White Ghost

In the Pacific during WWII, Billy Boyle must discover if skipper, and future president, Jack Kennedy is a cold-blooded killer. 1943: In the midst of the brutal, hard-fought Solomon Islands campaign between the Allies and the Japanese forces, Lieutenant Billy Boyle receives an odd assignment: he’s sent by the powerful Kennedy family to investigate a murder in which PT skipper (and future president) Jack Kennedy has been implicated. The victim is a native coastwatcher, an allied intelligence operative, whom Kennedy discovered on the island of Tulagi with his head bashed in. That’s Kennedy’s story, anyhow. Kennedy was recovering in the Navy hospital on the island after the sinking of his PT-109 motor torpedo boat. The military hasn’t decided yet whether to make him a hero for surviving the attack, or have him court-martialed for losing the boat, and the last thing the Kennedy clan wants is a murder charge hanging over his head. Billy knows firsthand that he shouldn’t trust Jack: the man is a charmer, a womanizer, and, when it suits his needs, a liar. But would he kill someone in cold blood? And if so, why? The first murder is followed by two more, and to find the killer, Billy must sort through a tangled, shifting web of motives and identities, even as combat rages all around him.

The White Ghost, as Ken Le Breton was known to all, was born in Sydney in 1924. After riding in Australia he came to the UK in 1947 and became one of the favorite riders of his generation. Ken rode for Newcastle Diamonds in 1947-48 and Ashfield Giants in 1949-50. He returned to Australia in the winter of 1950 to continue racing, and was involved in a crash on his home track in a meaningless race on January 5, 1951. He never regained consciousness and died 24 hours later.

The White Ghost is a story of friendship and adventure. Hunting in the wilderness and Indian Superstitions. But it's really about much, much more: It's all about one man's destiny, and another man's promise to a little boy.

A coming of age story of two American sisters in Hong Kong during the late 1960s. “A haunting novel written with the craft and grace of a master” (Isabel Allende). Summer 1967. The turmoil of the Maoist revolution is spilling over into Hong Kong and causing unrest as war rages in neighboring Vietnam. White Ghost Girls is the story of Frankie and Kate, two American sisters living in a foreign land in a chaotic time. With their war-photographer father off in Vietnam, Marianne, their beautiful but remote mother, keeps the family nearby. Although bound by a closeness of living overseas, the sisters could not be more different—Frankie pulses with curiosity and risk, while Kate is all eyes and ears. Marianne spends her days painting watercolors of the lush surroundings, leaving the girls largely unsupervised, while their Chinese nanny, Ah Bing, does her best to look after them. One day in a village market, they decide to explore—with tragic results. In Alice Greenway’s exquisite gem of a novel, two girls tumble into their teenage years against an extraordinary backdrop both sensuous and dangerous. This astonishing literary debut is a tale of sacrifice and solidarity that gleams with the kind of intense, complicated love that only exists between sisters. “Greenway is a remarkable young writer who vividly evokes Hong Kong’s sights, smells, and sounds in poetic, finely detailed prose. What’s more, she seems to have remembered every single charged emotion from adolescence and filters them all through the sisters’ fierce, complex relationship. A heartbreakingly beautiful debut.” —Booklist, starred review

This volume introduces short stories and essays by Kita Morio (1927-2011), one of the most significant, prolific, and beloved post-war writers in Japan. Also known by his literary persona, Dokutoru ManbÅ (Doctor Manbo), Kita was a remarkably versatile writer who produced both serious and comical works in a wide variety of genres. The short stories and essays included in this collection have been carefully selected from Kita's large body of writings to exhibit the breadth of his work. The collection includes his autobiographical fiction, comical essays, science fiction, somber fictional stories, and stories for children. Death, a work of autobiographical fiction, depicts the death and the writer's memories of his father, SaitÅ Mokichi, one of the most important poets in modern Japan. Being a psychiatrist and bipolar patient himself, Kita comically talks about his eccentric behavior during the manic state in the essay "I Am a Manic Patient." The title story, "The Red Ghost and the White Ghost," is a children's story about two ghosts who are incapable of scaring people. Although it is a story for children, Kita subtly includes his criticism of modern society where people value only scientific and tangible things.

Set in a fascinating alternative world in which ghosts are real, the United States never came into existence and Russia is still ruled by the Romanovs, this sequel to Of Tangible Ghosts and The Ghost of the Revelator continues the adventures of semi-retired spy Dr. Johan Eschbach. His lovely wife Llysette du Boise, a refugee from the burning remains of France and a world-famous novelist, has been invited to provide a command performance for the Russian Imperial household. Johan accompanies her, allowing him to work on the oil concession in Russian Alaska that Columbia so desperately needs and do some spying on the side. Johan's espionage is carried out against the backdrop of the famous white nights of St. Petersburg, the nearly Arctic midsummer when the sun barely dips below the horizon and the sky seems to dissolve in ivory light. But even the oil shortage will fade to insignificance when Johan discovers what new weapons technology the Russians are developing, a threat even more fearsome than the atomic bombs of Austro-Hungary. Working in the tradition of Gordon R. Dickson and Poul Anderson for hard-edged adventure with sophisticated social and political dimensions, Modesitt provides a unique blend of speculation and intrigue that brings the trilogy to a rousing end.