Description
Master storyteller and bestselling author Steven Pressfield returns with a stunning, chillingly plausible near-future thriller about the rise of a privately financed and global military industrial complex.
The year is 2032. The third Iran-Iraq war is over; the 11/11 dirty bomb attack on the port of Long Beach, California is receding into memory; Saudi Arabia has recently quelled a coup; Russians and Turks are clashing in the Caspian Basin; Iranian armored units, supported by the satellite and drone power of their Chinese allies, have emerged from their enclaves in Tehran and are sweeping south attempting to recapture the resource rich territory stolen from them, in their view, by Lukoil, BP, and ExxonMobil and their privately-funded armies.
Everywhere, military force is for hire. Oil companies, multi-national corporations and banks employ powerful, cutting-edge mercenary armies to control global chaos and protect their riches. Even nation states enlist mercenary forces to suppress internal insurrections, hunt terrorists, and do the black bag jobs necessary to maintain the new New World Order.
Force Insertion is the world's merc monopoly. Its leader is the disgraced former United States Marine General James Salter, stripped of his command by the president for nuclear saber-rattling with the Chinese and banished to the Far East. A grandmaster military and political strategist, Salter plans to take vengeance on those responsible for his exile and then come home...as Commander in Chief. The only man who can stop him is Gilbert "Gent" Gentilhomme, Salter's most loyal foot soldier, who launches a desperate mission to take out his mentor and save the United States from self destruction.
Infused with a staggering breadth of research in military tactics and steeped in the timeless themes of the honor and valor of men at war that distinguish all of Pressfield’s fiction, The Profession is that rare novel that informs and challenges the reader almost as much as it entertains.
About the Author
I was born in Port of Spain, Trinidad, in 1943 to a Navy father and mother.I graduated from Duke University in 1965.In January of 1966, when I was on the bus leaving Parris Island as a freshly-minted Marine, I looked back and thought there was at least one good thing about this departure. "No matter what happens to me for the rest of my life, no one can ever send me back to this freakin' place again."Forty years later, to my surprise and gratification, I am far more closely bound to the young men of the Marine Corps and to all other dirt-eating, ground-pounding outfits than I could ever have imagined.GATES OF FIRE is one reason. Dog-eared paperbacks of this tale of the ancient Spartans have circulated throughout platoons of U.S. troops in Iraq and Afghanistan since the first days of the invasions. E-mails come in by hundreds. GATES OF FIRE is on the Commandant of the Marine Corps' Reading list. It is taught at West Point and Annapolis and at the Marine Corps Basic School at Quantico. TIDES OF WAR is on the curriculum of the Naval War College.From 2nd Battalion/6th Marines, which calls itself "the Spartans," to ODA 316 of the Special Forces, whose forearms are tattooed with the lambda of Lakedaemon, today's young warriors find a bond to their ancient precursors in the historical narratives of these novels.My struggles to earn a living as a writer (it took seventeen years to get the first paycheck) are detailed in my 2002 book, THE WAR OF ART.I have worked as an advertising copywriter, schoolteacher, tractor-trailer driver, bartender, oilfield roustabout and attendant in a mental hospital. I have picked fruit in Washington state and written screenplays in Tinseltown.With the publication of THE LEGEND OF BAGGER VANCE in 1995, I became a writer of books once and for all.My writing philosophy is, not surprisingly, a kind of warrior code — internal rather than external — in which the enemy is identified as those forms of self-sabotage that I have labeled "Resistance" with a capital R (in THE WAR OF ART) and the technique for combatting these foes can be described as "turning pro."I believe in previous lives.I believe in the Muse.I believe that books and music exist before they are written and that they are propelled into material being by their own imperative to be born, via the offices of those willing servants of discipline, imagination and inspiration, whom we call artists. My conception of the artist's role is a combination of reverence for the unknowable nature of "where it all comes from" and a no-nonsense, blue-collar demystification of the process by which this mystery is approached. In other words, a paradox.There's a recurring character in my books named Telamon, a mercenary of ancient days. Telamon doesn't say much. He rarely gets hurt or wounded. And he never seems to age. His view of the profession of arms is a lot like my conception of art and the artist:"It is one thing to study war, and another to live the warrior's life."
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