"Everyone knows about Pat Tillman, the hero who didn't come home after a tragic encounter with friendly fire in Afghanistan. Aftermath is the untold story of what happened in the accident's wake--and the fall and unlikely redemption of Steven Elliot, a fellow soldier behind the bullets that killed Tillman. Though Elliott was only a young man in his first gunfight, following his superior officer's direction, the shame and regret over his actions wrecked his life. In the years that followed, he suffered from PTSD, depression, and alcohol addiction--and saw no way out beyond suicide. But then a supernatural encounter with God changed everything, restored his broken marriage, and set him on the path to a new mission of helping veterans through the trauma that too often comes in the aftermath of their service. A story of war and faith, love and tragedy, and ultimate healing"--

From the #1 New York Times bestselling author of Restart, a story of telling truth from lies -- and finding out what being a hero really means. There are two things Trevor loves more than anything else: playing war-based video games and his great-grandfather Jacob, who is a true-blue, bona fide war hero. At the height of the war, Jacob helped liberate a small French village, and was given a hero's welcome upon his return to America.Now it's decades later, and Jacob wants to retrace the steps he took during the war -- from training to invasion to the village he is said to have saved. Trevor thinks this is the coolest idea ever. But as they get to the village, Trevor discovers there's more to the story than what he's heard his whole life, causing him to wonder about his great-grandfather's heroism, the truth about the battle he fought, and importance of genuine valor.

Drawing on previously unpublished eyewitness accounts, prizewinning historian Donald L. Miller has written what critics are calling one of the most powerful accounts of warfare ever published. Here are the horror and heroism of World War II in the words of the men who fought it, the journalists who covered it, and the civilians who were caught in its fury. Miller gives us an up-close, deeply personal view of a war that was more savagely fought—and whose outcome was in greater doubt—than readers might imagine. This is the war that Americans at the home front would have read about had they had access to the previously censored testimony of the soldiers on which Miller builds his gripping narrative. Miller covers the entire war—on land, at sea, and in the air—and provides new coverage of the brutal island fighting in the Pacific, the bomber war over Europe, the liberation of the death camps, and the contributions of African Americans and other minorities. He concludes with a suspenseful, never-before-told story of the atomic bombing of Nagasaki, based on interviews with the men who flew the mission that ended the war.

A Green Beret veteran recreates the horrors of the Vietnam War experience and the courage and camaraderie of the men who fought side-by-side with the Montagnards, fiercely independent primitive tribesmen from the central Vietnam highlands.

" ... an astonishing urban fable of life in a lawless, war-torn nation, heightened by the uncanny artwork of Italy's maestro graphic novel author."--Front inside flap.

View more details of this book at www.walkerbooks.com.au

In a book that radically and fundamentally revises the way we think about war, Miriam Cooke charts the emerging tradition of women's contributions to what she calls the "War Story," a genre formerly reserved for men. Concentrating on the contemporary literature of the Arab world, Cooke looks at how alternatives to the master narrative challenge the authority of experience and the permission to write. She shows how women who write themselves and their experiences into the War Story undo the masculine contract with violence, sexuality, and glory. There is no single War Story, Cooke concludes; the standard narrative—and with it the way we think about and conduct war—can be changed. As the traditional time, space, organization, and representation of war have shifted, so have ways of describing it. As drug wars, civil wars, gang wars, and ideological wars have moved into neighborhoods and homes, the line between combat zones and safe zones has blurred. Cooke shows how women's stories contest the acceptance of a dyadically structured world and break down the easy oppositions—home vs. front, civilian vs. combatant, war vs. peace, victory vs. defeat—that have framed, and ultimately promoted, war.