In "Fly by Wire," one of America's greatest journalists takes us on a "fascinating" ("The New York Times") and sometimes humorous journey into the rapidly changing aviation industry. Langewiesche concisely and artfully renders forty years of history in the field by examining the financial problems, the unions, and ultimately the recent advances in technology. And he finds that aviation safety is field in which machine has now surpassed man, but man still manages to find ways -- hubris, ineptitude -- to cause accidents. Advances such as fly by wire suggest that in some cases it may prove best to cede authority to the machines, even if it means questioning our assumptions about human beings and heroism in the process.

In his shocking and revelatory new work, the celebrated journalist William Langewiesche investigates the burgeoning global threat of nuclear weapons production. This is the story of the inexorable drift of nuclear weapons technology from the hands of the rich into the hands of the poor. As more unstable and undeveloped nations find ways of acquiring the ultimate arms, the stakes of state-sponsored nuclear activity have soared to frightening heights. Even more disturbing is the likelihood of such weapons being manufactured and deployed by guerrilla non-state terrorists. Langewiesche also recounts the recent history of Abdul Qadeer Khan, the scientist at the forefront of nuclear development and trade in the Middle East who masterminded the theft and sale of centrifuge designs that helped to build Pakistan's nuclear arsenal, and who single-handedly peddled nuclear plans to North Korea, Iran, and other potentially hostile countries. He then examines in dramatic and tangible detail the chances for nuclear terrorism. From Hiroshima to the present day, Langewiesche describes a reality of urgent consequence to us all. This searing, provocative, and timely report is a triumph of investigative journalism, and a masterful laying out of the most critical political problem the world now faces.

The open ocean--that vast expanse of international waters--spreads across three-fourths of the globe. It is a place of storms and danger, both natural and manmade. And at a time when every last patch of land is claimed by one government or another, it is a place that remains radically free.
With typically understated lyricism, William Langewiesche explores this ocean world and the enterprises--licit and illicit--that flourish in the privacy afforded by its horizons. But its efficiencies are accompanied by global problems--shipwrecks and pollution, the hard lives and deaths of the crews of the gargantuan ships, and the growth of two pathogens: a modern and sophisticated strain of piracy and its close cousin, the maritime form of the new stateless terrorism.
This is the outlaw sea that Langewiesche brings startlingly into view. The ocean is our world, he reminds us, and it is wild.

Selected as one of the best books of 2002 by The New York Times, San Francisco Chronicle, Boston Globe, Los Angeles Times, and Chicago Sun-Times

Within days after September 11, 2001, William Langewiesche had secured unique, unrestricted, round-the-clock access to the World Trade Center site. American Ground is a tour of this intense, ephemeral world and those who improvised the recovery effort day by day, and in the process reinvented themselves, discovering unknown strengths and weaknesses. In all of its aspects--emotionalism, impulsiveness, opportunism, territoriality, resourcefulness, and fundamental, cacophonous democracy--Langewiesche reveals the unbuilding to be uniquely American and oddly inspiring, a portrait of resilience and ingenuity in the face of disaster.

William Langewiesche's life has been deeply intertwined with the idea and act of flying.  Fifty years ago his father, a test pilot, wrote Stick and Rudder, a text still considered by many to be the bible of aerial navigation.  Langewiesche himself learned to fly while still a child.  Now he shares his pilot's-eye view of flight with those of us who take flight for granted--exploring the inner world of a sky that remains as exotic and revealing as the most foreign destination.

Langewiesche tells us how flight happens--what the pilot sees, thinks, and feels.  His description is not merely about speed and conquest.  It takes the form of a deliberate climb, leading at low altitude first over a new view of a home, and then higher, into the solitude of the cockpit, through violent storms and ocean nights, and on to unexpected places in the mind.

In Langewiesche's hands it becomes clear, at the close of this first century of flight, how profoundly our vision has been altered by our liberation from the ground.  And we understand how, when we look around, we may find ourselves reflected in the grace and turbulence of a human sky.

Through stark observations and visceral experiences, Blood Orchid begins Charles Bowden's dizzying excavation of the brutal, systemic violence and corruption at the roots of American society. Like a nightmarish fever dream that turns out to be our own reality, Bowden visits dying friends in skid row apartments in Los Angeles, traverses San Francisco byways lined with clubs and joints, and roams through village bars and streets in the Sierra Madre mountains. In these wanderings resides a yearning for the understanding of past and present sins, the human penchant for warfare, abuse, and oppression, and the true war between humanity, the industrialized world, and the immense tolls of our shared land. Deeply personal, hauntingly prophetic, and bracingly sharp, the start to Bowden's harrowed quest to unearth our ugly truths remains strikingly poignant today.

On January 15, 2009, a US Airways Airbus A320 had just taken off from LaGuardia Airport in New York, when a flock of Canada geese collided with it, destroying both of its engines. Over the next three minutes, the plane's pilot Chelsey "Sully" Sullenberger, managed to glide to a safe landing in the Hudson River. It was an instant media sensation, the "The Miracle on the Hudson", and Captain Sully was the hero. But, how much of the success of this dramatic landing can actually be credited to the genius of the pilot? To what extent is the "Miracle on the Hudson" the result of extraordinary - but not widely known, and in some cases quite controversial - advances in aviation and computer technology over the last twenty years? From the testing laboratories where engineers struggle to build a jet engine that can systematically resist bird attacks, through the creation of the A320 in France, to the political and social forces that have sought to minimize the impact of the revolutionary fly-by-wire technology, William Langewiesche assembles the untold stories necessary to truly understand "The Miracle on the Hudson", and makes us question our assumptions about human beings in modern aviation.

"I am no helmeted, begoggled hero of the skies; picture me bookish, bespectacled, unable to hold even a teacup without rattling it. As a pilot, I am merely an amateur, and I know it.... I shouldn't be talking. But I can't help talking. For you take the air: the thin, substanceless air that can be made to bear a man; you take America; and you take an airplane, which of all the works of man is the nearest to a living being--you take those things and mix them up, and they will act as a drug which will knock all proper reticence right out of you. And so, here I go talking..."--from "America from the Air"

In 1927, Charles Lindbergh made his historic solo flight across the Atlantic; Amelia Earhart became the first woman to do so in 1932. And so was born the golden age of flying. Aviators became the era's new heroes and the airplane its icon. In early 1930s Chicago, a German-born graduate student became fascinated by the airplane and its usefulness as a great geographic and sociological tool. Wolfgang Langewiesche sold his car and used his meager salary to pay for flying lessons at 25 cents a minute.

With the same passion America had taken to the road a decade earlier, Langewiesche took to the air. He eagerly inhaled the landscape and breathed observations about the country, writing a series of books that describe the heady excitement and freedom of flight and the stunning views of his adopted country from an entirely new vantage point--the sky. This new edited volume revives the writings from two of his now out-of-print books. "America from the Air" draws from Langewiesche's classic account of his early experiences as a pilot, "I'll Take the High Road" (first published in 1939 and praised by the "New York Times" as "a stirring and revealing story, told with sensitiveness and lucidity and with the warmth of a modest personal charm"), and selections from his 1951 memoir, "A Flier's World," to create a distinctive book that provides a pioneering look at the American landscape as seen from the cockpit of a light plane. Langewiesche's photographs from his cross-country flights circa 1939 evoke the era.

Wolfgang Langewiesche is revered among pilots for his 1944 flying primer, "Stick and Rudder," currently in its seventieth printing. Considered the bible of aviation, it tells us the "how" of flying; "America from the Air" tells us the "why." Here his descriptions of the country offer unique perspectives on New England, the Midwest, and the Atlantic Coast from Virginia to Key West, at a time before the country was paved over by multilane expressways, suburban tract housing, and strip malls. His bird's-eye view of America takes in small farms, deserted seashores, busy railway lines, and cities in which skyscrapers were still engineering marvels. With the keen eye of a surveyor and an uncommon talent for conveying the physical sensation of flying, he describes landscape in all its beauty and detail as it rolls out beneath him, unveiling its mysteries. Langewiesche is revealed here as an infectiously enthusiastic aviator and an unrivaled observer of the American landscape. In a new foreword, Langewiesche's son, writer William Langewiesche, describes his father's love of the view from above. Hokanson and Kratz's introduction and biography update the reader, incorporating stories gleaned from recent interviews with the author.

The world's most vast and forbidding desert is revealed in all its cruelty and wonder in this masterpiece of contemporary travel writing by the author of "Cutting for Sign". Determined to see the Sahara as its inhabitants do, Langewiesche crossed this enormous desert from Algiers to Dakar, braving its natural and human dangers and depending on its sparse sustenance and suspect charity. Photos. Map.

With the demise of the Berlin Wall and the Iron Curtain, there remains no more potent--or notorious--political border than the 1,951-mile division between the US and Mexico. Langewiesche shows us how a simple line--a legalism across the land--is also a mirror that reflects our ideals and fears.