An extraordinary new book of investigative reporting seven years in the making. "Down by the River" chronicles the bewildering and brutal events surrounding a still-unsolved 1995 murder in El Paso, Texas.

Poor clinical trial designs result in failed studies wasting research funds and limiting the advancement of cures for disorders. Clinical Trial Design Challenges in Mood Disorders outlines classic problems researchers face in designing clinical trials and discusses how best to address them for the most definitive and generalizable results. Traditional trial designs are included as well as novel analytic techniques. The book examines information on high placebo response, the generalizability of studies conducted in the developing world, the duration of maintenance studies, and the application of findings into clinical practice. With representation from contributors throughout the world and from academia, industry, regulatory agencies, and advocacy groups, this book will contribute toward improved clinical trial design and valid, precise, and reliable answers about what works better and faster for patients.

“A dark, troubling vision of life in the desert, defined broadly; of mountain lions and drug kingpins, Mexican hopes and Indian feuds.� —Los Angeles Times “In these powerful epic tales of the Sonora Desert, Bowden peoples the harsh land on both sides of the US-Mexican border with saints and sinners, but his enduring hero is the desert itself.� —Kirkus Reviews

In this unprecedented and chilling monologue, a repentant Mexican hitman tells the unvarnished truth about the war on drugs on the American. El Sicario is the hidden face of America's war on drugs. He is a contract killer who functioned as a commandante in the Chihuahuan State police, who was trained in the US by the FBI, and who for twenty years kidnapped, tortured and murdered people for the drug industry at the behest of Mexican drug cartels. He is a hit man who came off the killing fields alive. He left the business and turned to Christ. And then he decided to tell the story of his life and work. Charles Bowden first encountered El Sicario while reporting for the book "Murder City." As trust between the two men developed, Bowden bore witness to the Sicario's unfolding confession, and decided to tell his story. The well-spoken man that emerges from the pages of "El Sicario" is one who has been groomed by poverty and driven by a refusal to be one more statistic in the failure of Mexico. He is not boastful, he claims no major standing in organized crime. But he can explain in detail not only torture and murder, but how power is distributed and used in the arrangement between the public Mexican state and law enforcement on the ground - where terror and slaughter are simply tools in implementing policy for both the police and the cartels. And he is not an outlaw or a rebel. He is the state. When he headed the state police anti-kidnapping squad in Juarez, he was also running a kidnapping ring in Juarez. When he was killing people for money in Juarez, he was sharpening his marksmanship at the Federal Police range. Now he lives in the United States as a fugitive. One cartel has a quarter million dollar contract on his head. Another cartel is trying to recruit him. He speaks as a free man and of his own free will - there are no charges against him. He is a lonely voice - no one with his background has ever come forward and talked. He is the future - there are thousands of men like him in Mexico and there will be more in other places. He is the truth no one wants to hear.

When Charles Bowden died in 2014, he left behind an archive of unpublished manuscripts. Jericho marks the fifth installment in his venerable "Unnatural History of America" sextet. In it he invokes the cycles of destruction and rebirth that have defined the ancient biblical city over millennia. From the ruins of Jericho's walls Bowden reflects on the continuum of war and violence-the many conquests of the Americas; the US-Mexican War; the Vietnam War; and the ongoing militarization of our southern border-to argue against the false promise of security that is offered when men "build that wall." Walls-both real and imagined-will always come tumbling down. Along the way, Bowden tells stories of loss and violence, like that of David Hartley, who mysteriously vanishes on Falcon Lake; of murdered drug runners and their cartel bosses; and of a haunted sicario, or hitman, who is running from his past and compulsively confesses his sins as he searches for an absolution that will never come. Set against these scenes of trauma and violence are Bowden's gorgeous meditations on nature: dancing cranes, soaring eagles, winding paths that traverse mountains, lakes, and deserts. And threaded throughout are the heroic narratives of men like Martin Luther King Jr., who defied the boundaries that surrounded him and was able to reshape the arc of history. Jericho is a remarkable affirmation of our shared humanity and a timely rejection of violence and nationalism by one of our most prophetic writers working at the height of his powers.

"At its best, Red Line can read like an original synthesis of Peter Matthiessen and William Burroughs . . . a brave and interesting book." -David Rieff, Los Angeles Times Book Review "Charles Bowden's Red Line is a look at America through the window of the southwest. His vision is as nasty, peculiar, brutal, as it is intriguing and, perhaps, accurate. Bowden offers consciousness rather than consolation, but in order to do anything about our nightmares we must take a cold look and Red Line casts the coldest eye in recent memory." -Jim Harrison One of Charles Bowden's earliest books, Red Line powerfully conveys a desert civilization careening over the edge-and decaying at its center. Bowden's quest for the literal and figurative truth behind the assassination of a murderous border-town drug dealer becomes a meditation on the glories of the desert landscape, the squalors of the society that threatens it, and the contradictions inherent in trying to save it.

""Drug Lord" is the real thing. Raw, immediate, indispensable."--Don Winslow, author of "The Power of Dog" and "California Fire and Life"

"The drug smuggling] business goes on, the slaughtered dead pile up, the US agencies continue to ratchet up their budgets, the prisons grow larger and all the real rules of the game are in this book, some kind of masterpiece."--Charles Bowden, from the introduction

"Pablo Acosta was a living legend in his Mexican border town of Ojinaga. He smuggled tremendous amounts of drugs into the United States; he survived numerous attempts on his power--and his life--by rivals; and he blessed the town with charity and civic improvements. He was finally slain in 1987 during a raid by Mexican officials with the cooperation of US law enforcement. Poppa has turned out a detailed and exciting book, covering in depth Acosta's life; the other drug factions that battled with him; the village of Ojinaga; and the logistics of the drug operation. The result is a nonfiction account with enough greed, treachery, shoot-outs, and government corruption to fascinate true crime and crime fiction readers alike. Highly recommended."--"Library Journal"

Terrence E. Poppa, an award-winning journalist, was a finalist for a 1987 Pulitzer Prize for his investigations into the connection between crime and government in Mexico. He was featured in "Standoff in Mexico," a PBS production about fraudulent elections in Mexico. Due to his unique insights into the world of Mexican drug trafficking, Poppa has been widely interviewed on radio and television, including "Larry King Live" and "The O'Reilly Factor."

"I believe every sunrise and I remember the smell of wet grass, the color of robins, and rustle of leaves on the big oaks that outlive nations, all this comes with each sunrise." Sonata marks the sixth and final installment of Charles Bowden's towering "Unnatural History of America" series. While his earlier volumes were suffused with violence and war, Bowden offers here a celebration of rebirth and regrowth. Rendered in Bowden's inimitable style, more prose poetry than reportage, he evokes panoramas that contain the potential for respite and offer a state of grace all but lost in the endless wars of man. Bowden travels back in time to the worlds of artists Francisco Goya and Vincent van Gogh, the latter painting furiously against encroaching madness. "Van Gogh tries to dream a life of color," writes Bowden. "Powder blue sheds, yellow stubble, pink skies-but the fears and dark things drag him down." As Bowden's vivid prose wrestles with the madness of the world, van Gogh's paintings represent an act of resistance, ultimately unsuccessful, against depression and suicide. Moving from the vibrant hues of van Gogh's painted gardens to America's southern border, Bowden returns once more to the Mexican asylum run by "El Pastor," Jose Antonio Galvan, who was first introduced to readers of the sextet in Jericho. Here, too, is the dream of a garden that will be planted in the desert, a promise of regeneration in a world gone mad. Poetic, elegiac, and elliptical, Sonata is the final, captivating book of Bowden's monumental career.

A passionate advocate for preserving wilderness and fighting the bureaucratic and business forces that would destroy it, Edward Abbey (1927-1989) wrote fierce, polemical books such as Desert Solitaire and The Monkey Wrench Gang that continue to inspire environmental activists. In this eloquent memoir, his friend and fellow desert rat Charles Bowden reflects on Abbey the man and the writer, offering up thought-provoking, contrarian views of the writing life, literary reputations, and the perverse need of critics to sum up "what he really meant and whether any of it was truly up to snuff." The Red Caddy is the first literary biography of Abbey in a generation. Refusing to turn him into a desert guru, Bowden instead recalls the wild man in a red Cadillac convertible for whom liberty was life. He describes how Desert Solitaire paradoxically "launched thousands of maniacs into the empty ground" that Abbey wanted to protect, while sealing his literary reputation and overshadowing the novels that Abbey considered his best books. Bowden also skewers the cottage industry that has grown up around Abbey's writing, smoothing off its rougher (racist, sexist) edges while seeking "anecdotes, little intimacies . . . pieces of the True Beer Can or True Old Pickup Truck." Asserting that the real essence of Abbey will always remain unknown and unknowable, The Red Caddy still catches gleams of "the fire that from time to time causes a life to become a conflagration."

Praise for Mezcal: "Mezcal is also a lyrical meditation upon the ultimate strength of the land, specifically the desert Southwest, and how that land prevails and endures despite every effort of modern industry and development to rape and savage it in the name of progress. Mezcal lingers in the mind as only the very best books manage to do."-Harry Crews "The author . . . excavates his own tormented life-and its relation to the land he loves-in a series of powerful, imagistic autobiographical essays. Like the desert he cherishes, this memoir is harsh yet lovely, full of sour self-truth. . . . A potent presentation of the wounds of one man's life, packed with indelible impressions; but there's little healing here, making this a bitter if beautiful read."-Kirkus Review "In Mezcal . . . Bowden drops the journalistic veil, exploring the ecology of his interior landscape at least as thoroughly as the changing scenery that surrounds him. . . . Others-Aldo Leopold, Edward Abbey-have already staked inviolate claims on the Southwestern deserts. But Bowden owns the complex terrain where, like a mezcal-inspired mirage, the Sonoran sun-belt overlaps the gray convolutions of the American mind."-Los Angeles Times

The magnificent second novel from the legendary author of One Flew Over the Cuckoo's Nest.

Following the astonishing success of his first novel, One Flew Over the Cuckoo's Nest, Ken Kesey wrote what Charles Bowden calls "one of the few essential books written by an American in the last half century." This wild-spirited tale tells of a bitter strike that rages through a small lumber town along the Oregon coast. Bucking that strike out of sheer cussedness are the Stampers. Out of the Stamper family's rivalries and betrayals Ken Kesey has crafted a novel with the mythic impact of Greek tragedy.

For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

In the promised land of the Sunbelt, people come by the thousands to escape the crush of Eastern cities and end up duplicating the very world they have fled. Can the land remain unchanged? In Blue Desert, Charles Bowden presents a view of the Southwest that seeks to measure how rapid growth has taken its toll on the land. Writing with a reporter's objectivity and a desert rat's passion, Bowden takes us into the streets as well as the desert to depict not a fragile environment but the unavoidable reality of abuse, exploitation, and human cruelty. Blue Desert shows us the Sunbelt's darker side as it has developed in recent times-where "the land always makes promises of aching beauty and the people always fail the land"-and defies us to ignore it. Blue Desert has no boundaries, no terrain, no topographical coordinates; it is a state of mind inescapable to one who sees change and knows that nothing can be done to stop it.

The third book in Charles Bowden's "accidental trilogy" that began with Blood Orchid and Blues for Cannibals, Some of the Dead Are Still Breathing attempts to resolve the overarching question: "How can a person live a moral life in a culture of death?" As humanity moves further into the twenty-first century, Bowden continues to interrogate our roles in creating the ravaged landscapes and accumulated death that still surround us, as well as his own childhood isolation, his lust for alcohol and women, and his waning hope for a future. We witness post-Katrina New Orleans and terrorist-bombed Bali; we encounter our shared actions with the animal world and the desirous need for consumption; we see the clash and erosion of our physical and figurative borders, the savagery of our own civilization. A man of his time and out of time, Bowden seeks acceptance and a will to endure what may lie ahead.

While politicians and pundits endlessly debate immigration policy, U.S. Border Patrol agents put their lives on the line to enforce immigration law. In a day's work, agents may catch a load of narcotics, apprehend groups of people entering the country illegally, and intercept a potential terrorist. Their days often include rescuing aliens from death by thirst or murder by border bandits, preventing neighborhood assaults and burglaries, and administering first aid to accident victims, and may involve delivering an untimely baby or helping stranded motorists. As Bill Broyles and Mark Haynes sum it up, "Border Patrol is a hero job," one that too often goes unrecognized by the public. Desert Duty puts a human face on the Border Patrol. It features interviews with nineteen active-duty and retired agents who have worked at the Wellton, Arizona, station that watches over what is arguably the most perilous crossing along the border-a sparsely populated region of the Sonoran Desert with little water and summer temperatures that routinely top 110 DegreesF. The agents candidly discuss the rewards and frustrations of holding the line against illegal immigrants, smugglers, and other criminals-while often having to help the very people they are trying to thwart when they get into trouble in the desert. As one agent explains, "The thrill is tracking 'em up before they die. It's a rough ol' way to go-run outta water in this desert."

Immigration has become one of the most important and contentious issues of our time. But even as policy makers in the United States and Mexico argue over what to do about the half million or more Mexicans who cross the border illegally each year to work in the United States, one fact has become indisputable. Illegal immigration has enhanced the lives of poor people more than any policy attempted by either the U.S. or the Mexican governments. Immigrants sent home $23 billion dollars in 2006 alone, rivaling what Mexico earned from selling oil. But the human cost of migration is equally high. Border crossers risk injury, attack, rape, and death, while undocumented workers often toil under dangerous and exploitative conditions in the United States.

These harsh realities constitute the heart of Exodus/exodo, a powerful collaboration between writer Charles Bowden and photographer Julian Cardona that puts a human face on the issue of illegal immigration. Expanding on their award-winning 2006 Mother Jones article titled "Exodus: Border-Crossers Forge a New America," Bowden and Cardona take us to border towns, in which impoverished men and women hire "coyotes" to get them across the line; to Ciudad Juarez, where hundreds of young women maquiladora workers have been murdered and their families still seek justice; to Minutemen camps along the border, where citizen vigilantes keep watch; to New Orleans, North Carolina, and California, where migrants find back-breaking work in construction, agriculture, and other industries; to protest marches, as immigrants assert their right to stay in the United States; and to villages in Mexico, in which remitted dollars are building homes as lavish as thedreams that fuel the migrations.

"Inferno is wonderful-- reminiscent of Edward Abbey's Desert Solitaire and Terry Tempest Williams' Leap, as well as some of Joy Williams' essays. I am also reminded of Annie Dillard's amazing work, For the Time Being. . . . I think the book is incredibly timely-- there is a lot of chatter about 'the death of environmentalism, ' and this work catches perfectly and passionately the sterility or lack of dirt and earth that has helped contribute to the extreme weakening of the movement. There is no one answer to the problem, but this is a beautiful and compelling treatment of the weakness." -- Rick Bass

Charles Bowden has been an outspoken advocate for the desert Southwest since the 1970s. Recently his activism helped persuade the U.S. government to create the Sonoran Desert National Monument in southern Arizona. But in working for environmental preservation, Bowden refuses to be one who "outline[s] something straightforward, a manifesto with clear rules and a set of plans for others to follow." In this deeply personal book, he brings the Sonoran Desert alive, not as a place where well-meaning people can go to enjoy "nature," but as a raw reality that defies bureaucratic and even literary attempts to define it, that can only be experienced through the senses.

Inferno burns with Charles Bowden's passion for the desert he calls home. "I want to eat the dirt and lick the rock. Or leave the shade for the sun and feel the burning. I know I don't belong here. But this is the only place I belong," he says. His vivid descriptions, complemented by Michael Berman's acutely observed photographs of the Sonoran Desert, make readers feel the heat and smell the dryness, see the colors inearth and sky, and hear the singing of dry bones across the parched ground.

Written as "an antibiotic" during the time Bowden was lobbying the government to create the Sonoran Desert National Monument, Inferno repudiates both the propaganda and the lyricism of contemporary nature writing. Instead, it persuades us that "we need these places not to remember our better selves or our natural self or our spiritual self. We need these places to taste what we fear and devour what we are. We need these places to be animals because unless we are animals we are nothing at all. That is the price of being a civilized dude."

The Santa Catalina Mountains north of Tucson-whose summit is called Frog Mountain by the Tohono O'odham-offers up to the citizens of the basins below a wilderness in their own backyard. When it was first published in 1987, Frog Mountain Blues documented the creeping sprawl of new development up the Catalinas' foothills. Today, that development is fully visible, but Charles Bowden's prescience of the urgency to preserve and protect a sacred recreational space remains as vivid as ever. Accompanied by Jack W. Dykinga's photographs from the original work, this book continues to convey the natural beauty of the Catalinas and warns readers that this unique wilderness could easily be lost. As Alison Hawthorne Deming writes in the new foreword, ""Frog Mountain Blues continues to be an important book for learning to read this place through the eyes of experience and history, and Bowden remains a sobering voice for facing our failures in protecting what we love in this time of global destruction, for taking seriously the power of language to set ourselves right again with the enormous task of living with purpose and presence and care on the land.

"I will make bold to say that Bowden is America's most alarming writer. Just when you think you've heard it all you learn you haven't in the most pungent manner possible. . . . With The Charles Bowden Reader in hand you get a taste of it all, and any literate resident or visitor should want this book. It will lead them back to a close, alarming reading of the entire oeuvre. It is to ride in a Ferrari without brakes. There's lots of oxygen but no safe way to stop. . . . Read him at your risk. You have nothing to lose but your worthless convictions about how things are." -Jim Harrison, from the foreword From his first book, Killing the Hidden Waters, to his most recent, Murder City: Cuidad Juarez and the Global Economy's New Killing Fields, Charles Bowden has been sounding an alarm about the rapacious appetites of human beings and the devastation we inflict on the natural world we arrogantly claim to possess. His own corner of the world, the desert borderlands between the United States and Mexico, is Bowden's prime focus, and through books, magazine articles, and newspaper journalism he has written eloquently about key issues roiling the border-drug-related violence that is shredding civil society, illegal immigration and its toll on human lives and the environment, destruction of fragile ecosystems as cities sprawl across the desert and suck up the limited supplies of water. This anthology gathers the best and most representative writing from Charles Bowden's entire career. It includes excerpts from his major books-Killing the Hidden Waters, Blue Desert, Desierto: Memories of the Future, Blood Orchid,Blues for Cannibals, A Shadow in the City, Inferno, Exodus, and Some of the Dead Are Still Breathing-as well as articles that appeared in Esquire, Harper's, Mother Jones, and other publications. Imbued with Bowden's distinctive rhythm and lyrical prose, these pieces also document his journey of exploration-a journey guided, in large part, by the question posed in Some of the Dead Are Still Breathing: "How do we live a moral life in a culture of death?" This is no metaphor; Bowden is referring to the people, history, animals, and ecosystems that are being extinguished in the onslaught of twenty-first-century culture. The perfect introduction to his work, The Charles Bowden Reader is also essential for those who know him well and want to see the whole panorama of his passionate, intense writing.

Ciudad Juarez lies just across the Rio Grande from El Paso, Texas. A once-thriving border town, it now resembles a failed state. Infamously known as the place where women disappear, its murder rate exceeds that of Baghdad or Mogadishu.

In "Murder City," Charles Bowden has written an extraordinary account of what happens when a city disintegrates. Interweaving stories of its inhabitants--a raped beauty queen, a repentant hit man, a journalist fleeing for his life--with a broader meditation on the town's descent into anarchy, Bowden reveals how Juarez's culture of violence will not only worsen but inevitably spread north.

In the quarter-century since his first book, Killing the Hidden Waters, was published in 1977, Charles Bowden has become one of the premier writers on the American environment, rousing a generation of readers to both the wonder and the tragedy of humanity's relationship with the land. Revisiting his earliest work with a new introduction, "What I Learned Watching the Wells Go Down," Bowden looks back at his first effort to awaken people to the costs and limits of using natural resources through a simple and obvious example-water. He drives home the point that years of droughts, rationing, and even water wars have done nothing to slake the insatiable consumption of water in the American West. Even more timely now than in 1977, Killing the Hidden Waters remains, in Edward Abbey's words, "the best all-around summary I've read yet, anywhere, of how our greed-driven, ever-expanding urban-industrial empire is consuming, wasting, poisoning, and destroying not only the resource basis of its own existence, but also the vital, sustaining basis of life everywhere."

In this unprecedented and chilling monologue, a repentant Mexican hitman tells the unvarnished truth about the war on drugs on the American. El Sicario is the hidden face of America's war on drugs. He is a contract killer who functioned as a commandante in the Chihuahuan State police, who was trained in the US by the FBI, and who for twenty years kidnapped, tortured and murdered people for the drug industry at the behest of Mexican drug cartels. He is a hit man who came off the killing fields alive. He left the business and turned to Christ. And then he decided to tell the story of his life and work. Charles Bowden first encountered El Sicario while reporting for the book "Murder City." As trust between the two men developed, Bowden bore witness to the Sicario's unfolding confession, and decided to tell his story. The well-spoken man that emerges from the pages of "El Sicario" is one who has been groomed by poverty and driven by a refusal to be one more statistic in the failure of Mexico. He is not boastful, he claims no major standing in organized crime. But he can explain in detail not only torture and murder, but how power is distributed and used in the arrangement between the public Mexican state and law enforcement on the ground - where terror and slaughter are simply tools in implementing policy for both the police and the cartels. And he is not an outlaw or a rebel. He is the state. When he headed the state police anti-kidnapping squad in Juarez, he was also running a kidnapping ring in Juarez. When he was killing people for money in Juarez, he was sharpening his marksmanship at the Federal Police range. Now he lives in the United States as a fugitive. One cartel has a quarter million dollar contract on his head. Another cartel is trying to recruit him. He speaks as a free man and of his own free will - there are no charges against him. He is a lonely voice - no one with his background has ever come forward and talked. He is the future - there are thousands of men like him in Mexico and there will be more in other places. He is the truth no one wants to hear.

Cultivated from the fierce ideas seeded in Blood Orchid, Blues for Cannibals is an elegiac reflection on death, pain, and a wavering confidence in humanity’s own abilities for self-preservation. After years of reporting on border violence, sex crimes, and the devastation of the land, Bowden struggles to make sense of the many ways in which we destroy ourselves and whether there is any way to survive. Here he confronts a murderer facing execution, sex offenders of the most heinous crimes, a suicidal artist, a prisoner obsessed with painting portraits of presidents, and other people and places that constitute our worst impulses and our worst truths. Painful, heartbreaking, and forewarning, Bowden at once tears us apart and yearns for us to find ourselves back together again.