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A dramatic and damning narrative account of how America has fought the
"War on Terror"

In the days immediately following September 11th, the most powerful people in the country were panic-stricken. The radical decisions about how to combat terrorists and strengthen national security were made in a state of utter chaos and fear, but the key players, Vice President Dick Cheney and his powerful, secretive adviser David Addington, used the crisis to further a long held agenda to enhance Presidential powers to a degree never known in U.S. history, and obliterate Constitutional protections that define the very essence of the American experiment.

THE DARK SIDE is a dramatic, riveting, and definitive narrative account of how the United States made terrible decisions in the pursuit of terrorists around the world-- decisions that not only violated the Constitution to which White House officials took an oath to uphold, but also hampered the pursuit of Al Qaeda. In gripping detail, acclaimed New Yorker writer and bestselling author, Jane Mayer, relates the impact of these decisions—U.S.-held prisoners, some of them completely innocent, were subjected to treatment more reminiscent of the Spanish Inquisition than the twenty-first century.

THE DARK SIDE will chronicle real, specific cases, shown in real time against the larger tableau of what was happening in Washington, looking at the intelligence gained—or not—and the price paid. In some instances, torture worked. In many more, it led to false information, sometimes with devastating results. For instance, there is the stunning admission of one of the detainees, Sheikh Ibn al-Libi, that the confession he gave under duress—which provided a key piece of evidence buttressing congressional support of going to war against Iraq--was in fact fabricated, to make the torture stop.

In all cases, whatever the short term gains, there were incalculable losses in terms of moral standing, and our country's place in the world, and its sense of itself. THE DARK SIDE chronicles one of the most disturbing chapters in American history, one that will serve as the lasting legacy of the George W. Bush presidency..
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Lee Child on Rules of Deception
Lee Child has crafted one of literature's most popular anti-heroes in the form of Jack Reacher, the iconic ex-military policeman of his bestselling novels. The author of Nothing to Lose talks about what makes a good thriller -- and why Christopher Reich is a novelist worthy of a gold medal.

I discovered Christopher Reich exactly ten years ago. His first book came out around the same time my second book was published. The modest prosperity that one's first book deal brings allowed me to pick up hardcovers that caught my eye. And Numbered Account caught my eye. And it lived up to its promise. It was fast, fresh, glossy, and very exciting. I thought: Reich is a keeper.

And then he got better. It was always clear that he had talent to burn, but he chose to accompany it with a real work ethic. His second, third and fourth books built and built until the release of the next one was an event to be anticipated. (And right there is my only complaint: Reich doesn't write fast enough.)

His fifth book - The Patriot's Club - was a real achievement. It was a slam-dunk winner of the International Thriller Writer's first annual Best Novel award. Awards are often awkward. There's usually a measure of grumbling, because often people don't agree with the choice of winner. But not a word was heard against "The Patriot's Club." In fact nothing was heard, because the applause was too loud.

So I was really looking forward to Rules of Deception. I got an advance copy. I cracked it open. I started reading. Mostly I read like any other reader, but a small part of me reads like a writer. I think all writers experience the same thing. We sense things between the lines, especially energy and inspiration.

And ambition.

Rules of Deception starts with a short prologue, and then the first chapter introduces Jonathan Ransom, the main character. Two pages, and then nine pages. The prologue is a teaser. It baits the hook. It's a two-page masterpiece. It's intriguing, and then it's really intriguing. It promises big things ahead. Then chapter one introduces the guy who's going to have to deal with them. And why, indirectly.

Eleven pages. The reader in me wanted to race ahead. But the writer in me had to pause a moment. Because between the lines I was sensing something. Maybe because it's an Olympic year I can only explain it like this: picture the high jump event. Six competitors are still in. Then five, then four. Then three. Then the gold, the silver, and the bronze are settled. But the rules of track and field allow the winner to go on. The bar is raised. A personal best. The Olympic record. The bar is raised again. World record height. The stadium goes quiet. The jumper stills himself on the runway. Intense concentration. The gold medal is already in the bag. Uncharted territory. The jumper rocks from foot to foot, his mind on nothing except jumping higher than he has ever jumped before.

That's exactly the between-the-lines feeling I was getting from Reich, eleven pages into Rules of Deception - a world-class writer preparing to accomplish something truly noteworthy.

There are a further 377 pages. They live up to the promise.

--Lee Child

Amazon Exclusive Essay: Christopher Reich on Thrillers
Name your five favorite books.

For me they're all thrillers. The Day of the Jackal, Eye of the Needle, The Bourne Identity , Noble House, and The Spy Who Came in From the Cold. My life stopped when I picked up each of those books and it didn't start again until I finished the last page. I didn't actually read them so much as disappear between their covers. That was me trying to catch the Jackal before he assassinated Charles De Gaulle, and me again at the wheel of a Jaguar XKE convertible racing down the Peak in Hong Kong. The fact is that for me life is somehow better when I'm reading a great book. Richer, more exciting…heck, I don't know, just better.

About two years ago, I decided that it was my turn to write the thriller I'd always wanted to read. I knew exactly where to start. All I had to do was "write what I know." These days, I know a lot about the intelligence community. Not the stuff you read about in the papers -- the stuff you never read about. Over the years, I've made a lot of friends in Washington and overseas. Diplomats, spies, soldiers, politicians - men and women at the highest levels of government. And, I can assure you that what they've taught me about how the world really works is a lot more interesting and a lot more frightening than you'd ever imagine.

That's where my newest book, Rules of Deception, comes in. It's a story about an honest and courageous doctor named Jonathan Ransom. He's a surgeon who works for Doctors Without Borders in some of the toughest parts of the world. He's a happily married man with a big heart and a beautiful English wife he deeply loves named Emma who works with him. What Jonathan doesn't know is that nothing about his life is what it seems. In fact, it's all a web of lies and he's caught in the middle of something extraordinarily dangerous.

I can't say more than that, and I shouldn't have to, because if I've done my job right, when you get to page five you'll be hooked and you won't come up for air until it's all said and done.

--Christopher Reich

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Price: $10.69 [Notify me when price goes down.]

“Fascists,” “Brownshirts,” “jackbooted stormtroopers”—such are the insults typically hurled at conservatives by their liberal opponents. Calling someone a fascist is the fastest way to shut them up, defining their views as beyond the political pale. But who are the real fascists in our midst?

Liberal Fascism offers a startling new perspective on the theories and practices that define fascist politics. Replacing conveniently manufactured myths with surprising and enlightening research, Jonah Goldberg reminds us that the original fascists were really on the left, and that liberals from Woodrow Wilson to FDR to Hillary Clinton have advocated policies and principles remarkably similar to those of Hitler's National Socialism and Mussolini's Fascism.

Contrary to what most people think, the Nazis were ardent socialists (hence the term “National socialism”). They believed in free health care and guaranteed jobs. They confiscated inherited wealth and spent vast sums on public education. They purged the church from public policy, promoted a new form of pagan spirituality, and inserted the authority of the state into every nook and cranny of daily life. The Nazis declared war on smoking, supported abortion, euthanasia, and gun control. They loathed the free market, provided generous pensions for the elderly, and maintained a strict racial quota system in their universities—where campus speech codes were all the rage. The Nazis led the world in organic farming and alternative medicine. Hitler was a strict vegetarian, and Himmler was an animal rights activist.

Do these striking parallels mean that today’s liberals are genocidal maniacs, intent on conquering the world and imposing a new racial order? Not at all. Yet it is hard to deny that modern progressivism and classical fascism shared the same intellectual roots. We often forget, for example, that Mussolini and Hitler had many admirers in the United States. W.E.B. Du Bois was inspired by Hitler's Germany, and Irving Berlin praised Mussolini in song. Many fascist tenets were espoused by American progressives like John Dewey and Woodrow Wilson, and FDR incorporated fascist policies in the New Deal.

Fascism was an international movement that appeared in different forms in different countries, depending on the vagaries of national culture and temperament. In Germany, fascism appeared as genocidal racist nationalism. In America, it took a “friendlier,” more liberal form. The modern heirs of this “friendly fascist” tradition include the New York Times, the Democratic Party, the Ivy League professoriate, and the liberals of Hollywood. The quintessential Liberal Fascist isn't an SS storm trooper; it is a female grade school teacher with an education degree from Brown or Swarthmore.

These assertions may sound strange to modern ears, but that is because we have forgotten what fascism is. In this angry, funny, smart, contentious book, Jonah Goldberg turns our preconceptions inside out and shows us the true meaning of Liberal Fascism.

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Price: $14.79 [Notify me when price goes down.]

Product Description
An extraordinary debut novel of love that survives the fires of hell and transcends the boundaries of time.

The narrator of The Gargoyle is a very contemporary cynic, physically beautiful and sexually adept, who dwells in the moral vacuum that is modern life. As the book opens, he is driving along a dark road when he is distracted by what seems to be a flight of arrows. He crashes into a ravine and suffers horrible burns over much of his body. As he recovers in a burn ward, undergoing the tortures of the damned, he awaits the day when he can leave the hospital and commit carefully planned suicide—for he is now a monster in appearance as well as in soul.

A beautiful and compelling, but clearly unhinged, sculptress of gargoyles by the name of Marianne Engel appears at the foot of his bed and insists that they were once lovers in medieval Germany. In her telling, he was a badly injured mercenary and she was a nun and scribe in the famed monastery of Engelthal who nursed him back to health. As she spins their tale in Scheherazade fashion and relates equally mesmerizing stories of deathless love in Japan, Iceland, Italy, and England, he finds himself drawn back to life—and, finally, in love. He is released into Marianne's care and takes up residence in her huge stone house. But all is not well. For one thing, the pull of his past sins becomes ever more powerful as the morphine he is prescribed becomes ever more addictive. For another, Marianne receives word from God that she has only twenty-seven sculptures left to complete—and her time on earth will be finished.

Already an international literary sensation, The Gargoyle is an Inferno for our time. It will have you believing in the impossible.

Andrew Davidson Talks About Becoming a Writer
Some of what follows is true.

When I was about seven, I had a turtle named Stripe. I decided, because I liked my turtle and Jacques Cousteau, that I wanted to be a marine biologist. This ambition lasted until I was ten years old, when I spent a year gazing into the abyss, hoping that the abyss would not gaze back at me. At eleven, I longed for a master to teach me the secrets of the ninja, but the teacher did not appear; this probably means that as a student I was not ready. As I entered my teens, I set my heart upon becoming a professional hockey player. On weekend nights, the final game at the local arena ended around 10 p.m. but the icemaker was unable to leave the building until about midnight, as he had to clean the dressing rooms and do maintenance. I bribed him with presents of Aqua Velva aftershave to let me play alone on the rink until he headed home. Despite my devotion, I never developed the skills to make it off the small-town rink and into the big leagues. My dream shattered, at sixteen I started to spend more time writing. I began by changing the lyrics to Doors songs. I rewrote "Break On Through" so that it became "Live to Die": "Soldier in the forest / dodging bullets thick / only took one / to make him cry / All of us just live to die." Clearly, writing was my future.

I soon realized that, since I still had no authorial voice of my own, I should at least imitate better poets than Jim Morrison. Soon I was word-raping Leonard Cohen, e.e. cummings, Sylvia Plath, William Blake, and John Milton. After writing much abusively derivative poetry, I moved onto stage plays written in a mockery of the style of Tennessee Williams, which also didn't work out so well. Next, I tried to put baby in a corner, until it was explained to me that nobody puts baby in a corner. Following this, I produced short stories that would have been much better if they were much shorter. Then, screenplays that even Alan Smithee wouldn't direct.

Somewhere along the way, I managed to get a degree in English Literature; this was strange, as I thought I was studying cardiology. Undaunted, off to Vancouver Film School I went, but naturally not to study film. Instead, I took the new media course, because there was this thing called the internet that was just taking off. I also spent a fair amount of time using digital editing software for video and audio. An example project: I slowed down the final movement to Beethoven's Ninth Symphony, looped it backwards, put in a heavy drumbeat, and end up with a funeral dirge. "Ode to Joy"? I think not. "Ode to Bleakness" is more like it; I was very deep, and showed it by destroying joy.

After this course finished, I had tens of thousands of dollars of student debt, and could no longer avoid getting a job. I soon discovered, in no uncertain terms, that work is no fun. I stuck it out for as long as I could, which was way less than a lifetime. As my thirtieth birthday approached, I became incredibly aware that I had never lived abroad, so I moved to Japan.

I had no idea if I would like Japan, but I vowed to stick it out for a year. I did, and then another year, and another, and another, and another. In the beginning, I worked as a kind of substitute teacher of English, covering stints in classrooms that needed a temporary instructor. I lived in fifteen different cities during my first two years, traveling from the northern island of Hokkaido all the way down to the southern island of Okinawa. It was a great introduction to the country, but eventually the constant relocation became too much. I got a job in a Tokyo office, writing English lessons for Japanese learners on the internet. I lived in the big city for three years, and loved it: hooray for sushi, hooray for sumo, and hooray for cartoon mascots.

While in Japan, I entertained myself by writing and, having already mangled poetry, short stories, stage plays and screenplays, I thought it was time to give a novel a shot. A strange thing happened: I found that I don't write like other people when it comes to novels—or at least, none of which I know. It's true that I've read comparisons of my novel to a number of other books—The Name of the Rose, The English Patient, The Shadow of the Wind—but I haven't read any of them. (To my great shame, really, and I suppose I should. Since they are my supposed influences, I should become familiar with them. I'll appear more intelligent in interviews.)

I liked writing The Gargoyle, and I think I'll write another novel. If I can, I'll make up new characters and a new plot. That's my plan.


While in Japan, I entertained myself by writing and, having already mangled poetry, short stories, stage plays and screenplays, I thought it was time to give a novel a shot. A strange thing happened: I found that I don't write like other people when it comes to novels—or at least, none of which I know. It's true that I've read comparisons of my novel to a number of other books—The Name of the Rose, The English Patient, The Shadow of the Wind—but I haven't read any of them. (To my great shame, really, and I suppose I should. Since they are my supposed influences, I should become familiar with them. I'll appear more intelligent in interviews.)

I liked writing The Gargoyle, and I think I'll write another novel. If I can, I'll make up new characters and a new plot. That's my plan.

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Price: $12.49 [Notify me when price goes down.]

A fascinating journey into the hidden psychological influences that derail our decision-making, Sway will change the way you think about the way you think.

Why is it so difficult to sell a plummeting stock or end a doomed relationship? Why do we listen to advice just because it came from someone “important”? Why are we more likely to fall in love when there’s danger involved? In Sway, renowned organizational thinker Ori Brafman and his brother, psychologist Rom Brafman, answer all these questions and more.

Drawing on cutting-edge research from the fields of social psychology, behavioral economics, and organizational behavior, Sway reveals dynamic forces that influence every aspect of our personal and business lives, including loss aversion (our tendency to go to great lengths to avoid perceived losses), the diagnosis bias (our inability to reevaluate our initial diagnosis of a person or situation), and the “chameleon effect” (our tendency to take on characteristics that have been arbitrarily assigned to us).

Sway introduces us to the Harvard Business School professor who got his students to pay $204 for a $20 bill, the head of airline safety whose disregard for his years of training led to the transformation of an entire industry, and the football coach who turned conventional strategy on its head to lead his team to victory. We also learn the curse of the NBA draft, discover why interviews are a terrible way to gauge future job performance, and go inside a session with the Supreme Court to see how the world’s most powerful justices avoid the dangers of group dynamics.

Every once in a while, a book comes along that not only challenges our views of the world but changes the way we think. In Sway, Ori and Rom Brafman not only uncover rational explanations for a wide variety of irrational behaviors but also point readers toward ways to avoid succumbing to their pull.

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Price: $11.95 [Notify me when price goes down.]

As the author of twenty bestselling books, John Grisham has set the standard for legal thrillers since the debut of The Firm in 1991. Enjoy this Q&A--as well as a personal note to Amazon readers--from John Grisham

1. Your new novel starts off where most courtroom dramas end--with the verdict. Where did you get the idea to reverse the usual order of events this time around?
The actual trial is not a terribly significant part of the story. Most all of the action and intrigue begins after the trial is over, with the verdict and the subsequent appeal.


2. The Appeal overtly suggests that elected judges can be bought. If the novel is meant as a cautionary tale, what's next--the Presidential primaries?
Why not? Over one billion dollars will be spent next year in the Presidential primaries and general election. With that kind of money floating around, anything can be bought.


3. Speaking of electoral politics, you've been more vocal recently about your political views ... first supporting Jim Webb for Senate and now endorsing Hillary Clinton for the White House. Have you given any thought to running for office yourself?
No. I made that mistake 25 years ago, and promised myself I would never do it again. I enjoy watching and participating in politics from the sidelines, but it's best to keep some distance.


4. This is your first legal thriller in three years. How did it feel to get back to the genre that started it all, and can fans expect another thriller from you next year?
I still enjoy writing the legal thrillers, and don't plan to get too far away from them. Obviously, they have been very good to me, and they remain popular. I plan to write one a year for the next several years.


5. Your nonfiction book The Innocent Man continues to be a bestseller in paperback. In your ongoing work with The Innocence Project, have you come across another story of the wrongfully convicted that begs to be written as nonfiction?
There are literally hundreds of great stories out there about wrongfully convicted defendants. I am continually astounded by these stories, and I resist the temptation to take the plunge again into non-fiction.


6. What's on your bedside reading list at the moment?
1. The Nine by Jeffrey Toobin
2. Eric Clapton's autobiography
3. East of Eden by John Steinbeck.

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Price: $6.30 [Notify me when price goes down.]

Harris serves up a treat that will capture and enchant audiences everywhere—a big, bold, and irresistible novel about football, family, and secrets

Brady Bledsoe and his mother, Carmyn, have a strong relationship A single mother, faithful churchgoer, and the owner of several successful Atlanta beauty salons, Carmyn has devoted herself to her son and his dream of becoming a professional football player. Brady has always followed her lead, including becoming a member of the church’s "Celibacy Circle." Now in his senior year at college, the smart, and very handsome, Brady is a lead contender for the Heisman Trophy and a spot in the NFL.

As sports agents hover around Brady, Barrett, a beautiful and charming cheerleader, sets her mind on tempting the celibate Brady and getting a piece of his multimillion-dollar future—but is that all she wants from him, and is she acting alone?

Carmyn is determined to protect her son. She’s also determined to protect the secret she’s kept from Brady his whole life. As things heat up on campus and Carmyn and Brady’s idyllic relationship starts to crumble, mother and son begin to wonder about the other—are you just too good to be true?

A sweeping novel about mothers and sons, football and beauty shops, secrets and lies, JUST TOO GOOD TO BE TRUE has all the ingredients that have made E. Lynn Harris a bestselling author: family, friendship, faith, and love.

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Price: $14.55 [Notify me when price goes down.]

In this groundbreaking historical exposé, Douglas A. Blackmon brings to light one of the most shameful chapters in American history—an “Age of Neoslavery” that thrived from the aftermath of the Civil War through the dawn of World War II.

Under laws enacted specifically to intimidate blacks, tens of thousands of African Americans were arbitrarily arrested, hit with outrageous fines, and charged for the costs of their own arrests. With no means to pay these ostensible “debts,” prisoners were sold as forced laborers to coal mines, lumber camps, brickyards, railroads, quarries, and farm plantations. Thousands of other African Americans were simply seized by southern landowners and compelled into years of involuntary servitude. Government officials leased falsely imprisoned blacks to small-town entrepreneurs, provincial farmers, and dozens of corporations—including U.S. Steel—looking for cheap and abundant labor. Armies of “free” black men labored without compensation, were repeatedly bought and sold, and were forced through beatings and physical torture to do the bidding of white masters for decades after the official abolition of American slavery.
The neoslavery system exploited legal loopholes and federal policies that discouraged prosecution of whites for continuing to hold black workers against their wills. As it poured millions of dollars into southern government treasuries, the new slavery also became a key instrument in the terrorization of African Americans seeking full participation in the U.S. political system.

Based on a vast record of original documents and personal narratives, Slavery by Another Name unearths the lost stories of slaves and their descendants who journeyed into freedom after the Emancipation Proclamation and then back into the shadow of involuntary servitude. It also reveals the stories of those who fought unsuccessfully against the re-emergence of human labor trafficking, the modern companies that profited most from neoslavery, and the system’s final demise in the 1940s, partly due to fears of enemy propaganda about American racial abuse at the beginning of World War II.
Slavery by Another Name is a moving, sobering account of a little-known crime against African Americans, and the insidious legacy of racism that reverberates today.

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Price: $17.45 [Notify me when price goes down.]

“People who take God seriously will not remain silent about their faith. They will often disagree about doctrine or policy, but they won’t be quiet. They can’t be. They’ll act on what they believe, sometimes at the cost of their reputations and careers Obviously the common good demands a respect for other people with different beliefs and a willingness to compromise whenever possible. But for Catholics, the common good can never mean muting themselves in public debate on foundational issues of human dignity. Christian faith is always personal but never private. This is why any notion of tolerance that tries to reduce faith to private idiosyncrasy, or a set of opinions that we can indulge at home but need to be quiet about in public, will always fail.”
—From the Introduction

Few topics in recent years have ignited as much public debate as the balance between religion and politics. Does religious thought have any place in political discourse? Do religious believers have the right to turn their values into political action? What does it truly mean to have a separation of church and state? The very heart of these important questions is here addressed by one of the leading voices on the topic, Charles J. Chaput, Archbishop of Denver.

While American society has ample room for believers and nonbelievers alike, Chaput argues, our public life must be considered within the context of its Christian roots. American democracy does not ask its citizens to put aside their deeply held moral and religious beliefs for the sake of public policy. In fact, it requires exactly the opposite.

As the nation’s founders knew very well, people are fallible. The majority of voters, as history has shown again and again, can be uninformed, misinformed, biased, or simply wrong. Thus, to survive, American democracy depends on an engaged citizenry —people of character, including religious believers, fighting for their beliefs in the public square—respectfully but vigorously, and without apology. Anything less is bad citizenship and a form of theft from the nation’s health. Or as the author suggests: Good manners are not an excuse for political cowardice.

American Catholics and other persons of goodwill are part of a struggle for our nation’s future, says Charles J. Chaput. Our choices, including our political choices, matter. Catholics need to take an active, vocal, and morally consistent role in public debate. We can’t claim to personally believe in the sanctity of the human person, and then act in our public policies as if we don’t. We can’t separate our private convictions from our public actions without diminishing both. In the words of the author, “How we act works backward on our convictions, making them stronger or smothering them under a snowfall of alibis.”

Vivid, provocative, clear, and compelling, Render unto Caesar is a call to American Catholics to serve the highest ideals of their nation by first living their Catholic faith deeply, authentically.

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Price: $13.83 [Notify me when price goes down.]

From the master of literary mayhem and provocation, a full-frontal Triple X novel that goes where no American work of fiction has gone before

Cassie Wright, porn priestess, intends to cap her legendary career by breaking the world record for serial fornication. On camera. With six hundred men. Snuff unfolds from the perspectives of Mr. 72, Mr. 137, and Mr. 600, who await their turn on camera in a very crowded green room. This wild, lethally funny, and thoroughly researched novel brings the huge yet underacknowledged presence of pornography in contemporary life into the realm of literary fiction at last. Who else but Chuck Palahniuk would dare do such a thing? Who else could do it so well, so unflinchingly, and with such an incendiary (you might say) climax?

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Price: $14.48 [Notify me when price goes down.]