Peter Johnston, retired ambassador, tells a story of five years in the Canadian Army in the Second World War, much of them spent as a sergeant in counter-intelligence, including close to two years rounding up amateur spies and other nasties in Italy. He writes of later years in the Canadian foreign service, some of them working with the Royal Canadian Mounted Police Security Service and many of them engaged in examining assessments of intelligence during the Cold War, entailing close contacts with the British and American intelligence authorities. He also writes of his life as an ambassador in Indonesia and of his subsequent adventures as an elections monitor in Nicaragua, El Salvador and Angola. Reviewing Johnston's book in the November issue of the Rockcliff News, Charles King, one-time Chief of the Ottawa Bureau of Southam News Services and former Associate Editor of the Ottawa Citizen, spoke of the author as "a snoop with a difference", as "an unconventional outsider looking in on the refinements of a diplomatic life", as "an intelligence officer in the dim, secret world of counter-espionage" who, "in all his adventures was sustained by an impish sense of the ridiculous nature of his role". Similar reactions were expressed in Bout de Papier, the quarterly journal of the Professional Association of Foreign Service Officers. David Peel, retired ambassador and Inspector General of the Canadian Security and Intelligence Service 1994-98, began his review by expressing his "big disappointment, for which you should prepare yourself, when you get to page 164 of this little book: it ends. Far too soon." Among Peel's comments on Johnston's experiences in the Second World War, he noted that, "he makes his adventures in the long advance of the Canadians up the boot of Italy sound funny, ridiculous and touching but they give a vivid picture of war and the men who fought in it". On his life as a diplomat and civil servant, Peel suggested that "His age and experience gave him a perspective that other newcomers lacked and his stories and comments on the situations and people he encountered are, while generally kind, great fun and sometimes scathing-the sort of thing we all wish we'd had the courage to say at the time". Peel concluded his summary of the book's contents by referring back to his opening remark, that "at page 164, that's just how I felt about his book-reluctant to let go".

In the summer of 1971 Frank Gohlke moved with his wife and young daughter from Middlebury, Vermont to Minneapolis, Minnesota. His vocation as a photographer had begun four years prior, but he had yet to define the subject that would occupy him for the next 45 years: the landscapes of ordinary life. The three bodies of work brought together in Speeding Trucks and Other Follies were all made between Gohlke's arrival in Minneapolis and the end of 1972 when he began photographing grain elevators, a project that first established his renown. In different ways these early series obliquely describe Gohlke's process of adjustment to his new surroundings. The "Speeding Trucks" photos of the first section began when Gohlke noticed how the shadows of the elm trees that once lined most Minneapolis streets were momentarily materialized on the bodies of passing trucks. The travel trailers in the second section were all found in a Minnesota State Park on one of the family's infrequent camping trips, while late-night rambles through Gohlke's Minneapolis neighborhood led organically to his series of dramatic night pictures in the last section. Notwithstanding their various subject matter, Gohlke's photos in this book collectively perform a kind of timeless alchemy on the everyday stuff of visual experience. Looking at these photos, it's hard not to believe that things really look like that; but we know they don't. In the interstice between the picture's testimony and the evidence of our senses is where my photos reside. Frank Gohlke

The Midnight Sons ~ Men as Wild and Rugged as The Last Frontier Itself Five brothers risk their lives to rescue those caught in the death grip of the Alaska wilderness…and find their hearts in danger of falling for women as tough as the Land of the Midnight Sun. The siren call of Alaska’s untamed wilderness, vast mountain ranges, and majestic glaciers draw thrill-seekers from around the globe. But with more unsolved missing person cases than anywhere else in the world, the Alaska Triangle has an ominous reputation. Enter the Midnight Sons, a team that risks their own lives to rescue those in peril. Being a hero isn’t all it’s cracked up to be, though. The pay sucks, as does the fact that the team leaders have to be ready to spring into action 24/7, 365 days a year—a lifestyle not conducive to a healthy love life. Worse, while the brothers are experts in their individual fields, they each harbor inner demons and secrets that threaten to tear their family apart… and jeopardize any chance of finding the women who could complete them. Book One: Sam’s Folly When a bigwig fight promoter needs someone to search for his missing fiancée, he hires expert tracker Sam Belgarde and his search dogs. Sam is more than a little reluctant. His family’s company, Search and Rescue Alaska, is in financial trouble, though, so if searching for a spoiled socialite will save it, then he’s willing to break the rules—just this once. After witnessing a murder, Nora Molina needs to get away—fast—and her best hope to escape without her passport is Alaska. A native of Argentina, Nora’s accustomed to harsh winters and high elevation, so she gets more than a little irritated when some tracker thinks she needs rescuing. Even if he is get-out sexy. And even if he’s the guy she stood up before leaving town. It’s going to be a long few days. When an unexpected storm rolls in, Sam and Nora find themselves in each other’s arms—to keep warm. Things get a little too hot when it’s clear someone wants the two of them to stay lost—permanently.

A collection of short stories exploring similar themes of escape, self-realization and fear, as well as the dark and sometimes surreal aspects of human nature.

We Pierce is the story of two brothers: one brother, Smith, goes to war. A true believer, he leads a tank company into battle in Iraq during the Gulf War. There he learns about the true nature of patriotism, camaraderie, modern warfare and, finally, the soldiers' secret that some things learned over there are better not brought back home. Meanwhile Sam, an aspiring writer, as much a rebel as his older brother is a natural leader, is busy protesting against the war in Times Square in New York and on the Capitol steps in Washington, D.C. But he questions the strength of his own beliefs, while losing his own battle with alcohol and narcotics. Both brothers are haunted by the depth of the sacrifice at home incurred by their family's commitment to honor and duty on battlefields abroad. As he did with his first novel, American by Blood, acclaimed novelist Andrew Huebner draws on his family's long experience with violence and military service and renders a haunting novel of war. From the desert of Iraq to the Lower East Side of New York, We Pierce is about fighting for what you believe in, no matter what the cost to yourself or your brother.

"In the United States there is more space where nobody is than where anybody is", said Gertude Stein. From the Midway area of Minneapolis to the prairie grasslands of Kansas, the American landscape is characterized by this spaciousness--and by the presence of windowless, rumbling, enormous grain elevators, rising above the steeples of churches to announce the presence of a town and to explain, in great measure, the function of its inhabitants. Why did their builders choose that particular form to fulfill a practical necessity? And how does the experience of great emptiness shape what people think, feel, and do? Frank Gohlke, one of America's foremost photographers of landscape, has pondered and documented the relationship between these enormous structures and the emptiness of the surrounding landscape for the past two decades. The result is this evocative sequence of images, beginning with Gohlke's earliest formal studies of structural fragments and their mechanisms, and gradually expanding to depict the grain elevator as a part of the landscape. His camera eventually retreats so far that the grain elevator disappears in the horizon, and only the landscape--the "space where nobody is"--is visible. Introducing the photographs is a personal essay by Gohlke on the relationship between people and their space, and the ways in which that relationship actually creates a landscape. A concluding historical essay by John C. Hudson details the development and function of the grain elevator and its geographical and economic role in American life.