirited tale and its evocative portrait of the Middle Ages.

    A high-energy romp, the poet's prose memoir recounts his military service in World War I, when a comedy of errors led to his unjust arrest and imprisonment for treason.

    But in 1954 a local fisherman is found suspiciously drowned, and a Japanese American named Kabuo Miyamoto is charged with his murder. In the course of the ensuing trial, it becomes clear that what is at stake is more than a man's guilt. For on San Pedro, memories of a charmed love affair between a white boy and the Japanese girl who grew up to become Kabuo's wife; memories of land desired, paid for, and lost. Above all, San Piedro is haunted by the memory of what happened to its Japanese residents during World War II, when an entire community was sent into exile while its neighbors watched.

    She s had it with the dull life of the orphanage, and she is ready to marry Peter and escape the ever-watchful Sister Hilde. But an unexpected bond forms between Fin and the fiddle-playing cook, Bartimaeus, setting her on a course for the high seas of the American Revolution.

    You already know David as the legendary warrior king of Israel, husband of Bathsheba, and father of Solomon; now meet David as he really was: the cocky Jewish kid, the plagiarized poet, and the Jewish father. Listen as David tells his own story, a story both relentlessly ancient and surprisingly modern, about growing up and growing old, about men and women, and about man and God. It is quintessential Heller.

    He’s climbed all the way to head of production at newly merged Metro-Goldwyn-Mayer and is determined to transform Leo the Lion into an icon of the most successful studio in town.The harder he works, the higher he soars. But at what cost? The more he achieves, the closer he risks flying into oblivion. A frail and faulty heart shudders inside this chest that blazes with ambition. Thalberg knows that his charmed life at the top of the Hollywood heap is a dangerous tightrope walk: each day—each breath, even—could be his last. Shooting for success means risking his health, friendships, everything. Yet, against all odds, the man no one thought would survive into adulthood almost single-handedly ushers in a new era of filmmaking.This is Hollywood at its most daring and opulent—the Sunset Strip, premieres at Grauman’s Chinese Theatre, stars like Clark Gable, Greta Garbo, Jean Harlow, Joan Crawford—and Irving is at the center of it all.From the author of the Hollywood’s Garden of Allah novels comes a mesmerizing true-life story of the man behind Golden Age mythmaking: Irving Thalberg, the prince of Tinseltown.Martin Turnbull's Hollywood’s Garden of Allah novels have been optioned for the screen by film & television producer, Tabrez Noorani.

    This is the story of an Italian general, accompanied by his chaplain, charged with the mission of scouring Albania in search of the bones of their fallen countrymen, killed twenty years earlier during World War II.

    Maycomb, Alabama. Twenty-six-year-old Jean Louise Finch—"Scout"—returns home from New York City to visit her aging father, Atticus. Set against the backdrop of the civil rights tensions and political turmoil that were transforming the South, Jean Louise's homecoming turns bittersweet when she learns disturbing truths about her close-knit family, the town and the people dearest to her. Memories from her childhood flood back, and her values and assumptions are thrown into doubt. Featuring many of the iconic characters from To Kill a Mockingbird, Go Set a Watchman perfectly captures a young woman, and a world, in a painful yet necessary transition out of the illusions of the past—a journey that can be guided only by one's conscience. Written in the mid-1950s, Go Set a Watchman imparts a fuller, richer understanding and appreciation of Harper Lee. Here is an unforgettable novel of wisdom, humanity, passion, humor and effortless precision—a profoundly affecting work of art that is both wonderfully evocative of another era and relevant to our own times. It not only confirms the enduring brilliance of To Kill a Mockingbird, but also serves as its essential companion, adding depth, context and new meaning to an American classic.

    Like the first two, this new thriller combines gripping contemporary suspense with a high-concept mystery rooted in history, philosophy, religion, and science. And like those novels, it is bound for bestseller lists nationwide. In Antarctica, a scientific expedition drops anchor for a live news feed. As the CNN journalist begins her report, a massive, shimmering sphere of light suddenly appears in the sky, enveloping the ship in luminous white light before disappearing as mysteriously as it arrived, the entire event witnessed by an incredulous world audience.Meanwhile in a dusty bar in Egypt, a dozen men are lazily discussing the state of the world when the brilliant, glowing symbol on the television stops them cold. One man breaks out in a sweat, crosses himself repeatedly, and rushes out of the bar muttering the same phrase over and over again: It can't be.Across the Internet and around the globe, a stunning controversy threatens to consume the world: Has God finally decided to reveal himself? Or is something more sinister at hand? Raymond Khoury/Steve Berry interview STEVE BERRY: Your new thriller, THE SIGN. I'm gonna come right out and say it: I think it's your best one yet. What do you think?RAMOND KHOURY: Tough call. It's my new baby, and much as I adore its elder siblings, it does have that newborn magic to it.STEVE: Trust me, it is. It's also a bit of a departure from your first two books, in that it doesn't have the past-and-present storylines. Knowing how stories kind of take on a life of their own, that wasn't a conscious decision from the get-go, was it?RAYMOND KHOURY: No, it wasn't premeditated. It's just the way the story came out. The whole story happens in the present. It takes place over a few manic days, I think you're familiar with that pacing, right? And it deals with the present, it's about a what if situation that's very today and now, there's a mystery, something to figure out, but there's no throwback to the past, no long lost secret to uncover.STEVE BERRY: It's also very topical. Your editors must be pleased.RAYMOND: I guess it happened that way because the story came out of some very strong feelings I had, feelings about what was going on around the world, in the US and abroad.STEVE: Tell me about that process. Where the story came from.RAYMOND: It's where they all come from, isn't it? That kernel, that one thought or one observation you have that just sticks and triggers a book, the one that bugs you late at night and that you can't shake. This one came to me while watching the news one day, and every item, one after another, it was all bad news. Not just bad, but it was like a lot of people were behaving so insanely in so many places around the world, and, sadly, a lot of it was fuelled by the manipulation or distortion of religious faith.STEVE: By intolerance?RAYMOND: Exactly. Intolerance and closed minds. And it got me thinking. About how divided we are, about how so many people all over the world believe in the absolute infallibility of their faith and how it rules every aspect of their lives, you know what I mean, we're right, everyone else is wrong, that medieval mindset and wondering if anything could ever unite the planet under a single faith.STEVE: One global religion. RAYMOND: Well, imagine if something did happen that convinced everyone that what we had until now, all these different religions that have grown over the last few thousand years, what if something new came along that was so overwhelming that it was impossible to ignore? Would we listen? Would we drop our previous faiths and embrace it?STEVE: But your book's about much more than that. Without wanting to give too much away, it's really a political thriller, isn't it?RAYMOND: It's always so hard to talk about a book without giving too much away.STEVE: It's the fine line we walk.RAYMOND: True. But yes, you're right, it's really about the absolute power something like that would bring, and how it could be abused. Cause above all else, it's a thriller. There's got to be a brilliantly dastardly scheme, right?STEVE: Always. And this one certainly is dastardly. One thing I've noticed, though, in all three of your books so far, they're all, essentially, about the big questions that face us: why we believe, whether or not we have to die. Religion, longevity, life and death, science vs. faith ... Big questions. And in this one, you revisit, though in a completely different way, the power of religion, the good it can bring as well as the bad, something that was also central to The Last Templar. Will this always be your signature genre, books that have a big, central theme at their core?RAYMOND: You asked me earlier about where the story came from. For me, in order to get excited about a book, it has to have a big central theme about how we live at its heart, something I'm interested in exploring. It's got to be about something I care about deeply. That's what drives the story and the characters forward for me. That's what I hope makes the books stand out. That they're not just page-turners, which ain't easy in itself, but that they're also about something. I see it in your books too. A point of view about things, a passion for laying out interesting information about a topic that interests you. Michael Crichton used to do that very successfully. Dan Brown, of course, does it brilliantly. That's what makes the books worth writing, I think.STEVE: And in reading the book, it's clear you still had tons of research to do, even though there isn't a historic mystery to unravel?RAYMOND: Absolutely. Some of it was about history, the monasteries in Egypt, for one. Again, part of the story, organically. Had to be done, and we do love our history, don't we?STEVE: Guilty as charged.RAYMOND: But for this book, I didn't need to do that much of it's nothing like what you did for THE CHARLEMAGNE PURSUIT, for instance. Which I loved, by the way. Particularly since you beat me to using the Voynich Manuscript in a story!STEVE: We do seem to be spookily in sync with our writing as further evidenced by THE SIGN's opening in Antarctica?RAYMOND: I know!STEVE: So tell me, Matt and Gracie. Are we going to see them again?RAYMOND: I don't know. On the one hand, I envy your situation with Cotton Malone, you've got a solid anchor for your books, you're building this great world around him, his son and Stephanie and Henrik and Cassiopeia, who I hope we see again real soon, and it's meaty and it's epic and like the rest of your readers, I'm hooked and I want to know what they do next. You've got that, Lee Child has had it since day one with Reacher, Harlan Coben with Myron Bolitar, the list goes on. Great characters. I'd love to do that one day, but it has to feel right. I wasn't in that frame of mind in my first two books, certainly the world after the end of THE SANCTUARY would be a very different place from the world Mia started out in at the beginning of that book. Tess and Reilly, I could maybe bring back. A lot of fans have asked for that. But with THE SIGN, Iinitely think Matt and Gracie are characters that I could bring back. I'd like to put them through another wringer, and it feels like it would come naturally. But before I do that, I'm writing the next book which introduces a new lead character, so they'll be getting a bit of a breather.STEVE: They sure can use it. Good luck with the book.RAYMOND: Thank you.