Wittman, the founder of the FBI’s Art Crime Team, pulls back the curtain on his career for the first time.Rising from humble roots as the son of an antiques dealer, Wittman built a twenty-year career that was nothing short of extraordinary. He went undercover, usually unarmed, to catch art thieves, scammers, and black market traders in Paris and Philadelphia, Rio and Santa Fe, Miami and Madrid.In this memoir, Wittman relates the stories behind his recoveries of priceless art and antiquities: The golden armor of an ancient Peruvian warrior king. The Rodin sculpture that inspired the Impressionist movement. The headdress Geronimo wore at his final Pow-Wow. The rare Civil War battle flag carried into battle by one of the nation’s first African-American regiments.The breadth of Wittman’s exploits is unmatched: He traveled the world to rescue paintings by Rockwell and Rembrandt, Pissarro, Monet and Picasso, often working undercover overseas at the whim of foreign governments. Closer to home, he recovered an original copy of the Bill of Rights and cracked the scam that rocked the PBS series Antiques Roadshow.By the FBI’s accounting, Wittman saved hundreds of millions of dollars worth of art and antiquities. He says the statistic isn’t important. After all, who’s to say what is worth more --a Rembrandt self-portrait or an American flag carried into battle? They're both priceless.The art thieves and scammers Wittman caught run the gamut from rich to poor, smart to foolish, organized criminals to desperate loners.  The smuggler who brought him a looted 6th-century treasure turned out to be a high-ranking diplomat.  The appraiser who stole countless heirlooms from war heroes’ descendants was a slick, aristocratic con man.  The museum janitor who made off with locks of George Washington's hair just wanted to make a few extra bucks, figuring no one would miss what he’d filched.In his final case, Wittman called on every bit of knowledge and experience in his arsenal to take on his greatest challenge: working undercover to track the vicious criminals behind what might be the most audacious art theft of all.

    Lawrence Hill’s new book doesn’t lessen the awfulness of the times, but adds a unique human dimension. Hill has created an uplifting and highly educational story about a shameful part of history. The Book of Negroes is sold in the United States under the title, Someone Knows My Name. Aminata Diallo was born free in Africa in the eighteenth century. She had a rich and lovely childhood until the day she was captured by slave traders and marched off to the coast in chains. Along with thousands of others, Aminata was destined for North America as a slave to white owners. She was eleven years old. Hill tracks Aminata’s story through the circle of her life. Every Bookclub-in-a-Box discussion guide includes complete coverage of the themes and symbols, writing style, and interesting background information on the novel and the author.

    Here is the dramatic - and tragic - story of Versailles and the men and women who made it their home.

    But centuries of exploitation and ivory hunting have taken their toll: now, as wars and poachers continue to ravage its habitat, as disease and political strife deflect attention from its plight, the African elephant faces imminent extinction. What will become of these magnificent beasts? As the elephant's future looms ever darker, Martin Meredith's concise and richly illustrated biography traces the elephant's history from the first ivory expeditions of the Egyptian pharaohs 2500 years ago to today, exploring along the way the indelible imprint the African elephant has made in art, literature, culture, and society. He shares recent extraordinary discoveries about the elephant's sophisticated family and community structure and reveals the remarkable ways in which elephants show compassion and loyalty to each other. Elegant, illuminating, and urgent, Elephant Destiny offers a beautiful and important tribute to one of earth's most magisterial creatures at the very moment it threatens to vanish from being.

    The narrator describes the frustration that the people of the community have with the artist, who is not only painting over one of their favorite places to play, relax in the shade, and hold on to the memories of a lost friend, but the artist is unwilling to accept the hospitality from anyone who tries to offer her food, or find out what she is up to. When the narrator and Lou go out into the country to meet up with their grandmother, they learn about graffiti from dad and grandmother who are watching the news, and they decide that they are going to deface the painting when they return back to Taliaferro Street. When they return, however, they find that the mural was a beautiful picture that not only reminded the community of all of the things that they loved about the wall, but celebrated the vibrant cultural richness of their community.

    And while the elderly Russian woman cannot hold on to fresh memories—the details of her grown children's lives, the approaching wedding of her grandchild—her distant past is preserved: vivid images that rise unbidden of her youth in war-torn Leningrad.In the fall of 1941, the German army approached the outskirts of Leningrad, signaling the beginning of what would become a long and torturous siege. During the ensuing months, the city's inhabitants would brave starvation and the bitter cold, all while fending off the constant German onslaught. Marina, then a tour guide at the Hermitage Museum, along with other staff members, was instructed to take down the museum's priceless masterpieces for safekeeping, yet leave the frames hanging empty on the walls—a symbol of the artworks' eventual return. To hold on to sanity when the Luftwaffe's bombs began to fall, she burned to memory, brushstroke by brushstroke, these exquisite artworks: the nude figures of women, the angels, the serene Madonnas that had so shortly before gazed down upon her. She used them to furnish a "memory palace," a personal Hermitage in her mind to which she retreated to escape terror, hunger, and encroaching death. A refuge that would stay buried deep within her, until she needed it once more. . . .

    Apart from flying Alouette helicopter gunships in Angola, he has fought in the Balkan War (for Islamic forces), tried to resuscitate Mobutu’s ailing air force during his final days ruling the Congo, flew Mi-8s for Executive Outcomes, and thereafter an Mi-8 fondly dubbed 'Bokkie' for Colonel Tim Spicer in Sierra Leone. Finally, with a pair of aging Mi-24 Hinds, Ellis ran the Air Wing out of Aberdeen Barracks in the war against Sankoh's vicious RUF rebels. For the past two years, as a “civilian contractor,” Ellis has been flying helicopter support missions in Afghanistan, where, he reckons, he has had more close shaves than in his entire previous four-decades put together.Twice, single-handedly (and without a copilot), he turned the enemy back from the gates of Freetown, effectively preventing the rebels from overrunning Sierra Leone’s capital—once in the middle of the night without the benefit of night vision goggles. Nellis (as his friends call him) was also the first mercenary to work hand-in-glove with British ground and air assets in a modern guerrilla war. In Sierra Leone, Ellis' Mi-24 (“it leaked when it rained”) played a seminal role in rescuing the 11 British soldiers who had been taken hostage by the so-called West Side Boys. He also used his helicopter numerous times to fly SAS personnel on low-level reconnaissance missions into the interior of the diamond-rich country, for the simple reason that no other pilot knew the country—and the enemy—better than he did.Al Venter, the author of War Dog and other acclaimed titles, accompanied Nellis on some of these missions. “Occasionally we returned to base with holes in our fuselage,” Venter recounts, “though once it was self-inflicted: in his enthusiasm during an attack on one of the towns in the interior, a side-gunner onboard swung his heavy machine-gun a bit too wide and hit one of our drop tanks. Had it been full at the time, things might have been different.” The upshot was that over the course of a year of military operations, the two former Soviet helicopters operated for the Sierra Leone Air Wing by Nellis and his boys were patched more often than any other comparable pair of gun ships in Asia, Africa or Latin America. Nellis himself earned a price on his head: some reports spoke of a $1 million reward dead or alive while others doubled it.This book describes the full career of this storied aerial warrior, from the bush and jungles of Africa to the forests of the Balkans and the merciless mountains of today’s Afghanistan. Along the way the reader encounters a multiethnic array of enemies ranging from ideological to cold-blooded to pure evil, as well as well as examples of incredible heroism for hire.

     Geneva Snow commits the unforgivable Southern sin. No longer the apple of her father’s eye, she is a pariah, defying her society's most sacrosanct rule. To protect her—and hoping for a change of heart—her shattered yet steadfast father hides her at Cairnaerie, his mountain estate. But his iron-willed daughter is unrepentant. After years of solitude, an older and wiser Geneva is finally mellowing, and she is desperate to leave a legacy worthy of the father she loved and lost. To that end, she engages an unwitting young history professor for help to escape Cairnaerie long enough to attend the wedding of her granddaughter—a girl dangerously unaware of her lineage. But when a postman’s malevolence and a colleague’s revenge converge, Geneva's long-kept secret is exposed. For a second time, she faces a calamity of her own making. Only this time, there is no place to hide.

    Richard Coles, led a pilgrimage to all the major historic sites of the Holy Land: from Nazareth and the Sea of Galilee in the North, via Jericho and the Jordan River, to Bethlehem and, finally, Jerusalem. All of the pilgrims in his care were practising Christians, except one: the writer Kevin Jackson, a diffident and sympathetic atheist intrigued by the chance to take part in this modern-day version of an ancient act of piety, and to learn some more about his old friend, the media clergyman.Coles to Jerusalem is Kevin Jackson’s light-hearted diary of that pilgrimage, and a close-up portrait of Richard Coles both as priest and as man. As the journey proceeds, Coles reminisces at length about his past life as a rock star and radical gay agitator, his new life as a spiritual leader and a popular broadcaster on BBC radio and television, and the strange, unpredictable path that led him from self-destructive debauchery to faith and vocation.With a lively supporting cast of fellow pilgrims, Coles to Jerusalem ranges among the magnificence of ancient monuments and the banalities of the guided tour, the grim political background of contemporary Israel and the comedy of a group of idiosyncratic English folk abroad, the intensity of worship and the lightness of banter. It will be irresistible to all admirers of Richard Coles, who has contributed a foreword; and a revelation to those who have never encountered his wisdom and warmth.

    Whether or not psychedelic drugs played a role (and as many musicians say they've used them as not), psychedelic rock has consistently charted brave new worlds that exist only in the space between the headphones. The history books tell us the music's high point was the Haight-Ashbury scene of 1967, but the genre didn't start in San Francisco, and its evolution didn't end with the Summer of Love. A line can be drawn from the hypnotic drones of the Velvet Underground to the disorienting swirl of My Bloody Valentine; from the artful experiments of the Beatles' Revolver to the flowing, otherworldly samples of rappers P.M. Dawn; from the dementia of the 13th Floor Elevators to the grungy lunacy of the Flaming Lips; and from the sounds and sights at Ken Kesey's '60s Acid Tests to those at present-day raves. Turn On Your Mind is an attempt to connect the dots from the very first groups who turned on, tuned in, and dropped out, to such new-millennial practitioners as Wilco, the Elephant 6 bands, Moby, the Super Furry Animals, and the so-called "stoner-rock" and "ork-pop" scenes.