A detailed reconstruction of life and death in the trenches of World War I, describing the construction and physical and spiritual environment of the trenches and the soldiers' daily routine.

New York Times Best Seller and Over 1 million copies sold! Over 750 5-Star reviews Wiese’s visit to the devil’s lair lasted just twenty-three minutes, but he returned with vivid details etched in his memory, capturing the attention of national media, including the Christian Broadcasting Network, Daystar Television Network, Trinity Broadcasting Network, the Miracle Channel, Sid Roth’s It’s Supernatural!, Sean Hannity’s America, Charisma News, and many others. Awaken to the realities of hell, the afterlife and the urgency to live for Christ in your short time here on earth.. Bill Wiese experienced something so horrifying it continues to captivate the world. He saw the searing flames of hell, felt total isolation, smelled the putrid and rotting stench, heard deafening screams of agony, and experienced terrorizing demons. Finally the strong hand of God lifted him out of the pit. This expanded anniversary edition includes more than 150 Bible verses referencing hell for further study. Also included is the new section, “Wrestling With the Big Questions” where Bill answers these and many others questions: Why do some people who have a near-death experience see a bright light? Will those who never heard about Jesus go to hell? Is hell eternal, or are those in hell simply annihilated?

Historians have portrayed British participation in World War I as a series of tragic debacles, with lines of men mown down by machine guns, with untried new military technology, and incompetent generals who threw their troops into improvised and unsuccessful attacks. In this book a renowned military historian studies the evolution of British infantry tactics during the war and challenges this interpretation, showing that while the British army's plans and technologies failed persistently during the improvised first half of the war, the army gradually improved its technique, technology, and, eventually, its' self-assurance. By the time of its successful sustained offensive in the fall of 1918, says Paddy Griffith, the British army was demonstrating a battlefield skill and mobility that would rarely be surpassed even during World War II. Evaluating the great gap that exists between theory and practice, between textbook and bullet-swept mudfield, Griffith argues that many battles were carefully planned to exploit advanced tactics and to avoid casualties, but that breakthrough was simply impossible under the conditions of the time. According to Griffith, the British were already masters of "storm troop tactics" by the end of 1916, and in several important respects were further ahead than the Germans would be even in 1918. In fields such as the timing and orchestration of all-arms assaults, predicted artillery fire, "Commando-style" trench raiding, the use of light machine guns, or the barrage fire of heavy machine guns, the British led the world. Although British generals were not military geniuses, says Griffith, they should at least be credited for effectively inventing much of the twentieth-century's art of war.

An English professor in a small Texas town, William A. Owens in 1944 did what many younger men had done before him: he enlisted to serve his country in its second World War. Assigned to serve with the Counter Intelligence Corps in the Philippines, Owens soon found himself at the very heart of the action, not only experiencing the daily life of a soldier but, because of his duties as an intelligence agent, playing a part in the "big picture" of the war as well. Owens was in all the major military maneuvers: in the third wave of soldiers landing at Leyte Gulf, in the invasion of Luzon, in the siege and taking of Manila, in the countryside with the communist Huks and guerrillas after the Philippines were "secured." As a CIC agent, Owens interrogated Japanese and read captured documents, thwarted infiltration and sabotage, and, as he dealt with the conflicting factions left in the vacuum created by the war, came to know the major Filipino political leaders on both the left and the right. Acclaimed for his autobiographical works, This Stubborn Soil and A Season of Weathering, and his novels, Walking on Borrowed Land, Fever in the Earth, and Look to the River, Owens brings his formidable literary skills to this fascinating memoir of his wartime experiences. The unforgettable people Owens met and events he experienced come vividly to life: the Filipino leper to whom Owens could not grant shelter for fear of contamination; the suspected spy whom he befriended and later delivered home to die; his weary fellow soldiers' joyous response to the discovery of an open brewery; those same soldiers' subdued talk of life and death in the anxious moments before a beach invasion. The role of the Counter Intelligence Corps in the War in the Pacific has rarely received the attention it deserves; here we have an enlightening firsthand look at that role by one of whose Citation for Legion of Merits honors his "exceptionally meritorious conduct" and "distinct contribution to the continued effectiveness of Counter Intelligence activities" in the Philippines. So honored by his country, William A. Owen is sure to win further honors of another kind for Eye-Deep in Hell--an unforgettable journey through the invasions, the interrogations, and the ruins and atrocities of the War in the Pacific.--Jacket flap.

This one is for fans of Quentin Tarantino and of the ever-present gratuitous violence of Robert Altman. It is a direct descendant of Mickey Spillane's Mike Hammer and the mystery action pulps epitomized by Black Mask. Philip José Farmer, now one of the great living SF writers, who has published many varieties of pulp fiction, who has written novels of Tarzan, Doc Savage, and Oz, now turns his hand to the detective novel, with colorful, violent results. A self-obsessed private detective married to a sincere wiccan is hired to witness an illegal transfer of money in a rainy cemetery that goes bloody wrong. Chasing the bad guys, he ends up the prisoner of a grusome threesome in their Dogpatchy cabin in the woods. His escape involves nudity, blood, death, and a terrible snapping turtle. That's how the mystery begins, leading him through all the levels of Peoria society, geography, and history. Absurdly funny things happen continually in the peripheral vision of the story. No violence is left out. Greed, venality and hatred are unleashed. Unpleasant family history is brought to light. All the sex is offstage. The body count mounts steadily, with occasional mutilations. Nothing Burns in Hell is pulp fiction at its most gorgeously excessive.