Now It Can Be Told

In 'Now It Can Be Told,' Philip Gibbs offers a candid and unvarnished portrait of World War I, which stands out in stark contrast to the sanitized versions that were permissible under wartime censorship. Gibbs masterfully employs a rich, journalistic prose style that captures the harrowing experiences and untold stories of soldiers on the Western Front. His work is not only a literary accomplishment but also a piece of historical journalism that has significantly contributed to the contemporary understanding of the Great War. Within the literary context, his narrative breaks free from the constraints of his time, providing a raw and essential account of the true costs of conflict. Philip Gibbs, an esteemed war correspondent, bore witness to the atrocities of the First World War, through which he experienced the indelible traumas and heroism of the battlefield firsthand. This direct exposure to the horrors of war informed his reflective and compassionate approach in documenting the lives of soldiers and civilians affected by the conflict. Gibbs's narrative is fuelled by an urgency to reveal the truths that wartime censorship had suppressed, a testament to his commitment to journalistic integrity and transparency. The book comes highly recommended for readers with an interest in military history, journalism, and the literature of war. Gibbs's 'Now It Can Be Told' transcends its own era to resonate with contemporary audiences seeking a deeper understanding of the human condition amidst the chaos of war. It is an essential read for anyone who wishes to grasp the reality of warfare beyond the romanticism and valor often depicted, unveiling the courage, tragedy, and sometimes the mundanity, of life on the front lines.

"Now It Can Be Told" by Philip Gibbs is a book about World War I. In this book, the author provides insight into some aspects of the war that the world should know and remember as a warning of what will happen again if a heritage of evil and folly is not cut out of the hearts of people. The book also describes the reality of modern warfare, not only as it appeared to British soldiers but to soldiers on all fronts where conditions were the same.

The hundreds and thousands of unfortunate Punjabees, Sarhadees and Sindhies who putting. faith in the statements that everything will 'stand still' tarried too long behind and perished in the conflagration, unwept, unsung, unhonoured but certainly not unremembered.

General Leslie Groves and J. Robert Oppenheimer were the two men chiefly responsible for the building of the first atomic bomb at Los Alamos, code name "The Manhattan Project." As the ranking military officer in charge of marshalling men and material for what was to be the most ambitious, expensive engineering feat in history, it was General Groves who hired Oppenheimer (with knowledge of his left-wing past), planned facilities that would extract the necessary enriched uranium, and saw to it that nothing interfered with the accelerated research and swift assembly of the weapon.This is his story of the political, logistical, and personal problems of this enormous undertaking which involved foreign governments, sensitive issues of press censorship, the construction of huge plants at Hanford and Oak Ridge, and a race to build the bomb before the Nazis got wind of it. The role of groves in the Manhattan Project has always been controversial. In his new introduction the noted physicist Edward Teller, who was there at Los Alamos, candidly assesses the general's contributions-and Oppenheimer's-while reflecting on the awesome legacy of their work.

INSTANT NATIONAL BESTSELLER WINNER OF THE WRITERS’ TRUST SHAUGHNESSY COHEN PRIZE WINNER OF THE OTTAWA BOOK AWARD FOR NONFICTION ​Former Chief Justice of the Supreme Court of Canada Beverley McLachlin offers an intimate and revealing look at her life, from her childhood in the Alberta foothills to her career on the Supreme Court, where she helped to shape the social and moral fabric of the country. As a young girl, Beverley McLachlin’s world was often full of wonder—at the expansive prairie vistas around her, at the stories she discovered in the books at her local library, and at the diverse people who passed through her parents’ door. While her family was poor, their lives were rich in the ways that mattered most. Even at a young age, she had an innate sense of justice, which was reinforced by the lessons her parents taught her: Everyone deserves dignity. All people are equal. Those who work hard reap the rewards. Willful, spirited, and unusually intelligent, she discovered in Pincher Creek an extraordinary tapestry of people and perspectives that informed her worldview going forward. Still, life in the rural Prairies was lonely, and gaining access to education—especially for girls—wasn’t always easy. As a young woman, McLachlin moved to Edmonton to pursue a degree in philosophy. There, she discovered her passion lay not in academia, but in the real world, solving problems directly related to the lives of the people around her. And in the law, she found the tools to do exactly that. She soon realized, though, that the world was not always willing to accept her. In her early years as an articling student and lawyer, she encountered sexism, exclusion, and old boys’ clubs at every turn. And outside the courtroom, personal loss and tragedies struck close to home. Nonetheless, McLachlin was determined to prove her worth, and her love of the law and the pursuit of justice pulled her through the darkest moments. McLachlin’s meteoric rise through the courts soon found her serving on the highest court in the country, becoming the first woman to be named Chief Justice of the Supreme Court of Canada. She rapidly distinguished herself as a judge of renown, one who was never afraid to take on morally complex or charged debates. Over the next eighteen years, McLachlin presided over the most prominent cases in the country—involving Charter challenges, same-sex marriage, and euthanasia. One judgment at a time, she laid down a legal legacy that proved that fairness and justice were not luxuries of the powerful but rather obligations owed to each and every one of us. With warmth, honesty, and deep wisdom, McLachlin invites us into her legal and personal life—into the hopes and doubts, the triumphs and losses on and off the bench. Through it all, her constant faith in justice remained her true north. In an age of division and uncertainty, McLachlin’s memoir is a reminder that justice and the rule of law remain our best hope for a progressive and bright future.

Now a major Apple TV+ series starring Octavia Spencer and Aaron Paul—produced by Reese Witherspoon’s Hello Sunshine! Serial meets Ruth Ware’s In A Dark, Dark Wood in this inventive and twisty psychological thriller about a mega-hit podcast that reopens a murder case and threatens to unravel the carefully constructed life of the victim’s daughter. The only thing more dangerous than a lie…is the truth. Josie Buhrman has spent the last ten years trying to escape her family and with good reason. After her father’s murder thirteen years prior, her mother ran away to join a cult and her twin sister Lanie, once Josie’s closest friend and confidant, betrayed her in an unimaginable way. Now, Josie has finally put down roots in New York, settling into domestic life with her partner Caleb, and that’s where she intends to stay. The only problem is that she has lied to Caleb about every detail of her past—starting with her last name. When investigative reporter Poppy Parnell sets off a media firestorm with a megahit podcast that reopens the long-closed case of Josie’s father’s murder, questioning whether the wrong person may be behind bars, Josie’s world begins to unravel. Meanwhile, the unexpected death of Josie’s long-absent mother forces her to return to her Midwestern hometown where she must confront the demons from her past—and the lies on which she has staked her future.

Don’t miss the #1 New York Times bestselling blockbuster and Reese Witherspoon Book Club Pick that’s sold 3 million copies strong—now an Apple TV+ limited series starring Jennifer Garner! The “page-turning, exhilarating” (PopSugar) and “heartfelt thriller” (Real Simple) about a woman who thinks she’s found the love of her life—until he disappears. Before Owen Michaels disappears, he smuggles a note to his beloved wife of one year: Protect her. Despite her confusion and fear, Hannah Hall knows exactly to whom the note refers—Owen’s sixteen-year-old daughter, Bailey. Bailey, who lost her mother tragically as a child. Bailey, who wants absolutely nothing to do with her new stepmother. As Hannah’s increasingly desperate calls to Owen go unanswered, as the FBI arrests Owen’s boss, as a US marshal and federal agents arrive at her Sausalito home unannounced, Hannah quickly realizes her husband isn’t who he said he was. And that Bailey just may hold the key to figuring out Owen’s true identity—and why he really disappeared. Hannah and Bailey set out to discover the truth. But as they start putting together the pieces of Owen’s past, they soon realize they’re also building a new future—one neither of them could have anticipated. With its breakneck pacing, dizzying plot twists, and evocative family drama, The Last Thing He Told Me is a “page-turning, exhilarating, and unforgettable” (PopSugar) suspense novel.

“An intense snapshot of the chain reaction caused by pulling a trigger.” —Booklist (starred review) “Astonishing.” —Kirkus Reviews (starred review) “A tour de force.” —Publishers Weekly (starred review) A Newbery Honor Book A Coretta Scott King Honor Book A Printz Honor Book A Time Best YA Book of All Time (2021) A Los Angeles Times Book Prize Winner for Young Adult Literature Longlisted for the National Book Award for Young People’s Literature Winner of the Walter Dean Myers Award An Edgar Award Winner for Best Young Adult Fiction Parents’ Choice Gold Award Winner An Entertainment Weekly Best YA Book of 2017 A Vulture Best YA Book of 2017 A Buzzfeed Best YA Book of 2017 An ode to Put the Damn Guns Down, this is New York Times bestselling author Jason Reynolds’s electrifying novel that takes place in sixty potent seconds—the time it takes a kid to decide whether or not he’s going to murder the guy who killed his brother. A cannon. A strap. A piece. A biscuit. A burner. A heater. A chopper. A gat. A hammer A tool for RULE Or, you can call it a gun. That’s what fifteen-year-old Will has shoved in the back waistband of his jeans. See, his brother Shawn was just murdered. And Will knows the rules. No crying. No snitching. Revenge. That’s where Will’s now heading, with that gun shoved in the back waistband of his jeans, the gun that was his brother’s gun. He gets on the elevator, seventh floor, stoked. He knows who he’s after. Or does he? As the elevator stops on the sixth floor, on comes Buck. Buck, Will finds out, is who gave Shawn the gun before Will took the gun. Buck tells Will to check that the gun is even loaded. And that’s when Will sees that one bullet is missing. And the only one who could have fired Shawn’s gun was Shawn. Huh. Will didn’t know that Shawn had ever actually USED his gun. Bigger huh. BUCK IS DEAD. But Buck’s in the elevator? Just as Will’s trying to think this through, the door to the next floor opens. A teenage girl gets on, waves away the smoke from Dead Buck’s cigarette. Will doesn’t know her, but she knew him. Knew. When they were eight. And stray bullets had cut through the playground, and Will had tried to cover her, but she was hit anyway, and so what she wants to know, on that fifth floor elevator stop, is, what if Will, Will with the gun shoved in the back waistband of his jeans, MISSES. And so it goes, the whole long way down, as the elevator stops on each floor, and at each stop someone connected to his brother gets on to give Will a piece to a bigger story than the one he thinks he knows. A story that might never know an END…if Will gets off that elevator. Told in short, fierce staccato narrative verse, Long Way Down is a fast and furious, dazzlingly brilliant look at teenage gun violence, as could only be told by Jason Reynolds.