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The I and IX Corps on the west moved forward from their Line D positions when they were in search of the Chinese while the X Corps took on the North Korean forces at the center. As reconnaissance forces were not able to locate enemy concentrations near Line D, I and IX Corps initiated Operation Thunderbolt in January 25 across the front of both corps. As IX Corps went on to the west, X corps had to maintain contact. IX Corps experienced strong resistance as the 1st Cavalry Division's 8th Cavalry Regiment moved to Yangji-i from Paegam-ni. The Chinese were surprised by how the 5th Cavalry Regiment passed through the 8th to Kumnyangjang-ni, and the 5th then shifted north towards the road to Kyongan-ni. Near Hill 312, the 5th Cavalry Regiment's 1st Battalion encountered the enemy forces. This chapter illustrates how Major Gibson interpreted the battalion's encounter.

Intelligence reports of a buildup of the Chinese between Chip'yong-ni and Hongch'on were confirmed because of the attack on some of the 23d Infantry Regiment units in the Twin Tunnels area. From this base, the enemy is capable of attacking through the Han River Valley or through the Wonju road as both locations may be targeted on the UN communication lines that link the I and IX Corps with Pusan's supply base. Operation Roundup, which was prepared by X Corp's headed by General Almond, was approved by General Ridgway. This entailed how two of X Corps's ROK divisions to move to Hongch'on while the ROK III Corps advance to the east. Operation Thunderbolt continued to search for enemy operations and several attacks were experienced. It became apparent that the Chinese maintained a fifteen-mile-wide position south of Han to avoid direct artillery fire and observation.

This chapter chronicles Wyler's activities during World War II — his early attempts to join the military (which were rebuffed), his involvement with Frank Capra on “The Why We Fight” series, his work with Lillian Hellman on a documentary depicting the heroism of the Russians, and his eventual commission in the U.S. Air Force to direct documentary films promoting the American war effort. The chapter opens with a history of Wyler's propaganda film, Mrs. Miniver, supporting the British in their struggle against the Nazis, for which he won his first Oscar. The chapter also offers a detailed history of Wyler's two documentaries, the celebrated Memphis Belle and Thunderbolt.

What emerges most stunningly in Virgil is his ability to help us see the world and human history through many different eyes. The poet never allows us either to rest confident in the morality of empire or to ignore its manifold benefits, not least of which is the poetic art itself. Characterizing “Jupiter in Virgil” is as difficult as characterizing Virgil himself. The portrayal of the god in the Eclogues is fairly conventional, with only the whisper of an association with Octavian; if anything, it is Asinius Pollio who is the “Jupiter figure.” The Georgics presents everything from the menacing architect of the Iron Age to a baby fed by bees. In the Aeneid, Jupiter’s concerns are reduced to fama and imperium, with his complexity deriving mainly from that of those concepts. While we should be cautious about attributing these shifts in focus and tone to changes in Roman society—the three poems, after all, have different genres and purposes—the god’s Virgilian trajectory at least demonstrates some of the ways Augustan poets could use Jupiter as a focus for complex reflections on the centralization and consequences of power.

The analysis of Jupiter in Horace shows the importance of genre in assessing the poet’s “philosophy” or “theology.” Our possession of Horace’s works in their entirety lets us see the different faces Jupiter presents: satirist’s ally, desirable lover, cause and punisher of civil war, avatar of Fortune, parallel to Augustus, tribal god of Rome, and many more. The Satires show us a basic alliance between Jupiter and the satirist, both disgusted at human foibles. In the Epodes, Jupiter participates in the impotentia of a world gone awry, sometimes at the mercy of nature, sometimes the recipient of ineffectual prayers, sometimes a player in an impossible fantasy of escape, even though he created the conditions that allowed fratricide to flourish. Odes 1–3 make the god a key player in Horace’s journey from the poetics of war to those of peace, with all that implies about the ascendance of Augustus. The Epistles, the Carmen Saeculare, and Odes 4 represent a diminuendo in Jupiter’s importance as he becomes eclipsed by the new gods of the Augustan regime: Apollo and Augustus himself. In the Ars Poetica, Jupiter has all but disappeared. Perhaps the most comprehensive conclusion is essentially a negative one: Horace makes Jupiter neither a consistent locus for protest nor a consistent purveyor of “Augustan” values.

“Jupiter” was a creation of poetry as much as of philosophy, theology, or cultic practice—if those things can even be separated. What Jupiter, then, did the poets make? Fate’s voice or Fate’s subject? Life-giving rain, cataclysmic storms, the overseer of human bonds, the destroyer of unlucky civilizations, the perfect lover, the tyrannical rapist? The answer, of course, is “all of the above.” His thunderbolt can be used for punishing human hubris or breaking down a girl’s door; Ganymede can be a symbol of rapture or rape. Throughout most of Augustan poetry, the most comprehensive conclusion about the relationship between Jupiter and Augustus is partly a negative one. While the poets’ Jupiter reflects their response to the social and political changes set in motion by the first princeps, the chief Olympian is too multivalent a figure to have his characterization determined entirely by Roman politics. Roman poets found Jupiter, but they also made him. From that conversation emerged a living reality that, like poetry itself, can never be adequately paraphrased.

Sadhu Brahmaviharidas was an eyewitness of the terrorist attack on the Akshardham temple complex in Gandhinagar on 24 September 2002 that killed thirty-one people—including a sadhu—and wounded seventy others, and also of ‘Operation Thunderbolt’, in which commandos killed the two terrorists. Moreover, he was the sadhu who was in telephonic contact with Pramukh Swami, leader of BAPS Swaminarayan Hindus, while the attack was occurring and during the aftermath. The chapter is the most comprehensive and compelling eyewitness account of the event and the decisions Pramukh Swami made during and after the event to reduce the risk of civil unrest in Gujarat that could have resulted from the attack. Sadhu Brahmaviharidas frames his account as part of his growing understanding of pluralism and interfaith relations as a youth in Britain and then as a sadhu, especially during the attack on Akshardham and its aftermath.