The Loud Adios is set on the home front during World War II. Tom Hickey is in the army, an M.P. working the Tijuana-San Diego border, when a farm boy draftee about to ship overseas begs for help rescuing his sister from a gang of German and Mexican Nazis.

Even though he has outgrown his tricycle, a boy hides it at his family's yard sale until just the right smaller child comes along. Includes glossary of Spanish words used.

Military police border guard Tom Hickey calls on his skills as a private eye to help a naive farm boy retrieve his sister from a sordid Tijuana dive, where she is forced to perform in the nude

A National Bestseller! Ann Coulter is back, more fearless than ever. In Adios, America she touches the third rail in American politics, attacking the immigration issue head-on and flying in the face of La Raza, the Democrats, a media determined to cover up immigrants' crimes, churches that get paid by the government for their "charity," and greedy Republican businessmen and campaign consultants—all of whom are profiting handsomely from mass immigration that’s tearing the country apart. Applying her trademark biting humor to the disaster that is U.S. immigration policy, Coulter proves that immigration is the most important issue facing America today.

Tomorrows Possible Headlines Today! Are you concerned about what happens on our southern border with Mexico? If not, perhaps you should be! The following plausible tale underscores the real danger we all face when the action of our government go awry and lead to the radicalization of two Iraqis, Mukhtar and Jamila, who are sent to the United States on a mission of Jihad. Big things of a cataclysmic nature are in store for the unsuspecting people of central Texas. A testament to how forgiveness, and love, can sometimes conquer the forces of darkness. A nail-biting finish! John Cansler, PI extraordinaire, at his best!

In Adiós Niño: The Gangs of Guatemala City and the Politics of Death, Deborah T. Levenson examines transformations in the Guatemalan gangs called Maras from their emergence in the 1980s to the early 2000s. A historical study, Adiós Niño describes how fragile spaces of friendship and exploration turned into rigid and violent ones in which youth, and especially young men, came to employ death as a natural way of living for the short period that they expected to survive. Levenson relates the stark changes in the Maras to global, national, and urban deterioration; transregional gangs that intersect with the drug trade; and the Guatemalan military's obliteration of radical popular movements and of social imaginaries of solidarity. Part of Guatemala City's reconfigured social, political, and cultural milieu, with their members often trapped in Guatemala's growing prison system, the gangs are used to justify remilitarization in Guatemala's contemporary postwar, post-peace era. Portraying the Maras as microcosms of broader tragedies, and pointing out the difficulties faced by those youth who seek to escape the gangs, Levenson poses important questions about the relationship between trauma, memory, and historical agency.