“So funny that I could not put it down” (Los Angeles Times).

    But he'd just fallen in love and wasn't so sure he really wanted it. It took a weekend of soul searching to realise that this would be the experience of a lifetime.From covering India's endearingly over-the-top response to the death of cricketing legend Don Bradman to being the only Australian journalist in Afghanistan on September 11 2001, Lost in Transmission is Harley's exciting, often moving, funny and disarmingly honest account of the three years he spent, lurching from one hair-raising misadventure to the next, reporting from one of the most exotic and, as events unfurled, alarming corners of the planet.Shifting effortlessly between the serious, the sublime and the ridiculous, this is the story of a stranger at something of a loss in an even stranger land - a young man struggling to comprehend and comment on life in a part of the world that never quite makes sense...

    bombers began pounding Al Qaeda and Taliban forces. His dispatches provide an unprecedented and riveting on-the-ground account of the Afghan conflict, and his e-mails to the magazine — selections of which frame the pieces here — paint a vivid behind-the-scenes portrait of war journalism. From the battle for the Taliban bastion of Kunduz and the interim government's clumsy takeover of Kabul, to the search for Osama bin Laden in the Tora Bora caves and the truth of Al Qaeda's assassination of charismatic Northern Alliance leader Ahmad Shah Massoud — two days before September 11, 2001 — Anderson offers an unprecedented look into the forces that shape the conflict and the players who may threaten Afghanistan's future. In the distinguished tradition of New Yorker war reporting, The Lion's Grave illuminates a region to which we will be inextricably bound for some time to come.

    It is in many ways a tougher opponent than the original threat we faced before September 11, and we are not doing what is necessary to make America safe from that threat." No one has more authority to make that claim than Richard Clarke, the former counterterrorism czar for both Bill Clinton and George W. Bush. The one person who knows more about Usama bin Laden and al Qaeda than anyone else in this country, he has devoted two decades of his professional life to combating terrorism. Richard Clarke served seven presidents and worked inside the White House for George H.W. Bush, Bill Clinton, and George W. Bush until he resigned in March 2003. He knows, better than anyone, the hidden successes and failures of the Clinton years. He knows, better than anyone, why we failed to prevent 9/11. He knows, better than anyone, how President Bush reacted to the attack and what happened behind the scenes in the days that followed. He knows whether or not Iraq presented a terrorist threat to the United States and whether there were hidden costs to the invasion of that country. Most disturbing of all are Clarke's revelations about the Bush administration's lack of interest in al Qaeda prior to September 11. From the moment the Bush team took office and decided to retain Clarke in his post as the counterterrorism czar, Clarke tried to persuade them to take al Qaeda as seriously as had Bill Clinton. For months, he was denied the opportunity even to make his case to Bush. He encountered key officials who gave the impression that they had never heard of al Qaeda; who focused incessantly on Iraq; who even advocated long-discredited conspiracy theories about Saddam's involvement in previous attacks on the United States. Clarke was the nation's crisis manager on 9/11, running the Situation Room -- a scene described here for the first time -- and then watched in dismay at what followed. After ignoring existing plans to attack al Qaeda when he first took office, George Bush made disastrous decisions when he finally did pay attention. Coming from a man known as one of the hard-liners against terrorists, Against All Enemies is both a powerful history of our two-decades-long confrontation with terrorism and a searing indictment of the current administration.

    What she does, with clarity, beauty, and candor, is to document, often in their most extreme moments, the complex lives of others. It’s her work, but it’s much more than that: it’s her singular calling.Lynsey Addario was just finding her way as a young photographer when September 11 changed the world. One of the few photojournalists with experience in Afghanistan, she gets the call to return and cover the American invasion. She makes a decision she would often find herself making—not to stay home, not to lead a quiet or predictable life, but to set out across the world, face the chaos of crisis, and make a name for herself.Addario finds a way to travel with a purpose. She photographs the Afghan people before and after the Taliban reign, the civilian casualties and misunderstood insurgents of the Iraq War, as well as the burned villages and countless dead in Darfur. She exposes a culture of violence against women in the Congo and tells the riveting story of her headline-making kidnapping by pro-Qaddafi forces in the Libyan civil war.Addario takes bravery for granted but she is not fearless. She uses her fear and it creates empathy; it is that feeling, that empathy, that is essential to her work. We see this clearly on display as she interviews rape victims in the Congo, or photographs a fallen soldier with whom she had been embedded in Iraq, or documents the tragic lives of starving Somali children. Lynsey takes us there and we begin to understand how getting to the hard truth trumps fear.As a woman photojournalist determined to be taken as seriously as her male peers, Addario fights her way into a boys’ club of a profession. Rather than choose between her personal life and her career, Addario learns to strike a necessary balance. In the man who will become her husband, she finds at last a real love to complement her work, not take away from it, and as a new mother, she gains an all the more intensely personal understanding of the fragility of life.Watching uprisings unfold and people fight to the death for their freedom, Addario understands she is documenting not only news but also the fate of society. It’s What I Do is more than just a snapshot of life on the front lines; it is witness to the human cost of war.

    Updated with a new introduction by the author written in the wake of the September 11 terrorist attacks on the United States, Islam and Democracy serves as a guide to the players moving the pieces on the rather grim Muslim chessboard. It shines new light on the people behind today's terrorist acts and raises provocative questions about the possibilities for democracy and human rights in the Islamic world. Essential reading for anyone interested in the politics of the Middle East today, Islam and Democracy is as timely now as it was upon its initial, celebrated publication.

    After events confirmed many of his predictions, Fallows went on to write some of the most acclaimed, award-winning journalism on the planning and execution of the war, much of which has been assigned as required reading within the U.S. military.In Blind Into Baghdad, Fallows takes us from the planning of the war through the struggles of reconstruction. With unparalleled access and incisive analysis, he shows us how many of the difficulties were anticipated by experts whom the administration ignored. Fallows examines how the war in Iraq undercut the larger ”war on terror” and why Iraq still had no army two years after the invasion. In a sobering conclusion, he interviews soldiers, spies, and diplomats to imagine how a war in Iran might play out. This is an important and essential book to understand where and how the war went wrong, and what it means for America.