The Volga River is the heart of the Russian People and the last line of defense against the German invasion. The Russian Army is fighting desperately to defend against the German onslaught and to hold the last bridgeheads on the west bank of the Volga. But, help is coming. American personnel, supplies and equipment are pouring into Russia and at the head of the flood are the B-17 Flying Fortresses and P-47 Thunderbolts. Together the heavy bombers and their fighter escorts strike at targets deep in the heart of German-occupied Russia. As the great air battles take place, the Luftwaffe pilots realize that their days of air superiority and easy victories are over and they now face a fight just to survive. Meanwhile, as Russians and Americans fight side by side, what began as an uneasy alliance matures into a firm friendship.

The nation’s #1 air-crash investigator—trapped between a simulated disaster and an interagency political war. The best ground-attack support fighter jets ever built—the A-10 Thunderbolt “Warthogs”—are falling out of the sky. The Air Force brass repeatedly schemes to decommission this low-tech jet. They’ve been blocked by soldiers, pilots, and Congress...so far. The “Hog” lies at the crux of a high-tech struggle for power. The interagency political skirmish rapidly escalates into a battle fought on a global scale. Miranda Chase, the NTSB’s autistic air-crash genius, and her team spring into action. The high-risk stakes mount in the battlespace—and a secret from their past could make them the next target. Miranda and her team of sleuths may become the spark that ignites a war.

It is Summer, 1947. Europe is being torn apart by a war nobody can win. Nazi Germany occupies everything from the Pyranees to the Volga. In the East, American and Russian troops fight side-by-side to hold the Germans back. in the West, the U.S. Navy owns the Atlantic and uses its aircraft carriers to hurl fleets of fighter-bombers against any targets they can find, Nothing can stop the madness except the one last card America has left to play. A fleet of the largest bombers the world has ever seen and a terrifying new weapon to arm them.

A great theater critic brings twentieth-century playwright Arthur Miller’s dramatic story to life with bold and revealing new insights “New Yorker critic Lahr shines in this searching account of the life of playwright Arthur Miller. . . . It’s a great introduction to a giant of American letters.”—Publishers Weekly Distinguished theater critic John Lahr brings unique perspective to the life of Arthur Miller (1915–2005), the playwright who almost single-handedly propelled twentieth-century American theater into a new level of cultural sophistication. Organized around the fault lines of Miller’s life—his family, the Great Depression, the rise of fascism, Elia Kazan and the House Committee on Un-American Activities, Marilyn Monroe, Vietnam, and the rise and fall of Miller’s role as a public intellectual—this book demonstrates the synergy between Arthur Miller’s psychology and his plays. Concentrating largely on Miller’s most prolific decades of the 1940s, 1950s, and 1960s, Lahr probes Miller’s early playwriting failures; his work writing radio plays during World War II after being rejected for military service; his only novel, Focus; and his succession of award-winning and canonical plays that include All My Sons, Death of a Salesman, and The Crucible, providing an original interpretation of Miller’s work and his personality.

Placing heroes from a wide range of medieval traditions shoulder to shoulder, this title provides the opportunity to examine what is common across medieval mythic, legendary, and folkloric traditions, as well as what seems unique. Myths of gods, legends of battles, and folktales of magic abound in the heroic narratives of the Middle Ages. Mythology in the Middle Ages: Heroic Tales of Monsters, Magic, and Might describes how Medieval heroes were developed from a variety of source materials: Early pagan gods become euhemerized through a Christian lens, and an older epic heroic sensibility was exchanged for a Christian typological and figural representation of saints. Most startlingly, the faces of Christian martyrs were refracted through a heroic lens in the battles between Christian standard-bearers and their opponents, who were at times explicitly described in demonic terms. The book treats readers to a fantastic adventure as author Christopher R. Fee guides them on the trail of some of the greatest heroes of medieval literature. Discussing the meanings of medieval mythology, legend, and folklore through a wide variety of fantastic episodes, themes, and motifs, the journey takes readers across centuries and through the mythic, legendary, and folkloric imaginations of different peoples. Coverage ranges from the Atlantic and Baltic coasts of Europe, south into the Holy Roman Empire, west through the Iberian peninsula, and into North Africa. From there, it is east to Byzantium, Russia, and even the far reaches of Persia.

1. A theater of containment liberalism -- 2. Empty boys, queer others, and consumerism -- 3. Family circles, racial others, and suburbanization -- 4. Fragmented heroes, female others, and the bomb.