Revolution is in the air. A young woman rises against the Supreme Federation to avenge her sister's murder. Her swelling resistance is beset by the Federation's unstoppable death squad, who utterly crush all opposition. They are known as the Angels. This is their story.
This book is about the intifada, the popular Palestinian uprising in the Israeli-occupied territories, broadcasted by television to an audience of millions. It explores what happens in a democracy when a government faces a major political crisis with potentially damaging international implications.
For Canadians, the First World War was a dynamic period of literary activity. Almost every poet wrote about the war, critics made bold predictions about the legacy of the period’s poetry, and booksellers were told it was their duty to stock shelves with war poetry. Readers bought thousands of volumes of poetry. Twenty years later, by the time Canada went to war again, no one remembered any of it. Battle Lines traces the rise and disappearance of Canadian First World War poetry, and offers a striking and comprehensive account of its varied and vexing poetic gestures. As eagerly as Canadians took to the streets to express their support for the war, poets turned to their notebooks, and shared their interpretations of the global conflict, repeating and reshaping popular notions of, among others, national obligation, gendered responsibility, aesthetic power, and deathly presence. The book focuses on the poetic interpretations of the Canadian soldier. He emerges as a contentious poetic subject, a figure of battle romance, and an emblem of modernist fragmentation and fractiousness. Centring the work of five exemplary Canadian war poets (Helena Coleman, John McCrae, Robert Service, Frank Prewett, and W.W.E. Ross), the book reveals their latent faith in collective action as well as conflicting recognition of modernist subjectivities. Battle Lines identifies the Great War as a long-overlooked period of poetic ferment, experimentation, reluctance, and challenge.
While exploring a sector of uncharted space, the U.S.S. Voyager™ is ambushed -- and forcibly pressed into service as part of the Edesian Fleet in their war against the enemy Gimlon. The Edesian commander claims that the Fleet is fighting only to defend his people against a merciless invader, but Captain Janeway is suspicious. War, she has learned, is seldom so simple or black and white. With Chakotay and several other crew members held hostage, and the Starship Voyager™ under the control of the Edesians, Janeway has no choice but to join the campaign against the Gimlon, only to discover that the enemy has developed a new super-weapon capable of destroying entire worlds. Soon the Captain and her crew find themselves fighting a losing battle in a war they never wanted!
The casualties of war aren't only on the battlefield... Coming back from war is never easy, as Sergeant Dave Henley’s platoon discovers all too quickly when they return from Afghanistan. Home can be an equally searing battlefield. When they are summoned back to Helmand to protect the US team destroying the opium crop, it is almost a relief to the soldiers, if not to their wives, girlfriends and families who are turned inside out once more by their men’s sudden departure. And now danger lurks around every corner – for Dave’s team who must learn new skills to survive, and their loved ones in England, whose lives be ripped apart by equally deadly weapons – blind prejudice, acid jealousy, ugly rumour...
It is 1941, and friends Adam, Joe, Dale, and Catherine are similar to most young adults. College, dating, and fast cars are what they know and live for. And in Chicago, Illinois, the near center of America, world conflict seems merely a distant rumor. But as turmoil in Europe develops into full-scale war, Chicago suddenly abounds with talk of America's entering the fight. Drawn by the promise of freedom and the allure of battle, Joe and Dale join the Army, Adam the Marines, and Catherine the Naval Nurse Service. Far away from home and facing the reality of war in all its horror, they find the world a frighteningly big and unforgiving place, and what began as a quest for freedom becomes a battle to stay alive in one of the bloodiest wars of the twentieth century. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
It's always darkest before dawn. Secret government unit Department 19 is recovering from evil vampire Valeri Rusmanov's deadly attack on their base. The Department’s newest member, teenage operator Jamie Carpenter, is tasked with training up a new squad, as his friends and colleagues desperately search for ways to try to stop what is coming. The timing couldn’t be worse for a coordinated, global attack on a number of maximum security prisons and hospitals—with the already-dangerous inmates now on the loose and turned into vampires. One of the escapees has a deep connection to one of the darkest moments in the history of Department 19 and embarks on a quest that threatens to expose the existence of vampires to the public. And with each day that passes, the regenerated Dracula gets stronger, bringing Zero Hour closer. In this third installment of the epic Department 19 series, Will Hill delivers higher—and sharper—stakes than ever before.
This volume focuses on a formative period in the history and archaeology of northern Greece. The decade following 1912, when Thessaloniki became part of Greece, was a period marked by an extraordinary internationalism as a result of the population movements caused by the shifting of national borders and the troop movements which accompanied the First World War. The papers collected here look primarily at the impact of the discoveries of the Army of the Orient on the archaeological study of the region of Macedonia. Resulting collections of antiquities are now held in Thessaloniki, London, Paris, Edinburgh and Oxford. Various specialists examine each of these collections, bringing the archaeological legacy of the Macedonian Campaign together in one volume for the first time. A key theme of the volume is the emerging dialogue between the archaeological remains of Macedonia and the politics of Hellenism. A number of authors consider how archaeological interpretation was shaped by the incorporation of Macedonia into Greece. Other authors describe how the politics of the Campaign, in which Greece was initially a neutral partner, had implications both for the administration of archaeological finds and their subsequent dispersal. A particular focus is the historical personalities who were involved and the sites they discovered. The role of the Greek Archaeological Service, particularly in the protection of antiquities, as well as promoting excavation in the aftermath of the 1917 Great Fire of Thessaloniki, is also considered.
Alan Edwards was born in England but was brought up and educated in Kenya. He returned to England to take his accountancy exams and became a Chartered Accountant. He spent half his working life in accountancy and the other half was spent as Financial Director in commercial firms. He is now retired. Two other books have been published by him, 'The Land of Puff' and 'The Chronicle of the Village of Icil'. I have found that there are many people who do not have any knowledge of the Great War. But we should remember it, as nearly a million people died. Their names are written on memorials all over England, as well as France and Belgium. Do not forget them and the sacrifice they made.
While exploring a sector of uncharted space, the USS Voyager is ambushed by the Edesian Fleet and forcibly pressed into service in their war against the enemy Gimlon. The Edesian commander claims that the Fleet is fighting only to defend his people against a merciless invader, but Captain Janeway is unconvinced. War, she has learned, is seldom so simple or so black and white. With Chakotay and several other crew members held hostage, and the Starship Voyager under the control of the Edesians, Janeway has no choice but to join the campaign against the Gimlon - only to discover that the enemy has developed a super-weapon capable of destroying entire worlds. Soon, the Captain and her crew find themselves fighting a losing battle in a war not of their own making...
The diaries of front-line soldiers of the Great War are relatively commonplace; contemporary drawings and paintings, other than those by the official war artists, are less so. What is extraordinary, even unique, about The Fateful Battle Line is that it combines a journal of infantry service on the Western Front with sketches and finished work made at the time, often illustrating places, people and incident from the text. Henry Ogle was a trained artist, and one who, in his writing, fused the vividness of the painter's eye for detail with a writer's precision and awareness. Commissioned from the ranks, twice wounded, his gallantry rewarded with the Military Cross, he endured four years of war; if the experience seared him, it never took from him his humanity. Front-line, support and reserve trenches; raids, patrols and work details; outposts and piquets; hospitals and base areas; French and Belgian towns and villages; leave back home in England ; the tragic landscape of Flanders; weapons, artillery, transport, draft and riding animals; above all his fellow soldiers - Henry Ogle faithfully, and often wittily, recorded the day-to-day minutiae, as well as the sudden shattering moments, of vast industrial armies locked in the last of the great siege wars. In doing so, and in his accompanying text, he demonstrated that the enduring legacy of the Great War lay in the spirit of the men who fought it. Skillfully edited and annotated by the late Michael Glover, The Fateful Battle Line is perhaps the most remarkable and enduring original work to have come out of the First World War in the last fifty years.
During the U.S. Civil War, a combination of innovative technologies and catastrophic events stimulated the development of news media into a central cultural force. Reacting to the dramatic increases in news reportage and circulation, poets responded to an urgent need to make their work immediately relevant to current events. As poetry's compressed forms traveled more quickly and easily than stories, novels, or essays through ephemeral print media, it moved alongside and engaged with news reports, often taking on the task of imagining the mental states of readers on receiving accounts from the war front. Newspaper and magazine poetry had long editorialized on political happenings—Indian wars, slavery and abolition, prison reform, women's rights—but the unprecedented scope of what has been called the first modern war, and the centrality of the issues involved for national futures, generated a powerful sense of single-mindedness among readers and writers that altered the terms of poetic expression. In Battle Lines, Eliza Richards charts the transformation of Civil War poetry, arguing that it was fueled by a symbiotic relationship between the development of mass media networks and modern warfare. Focusing primarily on the North, Richards explores how poets working in this new environment mediated events via received literary traditions. Collectively and with a remarkable consistency, poems pulled out key features of events and drew on common tropes and practices to mythologize, commemorate, and ponder the consequences of distant battles. The lines of communication reached outward through newspapers and magazines to writers such as Dickinson, Whitman, and Melville, who drew their inspiration from their peers' poetic practices and reconfigured them in ways that bear the traces of their engagements.
The autobiographical work by Dr. Luke Kim describes his life throughout the turbulent 20th and into 21st century in Korea, Japan and the United states. The book is modest in size, but rich in content. It can be divided into three periods: early life in Northernmost Korea until age 15; the second period in Seoul where he experienced the very destructive Korean War, during which he lost his mother who was kidnapped by North Korean security agents, and we never heard from her, nor any news about her ever since 1950; Then his coming to America at age 26 in 1956.
"A graphic history of the Civil War, told through everyday objects"--
Liberal Party leader and parliamentary pugilist Tony Abbott offers a frank analysis of the way forward for the Liberal Party. Here he draws lessons from the dying days of the Howard Government, and gives his views on his contemporaries, including Kevin Rudd, Peter Costello, Julia Gillard and Malcolm Turnbull. In Battlelines, Abbott looks at the values and instincts that drive the Liberal Party and proposes policy that the party should adopt. This is the often humorous story of his own political development. He describes the truth about politicians' lives; his 'days from hell'; insider moments from the halls of power; and how a would-be priest believed he had fathered an unknown son. Battlelines outlines a state of play for the Liberal Party, cementing Tony Abbott's reputation as one of the Liberal Party's most interesting thinkers and fearless advocates.
Volume 2 of Art Shield's life story covers 1919-1939, the miners' battle against the coal barons, struggles in the South, the Seattle general strike, the IWW San Pedro strike, the battle to build the CIO, the Spanish Civil War, and more. Exciting labor reportage at its best.
|Author||: Olusegun Osoba|
|Release Date||: 2018|
|ISBN 10||: 9789789647415|
|Pages||: 341 pages|
Jamie Carpenter's father is dead, his mother is missing, and he was just rescued by an enormous creature named Frankenstein. Now Jamie is pulled into a secret organization responsible for policing the supernatural, founded more than a century ago by Abraham Van Helsing. . . . Department Nineteen takes us through history, across Europe, and beyond - from the cobbled streets of Victorian London to prohibition-era New York, from the icy wastes of Arctic Russia to the treacherous mountains of Transylvania. Part modern thriller, part classic horror, it's packed with mystery, mayhem, and a level of suspense that makes a Darren Shan novel look like a romantic comedy.