They're all just one shot away It's senior year and the last season for Diggy, Jimmy, and Trevor on the Molly Pitcher High School varsity wrestling team. And they all want the same thing: to win. But Diggy's got to compete with his older brother's legacy, and now he's in danger of losing his spot to the newcomer, Trevor. Not to mention he's got girl problems. Jimmy's got the cops on his tail and a girlfriend who looks down on him. Then Diggy does the unthinkable—he betrays a teammate. Can the team forgive him? And can he forgive himself? With the pressure building and loyalties splintering, Diggy, Jimmy, and Trevor have got one shot to make weight and get onto the mat. Because pinning your opponent is about more than just winning.

“The most blisteringly impassioned music book of the season.” —New York Times Book Review A thrilling account of the Altamont Festival—and the dark side of the ‘60s. If Woodstock tied the ideals of the '60s together, Altamont unraveled them. In Just a Shot Away, writer and critic Saul Austerlitz tells the story of “Woodstock West,” where the Rolling Stones hoped to end their 1969 American tour triumphantly with the help of the Grateful Dead, the Jefferson Airplane, and 300,000 fans. Instead the concert featured a harrowing series of disasters, starting with the concert’s haphazard planning. The bad acid kicked in early. The Hells Angels, hired to handle security, began to prey on the concertgoers. And not long after the Rolling Stones went on, an 18-year-old African-American named Meredith Hunter was stabbed by the Angels in front of the stage. The show, and the Woodstock high, were over. Austerlitz shows how Hunter’s death came to symbolize the end of an era while the trial of his accused murderer epitomized the racial tensions that still underlie America. He also finds a silver lining in the concert in how Rolling Stone’s coverage of it helped create a new form of music journalism, while the making of the movie about Altamont, Gimme Shelter, birthed new forms of documentary. Using scores of new interviews with Paul Kantner, Jann Wenner, journalist John Burks, filmmaker Joan Churchill, and many members of the Rolling Stones' inner circle, as well as Meredith Hunter's family, Austerlitz shows that you can’t understand the ‘60s or rock and roll if you don’t come to grips with Altamont.

An ex-Marine captain shares his story of fighting in a recon battalion in both Afghanistan and Iraq, beginning with his brutal training on Quantico Island and following his progress through various training sessions and, ultimately, conflict in the deadliest conflicts since the Vietnam War.

"One Shot at Forever is powerful, inspirational. . . This isn't merely a book about baseball. It's a book about heart." -- Jeff Pearlman, New York Times bestselling author of Boys Will Be Boys and The Bad Guys Won In 1971, a small-town high school baseball team from rural Illinois, playing with hand-me-down uniforms and peace signs on their hats, defied convention and the odds. Led by an English teacher with no coaching experience, the Macon Ironmen emerged from a field of 370 teams to represent the smallest school in Illinois history to make the state final, a distinction that still stands. There the Ironmen would play against a Chicago powerhouse in a dramatic game that would change their lives forever. In this gripping, cinematic narrative, Chris Ballard tells the story of the team and its coach, Lynn Sweet: a hippie, dreamer, and intellectual who arrived in Macon in 1966, bringing progressive ideas to a town stuck in the Eisenhower era. Beloved by students but not administration, Sweet reluctantly took over the ragtag team, intent on teaching the boys as much about life as baseball. Together they embarked on an improbable postseason run that buoyed a small town in desperate need of something to celebrate. Engaging and poignant, One Shot at Forever is a testament to the power of high school sports to shape the lives of those who play them, and it reminds us that there are few bonds more sacred than that among a coach, a team, and a town. "Macon's run at the title reminds us why sports matter and why sportswriting has such great power to inspire. . . [It's] one hell of a good story, and Ballard has written one hell of a good book." -- Jonathan Eig, Chicago Tribune

At the age of 24, Jordan Barnes woke up next to a lifeless body, rifled through his dead friends' pockets for any remaining heroin and went right back to using.Strung out and homeless during the supposed best years of his life, there was no clear way out of the Opioid Crisis ravaging the streets of Portland, Oregon. But though Jordan had long accepted his fate, his parents still held out hope, and would do everything in their power to get him the help he so desperately needed.After a harrowing journey that proves the life of an active addict will always get worse, never better, Jordan found himself at the gates of Sand Island, Hawaii's most notorious two-year inpatient treatment facility. He soon discovers that though his heart was in the right place, the hardest battle of his life was yet to come.One Hit Away is his arduous and unlikely true story of recovery, rehabilitation and redemption.

“The most blisteringly impassioned music book of the season.” —New York Times Book Review A thrilling account of the Altamont Festival—and the dark side of the ‘60s. If Woodstock tied the ideals of the '60s together, Altamont unraveled them. In Just a Shot Away, writer and critic Saul Austerlitz tells the story of “Woodstock West,” where the Rolling Stones hoped to end their 1969 American tour triumphantly with the help of the Grateful Dead, the Jefferson Airplane, and 300,000 fans. Instead the concert featured a harrowing series of disasters, starting with the concert’s haphazard planning. The bad acid kicked in early. The Hells Angels, hired to handle security, began to prey on the concertgoers. And not long after the Rolling Stones went on, an 18-year-old African-American named Meredith Hunter was stabbed by the Angels in front of the stage. The show, and the Woodstock high, were over. Austerlitz shows how Hunter’s death came to symbolize the end of an era while the trial of his accused murderer epitomized the racial tensions that still underlie America. He also finds a silver lining in the concert in how Rolling Stone’s coverage of it helped create a new form of music journalism, while the making of the movie about Altamont, Gimme Shelter, birthed new forms of documentary. Using scores of new interviews with Paul Kantner, Jann Wenner, journalist John Burks, filmmaker Joan Churchill, and many members of the Rolling Stones' inner circle, as well as Meredith Hunter's family, Austerlitz shows that you can’t understand the ‘60s or rock and roll if you don’t come to grips with Altamont.