BUT CHARLIE OWNED THE CLOCK! One morning there was nothing but hot, thick jungle and steaming swamp. And the Viet Cong. The next morning there were three hundred sweating, groaning men chopping and chain sawing a hole in that particular hunk of hell. And that's where Captain Mack Gerber and his Scorpion Squad were going to set up shop. Right in the VC's backyard. Gerber's orders were simple: Let the VC know they didn't own the delta anymore; let them know they were in a lastditch fight; and make sure it was the last thing they'd ever know. But Victor Charlie had their own plans. A clock was ticking. Soon all hell would break loose and there wouldn't be enough survivors left to do a ... body count.

    Reflecting his lifelong interest in Arthurian themes, his primary sources were Malory's Morte d'Arthur and the Welsh Mabinogion. For him, the Idylls embodied the universal and unending war between sense and soul, and Arthur the highest ideals of manhood and kingship; an attitude totally compatible with the moral outlook of his age. Poetically, Tennyson was heir to the Romantics, and Keats's influence in particular can be seen clearly in much of his work. Yet Tennyson's style is undoubtedly his own and he achieved a delicacy of phrase and subtlety of metrical effect that are unmatched. This edition, based on the text authorized by Tennyson himself, contains full critical apparatus.

    One of the oldest and most universal stories known in literature, the epic of Gilgamesh presents the grand, timeless themes of love and death, loss and reparations within the stirring tale of a hero-king and his doomed friend. A finalist for the National Book Award, Mason's retelling is at once a triumph of scholarship, a masterpiece of style, and a labor of love that grew out of the poet's long affinity with the original.

    This newly annotated, free verse translation conveys the full force of Lucan's writing and his grimly realistic view of the subject. The work is a powerful condemnation of civil war, emphasizing the stark, dark horror of the catastrophies which the Roman state inflicted upon itself. Both the introduction and glossary set the scene for readers unfamiliar with Lucan and explore his relationship with earlier writers of Latin epic, and his interest in the sensational.

    

    We were the very first that revolted, and we are the last to fight against them; and I cannot but esteem it as a favor that God has granted us, that it is still in our power to die bravely, and in a state of freedom." - Elazar ben Yair Many Westerners have never even heard of the Siege of Masada, and those who have may simply know it as an obscure reference to a minor battle fought in a remote location of the Roman world. By contrast, virtually all Israeli school children know the story of Masada as a premier example of nationalistic pride. According to historian Klara Palotai, "Masada became a symbol for a heroic 'last stand' for the State of Israel and played a major role for Israel in forging national identity" Indeed, the heroic story of a small band of fighters facing incalculable odds has many elements that are reminiscent of both the Battle of Thermopylae and the Battle of the Alamo. The refrain “Masada shall not fall again,” coined in a poem on the subject by Yitzak Lamdan, became a cry of resolve in battle for Israeli soldiers in the 20th century, just as the cry of “Remember the Alamo” had galvanized Americans. For decades, the Israelite military used the site of Masada as the location for swearing in their new recruits, and the choice of the site was obviously designed to evoke within the new soldiers a deep sense of connection with their national history. The Siege of Masada was the final battle in a long series of fights that constituted the First Jewish-Roman War. The Roman Empire had established control over the region in the 1st century BCE, when the Roman proconsul Pompey the Great took control of Jerusalem and ceremonially defiled their temple by entering it. This mix of political control and religious desecration was a contentious issue for the Judeans throughout the Roman period, and militant activists opposed to Roman rule, often espousing strongly held religious beliefs, frequently developed large followings to challenge the Roman authorities. This led to multiple violent clashes between the Judeans and the Romans, and the First Jewish-Roman War (66-73 CE) was one such clash (albeit on a larger scale than most). The Roman troops marched through and made their military might felt, first in the northern region of Galilee, then down the coast where they finally laid siege to the capital city of Jerusalem. This left three Roman fortress outposts, including Masada, that had been built by Herod the Great but had been taken over by various Judean factions. Masada was the last of these fortresses that the Romans attacked and proved the most difficult for them to seize, but seize it they did. However, what made this battle qualitatively different from most was not just the difficulty Rome had in retaking control of it with incredibly disproportional military equipment and numbers, but also the actions of the Judean defenders. In the final hours of the battle, just as the Romans were about to breach the walls of the city, the defenders gathered together and committed mass suicide, rather than being killed or taken captive by the Romans. The Siege of Masada: A Historical Drama of the Famous Battle Between the Jews and Romans is a historical drama that portrays the famous battle from the standpoint of a fictional survivor.

    One hardened captain and his elite commandos are the only hope of salvation…The lone survivor of a brutal massacre, Captain Aravon fights to honor and avenge those who died under his command. Burning for vengeance, he leaps at the chance to spearhead a specially-trained company and pay back his tragic defeat with blood.But enemy forces lurk in every shadow, outnumbering his soldiers thousands-to-one and threatening to turn Aravon’s mission into his final downfall.One soldier must stand against impossible odds and turn the tide of battles doomed to defeat. If he fails or falters, the barbarous invaders will drown his realm in fire, ashes, and death.

    In this lively collection, learn how an ordinary young man, Mahesh Das, became the beloved Raja Birbal we all know today, and how he uses his famous wit, time and again, to build a ‘celestial palace’ for Emperor Akbar, order a census of crows, trap a thief using a magic bamboo, and much more.Replete with wisdom and wit, and brought to life by Tapas Guha’s beautiful illustrations, this clever collection of stories also offers valuable life lessons hidden beneath its humour.

    Renowned classicist Bernard Knox observes in his superb introduction that although the violence of the Iliad is grim and relentless, it coexists with both images of civilized life and a poignant yearning for peace. Combining the skills of a poet and scholar, Robert Fagles, winner of the PEN/Ralph Manheim Medal for Translation and a 1996 Academy Award in Literature from the American Academy of Arts and Letters, brings the energy of contemporary language to this enduring heroic epic. He maintains the drive and metric music of Homer’s poetry, and evokes the impact and nuance of the Iliad’s mesmerizing repeated phrases in what Peter Levi calls “an astonishing performance.”

    He is amazed to be told of seven journeys to foreign lands, every one ending in shipwreck. Sindbad the Sailor has grown rich from his travels, but his path to fortune has been anything but easy.

    The Last American Valentine is a unique anthology of non-sappy love poetry and flash fiction. Poet Laureates, rock musicians, actors, famed prose writers and a few talented American barfly's have been handpicked, hunted down and crammed together with an artist the world has never met.

    It follows Eddy Nugent, a bored fifteen-year-old, living in Manchester, as he travels through the drinking, swearing and sex-obsessed world of our nation's finest.

    . .Armchair Safari is more than a computer game to Oklahoman college student Megan Evans. It’s her livelihood. Her in-game exploits pay for her tuition, rent, and food. She usually plays solo, but when a group approaches her about a chance to find treasure beyond imagining, it’s an offer she can’t refuse.Armchair Safari is Derek Callahan’s livelihood, too, but he’s not a gamer. A former Marine turned businessman, he’s starting a new job as Netertainment’s Chief Financial Officer and just needs to make the numbers work. But when millions of dollars mysteriously disappear from the company coffers, it's a race against time to solve a problem that puts the entire company at risk.Little do Derek and Megan realize how their paths will cross in a battle between hackers, the FBI, and organized crime that is not confined to the virtual world and will leave very real casualties . . ."An action-packed adventure with a full cast of characters." - San Francisco Book Review

    Dickson, author of the best-selling DORSAI books and many other praiseworthy novels and scince fiction stories, has selected nine of his finest tales in this book.Here are stories of interstellar exploration, of adventure at the dawn of star flight and at the ultimate end of star flight, of man versus machine, of man versus nature, and of man versus the cosmos.If you like science fiction, it will be impossible not to find among these tales several that will prove to be as memorable in fantasy experience as any you will ever read again. Such is the skill and imagination of Gordon R. Dickson, one of the real giants of the science fiction world.Contents:Ancient, My EnemyThe Odd OnesThe Monkey WrenchTiger GreenThe Friendly ManLove Me TrueOur First DeathIn the BoneThe Bleak and Barren Land

    R. James is best remembered for his ghost stories which are widely regarded as among the finest in English literature. One of James' most important achievements was to redefine the ghost story for the new century by dispensing with many of the formal gothic trappings of his predecessors, and replacing them with more realistic contemporary settings.According to James, a story must "put the reader into the position of saying to himself: 'If I'm not careful, something of this kind may happen to me!'"