The Mediterranean, 1943: At long last the British Army has won a victory, and Rommel's Afrika Korps is in retreat. Into this new phase of the war comes Captain Mike Blackwood, Royal Marine Commando. Already bloodied in the disastrous retreat from Burma, Blackwood goes to Alexandria as part of an elite unit, poised to strike the first blows against the Nazi fortress of mainland Europe.

In 1972, following the huge success of Run Silent, Run Deep, Edward L. Beach's second novel of submarine warfare was published to great acclaim. Like its predecessor, Dust on the Sea was lauded for its authentic portrayal of what it meant to be a submariner during the desperate years of World War II. Tense, dramatic and rich in technical and tactical detail, the book draws on Beach's experience as a submariner in the US Navy to describe the commander and crew of the fictitious USS Eel as they battle overwhelming odds to destroy Japanese ships and save American lives. With no margin for error, the men withstand storms, depth charges and even hand-to-hand combat to defend their boat and themselves. Mistakes, as the title reminds us, result in the debris which serves as a brief grave maker for sunken ships: dust on the sea.

Hailed as heart stopping and almost unbearably suspenseful, Edward L. Beach's third novel is set fifteen years after the end of World War II as the US Navy converts its fleet of conventional submarines to nuclear-powered ships. The book focuses on the USS Cushing, whose sixteen missile silos carry more explosive power than all the munitions used in both world wars. The submarine is on a secret mission to the Arctic Ocean to determine whether her missiles are effective when fired from beneath the ice. When the Cushing is incapacitated with a suspicious Russian sub lurking in the vicinity, the scene is set for a dramatic novel rich in all the technical detail and submarine lore that have entertained millions of readers of Captain Beach's other fictional works.

A vivid, searching journey into California's capture of water and soil—the epic story of a people's defiance of nature and the wonders, and ruin, it has wrought Mark Arax is from a family of Central Valley farmers, a writer with deep ties to the land who has watched the battles over water intensify even as California lurches from drought to flood and back again. In The Dreamt Land, he travels the state to explore the one-of-a-kind distribution system, built in the 1940s, '50s and '60s, that is straining to keep up with California's relentless growth. The Dreamt Land weaves reportage, history and memoir to confront the "Golden State" myth in riveting fashion. No other chronicler of the West has so deeply delved into the empires of agriculture that drink so much of the water. The nation's biggest farmers—the nut king, grape king and citrus queen—tell their story here for the first time. Arax, the native son, is persistent and tough as he treks from desert to delta, mountain to valley. What he finds is hard earned, awe-inspiring, tragic and revelatory. In the end, his compassion for the land becomes an elegy to the dream that created California and now threatens to undo it.

Universally praised for its powerfully authentic depiction of submarine warfare, Run Silent, Run Deep was an immediate success when published in 1955 and shot to the top of best-seller lists nationwide. In 1958, Hollywood adapted the novel for the big screen starring Clark Gable and Burt Lancaster. The New York Timessaid of the novel, “If ever a book had a ring of reality, this is it . . . combat passages rank with the most exciting written about any branch of the service.” The Saturday Review called the book “a classic,” and many reviewers compared its author to such greats as C. S. Forester and Erich Remarque. Today these accolades still ring true for Edward L. Beach’s gripping first novel of American submariners confronting a formidable Japanese navy in a vicious battle to control the Pacific. Beach’s taut and dramatic narrative, told with the intimacy of a confession, deals with two strong-headed men, Edward Richardson, the commander of the USS Walrus, and his executive officer, Jim Bledsoe. Bound together by wartime duty, the two are divided by jealousy, pride, and love for a beautiful woman. But long after the details of this famous novel fade from memory, what remains with us is a startling realization of the way it was, really was, in the silent service during World War II. Unlike many war novels, here is a story that deals with war from the perspective of command. With fidelity, Beach creates the anguish, agony, and triumphs of command decisions. Commander Richardson embodies all that is fine and human in an excellent naval officer. This is a monument, not to the misfits and the mistakes, but to those men who rose to greatness under the sometimes unbearable tensions of action.

No one thinks straight. At least no one remembers straight. But ten years ago, things were different, weren’t they? Roland Barthes once wrote that color in a photograph is like make-up on a corpse. No one is fooled. In anarchic denial of convenient truths, a young international couple meet and marry on a small Mediterranean island. Ten years later, the couple separate in part due to complications with immigration laws. Following this transcontinental rupture, fragmented histories emerge in response to the woman’s encounters with a series of color snapshots. There is death here, familiar to the mourner, as the photographs issue their special powers to magically and auspiciously predict the future and simultaneously to permit the return of the dead. The woman recognizes pieces of herself as past objects indexed within photographic stills, but paradoxically, she is present, outside in this chaos trying not to fall apart. The images and their objects yawn to remind us of the reluctant destiny of all our beloved memories, bodies, and things: that is, to disintegrate. Borrowing its title from a passage in The Emigrants by W.G. Sebald, Closer to Dust is a séance, a gathering of invitees: inherently biased elegies, the images that conjured them, and the reader- viewer in attendance who is warmly invited to order these intimate fragments into cohesion.