Describes how, after the 1979 Soviet invasion of Afghanistan, maverick Texas congressman Charlie Wilson persuaded his colleagues to fund the CIA's efforts to arm the mujahideen and recounts the repercussions of that covert operation.

She's been dirt poor; she's been filthy rich. Rich was more fun. She married three times, divorced twice, found her true love, and lost him to cancer. At twenty-one, she was told she would soon die. She lived. Doctors said she'd never be able to have children. She had 'em. She's bargained with God, dictators, and Democrats. She's partied with princes, presidents, premiers, Barbara Walters, Anwar Sadat, Margaret Thatcher, Tom Hanks, and Francisco Franco . . . though not all at the same time. She captivated powerful men with her feminine charm, and then persuaded them toward unlikely political alliances through her formidable intelligence. She waltzed with Prince Philip in Buckingham Palace, dressed in men's clothes and smuggled herself in a barrel across the Pakistani border, threw a Roman-themed party so extravagant it was featured in Life magazine, and survived a Soviet gunship attack in the mountains of Afghanistan. Joanne Herring, the Houston socialite portrayed by Julia Roberts in the film Charlie Wilson's War, is far more colorful, funny, and likable than any screenwriter could have guessed. The former Texas television anchor is known for her improbable fight with the mujahideen against the former Soviet Union. But her full story-with all its God, guns, and Gucci glory-has never been told. Born in the man's world of Texas in a time when women had limited choices, Joanne Herring blazed a trail with allies as unlikely as Charlie Wilson, Pierre Cardin, and President Ronald Reagan . . . and in so doing forged new paths for women in Pakistan, Afghanistan, and America.

A landmark collaboration between a thirty-year veteran of the CIA and a Pulitzer Prize–winning journalist, The Main Enemy is the dramatic inside story of the CIA-KGB spy wars, told through the actions of the men who fought them. Based on hundreds of interviews with operatives from both sides, The Main Enemy puts us inside the heads of CIA officers as they dodge surveillance and walk into violent ambushes in Moscow. This is the story of the generation of spies who came of age in the shadow of the Cuban missile crisis and rose through the ranks to run the CIA and KGB in the last days of the Cold War. The clandestine operations they masterminded took them from the sewers of Moscow to the back streets of Baghdad, from Cairo and Havana to Prague and Berlin, but the action centers on Washington, starting in the infamous "Year of the Spy"—when, one by one, the CIA’s agents in Moscow began to be killed, up through to the very last man. Behind the scenes with the CIA's covert operations in Afghanistan, Milt Bearden led America to victory in the secret war against the Soviets, and for the first time he reveals here what he did and whom America backed, and why. Bearden was called back to Washington after the Soviets withdrew from Afghanistan and was made chief of the Soviet/East Euro-pean Division—just in time to witness the fall of the Berlin Wall, the revolutions that swept across Eastern Europe, and the implosion of the Soviet Union. Laced with startling revelations—about fail-safe top-secret back channels between the CIA and KGB, double and triple agents, covert operations in Berlin and Prague, and the fateful autumn of 1989—The Main Enemy is history at its action-packed best.

"A sophisticated, deeply informed account of real life in the real CIA that adds immeasurably to the public understanding of the espionage culture—the good and the bad." —Bob Woodward Jack Devine ran Charlie Wilson's War in Afghanistan. It was the largest covert action of the Cold War, and it was Devine who put the brand-new Stinger missile into the hands of the mujahideen during their war with the Soviets, paving the way to a decisive victory against the Russians. He also pushed the CIA's effort to run down the narcotics trafficker Pablo Escobar in Colombia. He tried to warn the director of central intelligence, George Tenet, that there was a bullet coming from Iraq with his name on it. He was in Chile when Allende fell, and he had too much to do with Iran-Contra for his own taste, though he tried to stop it. And he tangled with Rick Ames, the KGB spy inside the CIA, and hunted Robert Hanssen, the mole in the FBI. Good Hunting: An American Spymaster's Story is the spellbinding memoir of Devine's time in the Central Intelligence Agency, where he served for more than thirty years, rising to become the acting deputy director of operations, responsible for all of the CIA's spying operations. This is a story of intrigue and high-stakes maneuvering, all the more gripping when the fate of our geopolitical order hangs in the balance. But this book also sounds a warning to our nation's decision makers: covert operations, not costly and devastating full-scale interventions, are the best safeguard of America's interests worldwide. Part memoir, part historical redress, Good Hunting debunks outright some of the myths surrounding the Agency and cautions against its misuses. Beneath the exotic allure—living abroad with his wife and six children, running operations in seven countries, and serving successive presidents from Nixon to Clinton—this is a realist, gimlet-eyed account of the Agency. Now, as Devine sees it, the CIA is trapped within a larger bureaucracy, losing swaths of turf to the military, and, most ominous of all, is becoming overly weighted toward paramilitary operations after a decade of war. Its capacity to do what it does best—spying and covert action—has been seriously degraded. Good Hunting sheds light on some of the CIA's deepest secrets and spans an illustrious tenure—and never before has an acting deputy director of operations come forth with such an account. With the historical acumen of Steve Coll's Ghost Wars and gripping scenarios that evoke the novels of John le Carré even as they hew closely to the facts on the ground, Devine offers a master class in spycraft.

LUCKY GUY marks a return to Nora Ephron's journalistic roots. The charismatic and controversial tabloid columnist Mike McAlary covered the scandal- and graffiti-ridden New York of the 1980s. From his sensational reporting of New York's major police corruption to the libel suit that nearly ended his career, the play dramatizes the story of McAlary's meteoric rise, fall and rise again, ending with his coverage of the Abner Louima case for which he won the Pulitzer Prize, shortly before his untimely death on Christmas Day, 1998.

Historical writing and fiction are not the same thing, though historians often creatively manipulate material in imposing plot structures, selecting starting and ending points, and fashioning compelling literary characters from historical figures. In Docu-Fictions of War, Tatiana Prorokova argues that the opposite is also true--war fiction offers a kind of history that both documents its subjects and provides a snapshot of the cultural representation of the United States' most recent military involvements. She covers a largely neglected body of cinematic and literary texts about the First Gulf War, the Balkan War, the Afghanistan War, and the Iraq War to open a fresh analysis of cultural texts on war. Prorokova contends that these texts are not pure fiction, but "docu-fictions"--works of imagination that can document their subjects while disclosing the social, political, and historical link between war and culture during the last three decades. Docu-Fictions of War analyzes how these representational narratives have highlighted a humanitarian rationale behind American involvement in each war, whether the stated goals were to free the oppressed from tyranny, stop genocide, or rid the world of terrorism. The book explores the gap between history--what allegedly happened--and the cultural mythology that is both true and inexact, tangible and sensed, recognized and undocumented.

Niccolò Machiavelli’s The Prince remains an influential book more than five centuries after he wrote his timeless classic. However, the political philosophy expressed by Machiavelli in his tome is often misunderstood. Although he thought humans to be rational, self-interested creatures, and even though he proposed an approach to politics in which the ends justify the means, Machiavelli was not, as some have argued, simply “a teacher of evil.” The Prince’s many ancient and medieval examples, while relevant to sixteenth century readers, are lost on most of today’s students of Machiavelli. Examples from modern films and television programs, which are more familiar and understandable to contemporary readers, provide a better way to accurately teach Machiavelli’s lessons. Indeed, modern media, such as Breaking Bad, The Godfather, The Walking Dead, Charlie Wilson’s War, House of Cards, Argo, and The Departed, are replete with illustrations that teach Machiavelli’s critical principles, including the need to caress or annihilate, learning “how not to be good,” why it is better to be feared than loved, and how to act as both the lion and the fox. Modern media are used in this book to exemplify the tactics Machiavelli advocated and to comprehensively demonstrate that Machiavelli intended for government actors and those exercising power in other contexts to fight for a greater good and strive to achieve glory.