An elite team of reporters brought the Great War home each week to ten million readers of The Saturday Evening Post. As America’s largest circulation magazine, the Post hired the nation’s best-known and best-paid writers to cover World War I. The Weekly War provides a history of the unique record Post storytellers created of World War I, the distinct imprint the Post made on the field of war reporting, and the ways in which Americans witnessed their first world war. The Weekly War includes representative articles from across the span of the conflict, and Chris Dubbs and Carolyn Edy complement these works with essays about the history and significance of the magazine, the war, and the writers. By the start of the Great War, The Saturday Evening Post had become the most successful and influential magazine in the United States, a source of entertainment, instruction, and news, as well as a shared experience. World War I served as a four-year experiment in how to report a modern war. The news-gathering strategies and news-controlling practices developed in this war were largely duplicated in World War II and later wars. Over the course of some thousand articles by some of the most prolific writers of the era, The Saturday Evening Post played an important role in the evolution of war reporting during World War I.

We Shot the War: Overseas Weekly in Vietnam examines the legacy of one of the most popular and eccentric newspapers to cover the Vietnam War. With its mix of hard-hitting military exposÉs, pinups, and comic strips, Overseas Weekly earned a reputation as a muckraking truth teller. Time magazine called it "the least popular publication at the Pentagon." From 1966 to 1972, the paper's reporters and photographers tackled controversial topics, including courts-martial, racial discrimination, drug use, and opposition to command. And they published some of the most intimate portraits of American GIs and Vietnamese civilians, taken with the specific purpose of documenting the daily life of individuals caught in the world's most grueling and disputed conflict. Through striking photographs and personal essays, We Shot the War brings viewers behind the viewfinders of photojournalists who covered the conflict and introduces readers to two extraordinary women: founder Marion von Rospach and Saigon office bureau chief Ann Bryan. Together, they fought for the right of women to report in combat zones and argued against media censorship. Foreword by Eric Wakin Contributors: Cynthia Copple, Art Greenspon, Don Hirst, Brent Procter

This New York Times bestselling account of books parachuted to soldiers during WWII is a “cultural history that does much to explain modern America” (USA Today). When America entered World War II in 1941, we faced an enemy that had banned and burned 100 million books. Outraged librarians launched a campaign to send free books to American troops, gathering 20 million hardcover donations. Two years later, the War Department and the publishing industry stepped in with an extraordinary program: 120 million specially printed paperbacks designed for troops to carry in their pockets and rucksacks in every theater of war. These small, lightweight Armed Services Editions were beloved by the troops and are still fondly remembered today. Soldiers read them while waiting to land at Normandy, in hellish trenches in the midst of battles in the Pacific, in field hospitals, and on long bombing flights. This pioneering project not only listed soldiers’ spirits, but also helped rescue The Great Gatsby from obscurity and made Betty Smith, author of A Tree Grows in Brooklyn, into a national icon. “A thoroughly engaging, enlightening, and often uplifting account . . . I was enthralled and moved.” — Tim O’Brien, author of The Things They Carried “Whether or not you’re a book lover, you’ll be moved.” — Entertainment Weekly

In just six days, the United States Strategic Air Forces changed the course of military offense in World War II. During those six days, they launched the largest bombing campaign of the war, dropping roughly ten thousand tons of bombs in a rain of destruction that would take the skies back from the Nazis . . . The Allies knew that if they were to invade Hitler’s Fortress Europe, they would have to wrest air superiority from the mighty Luftwaffe. The plan of the Unites States Strategic Air Forces was extremely risky. During the week of February 20, 1944—and joined by the RAF Bomber Command—the USAAF Eighth and Fifteenth Air Force bombers took on this vital mission. They ran the gauntlet of the most heavily defended air space in the world to deal a death blow to Germany’s aircraft industry and made them pay with the planes already in the air. In the coming months, this Big Week would prove a deciding factor in the war. Both sides were dealt losses, but whereas the Allies could recover, damage to the Luftwaffe was irreparable. Thus, Big Week became one of the most important episodes of World War II and, coincidentally, one of the most overlooked—until now.

'James Holland is a master' BBC History It was to be the battle to end the air war once and for all. During the third week of February 1944, the combined Allied air forces launched their first-ever round-the-clock bomber offensive against Germany. The aim was to smash the main factories and production centres of the Luftwaffe and at the same time draw the German fighter force up into the air and into battle. Big Week is the knife-edge story of bomber against flak gun and fighter, but also, crucially, fighter against fighter. Following the fortunes of pilots and aircrew from both sides, this is a blistering narrative of one of the most critical periods of the entire war. Big Week was the largest air battle ever witnessed, but it has been largely forgotten – until now.

The mother of a childhood friend summons Nick Blud back to his old Ukranian-American New Jersey neighborhood, where something unspeakable has just happened, in this harrowing tale about friendship and love, America, and the immigrant's dream.