EDDIE NEALE is a P.O.W. Confined to a castle cell, escape seems impossible. However, under the very noses of his Nazi captors, Eddie and some new allies form a plan... Now all he has to do. To escape is... take a leap into the unknown!
Eddie Neale had his future planned, shooting balls into the net for West Ham United F.C., but thanks to World War II, he's shooting Nazis as an R.A.F. tail-gunner! Shot down, he finds himself captive in castle Lungotz Luftzig where he'll face his biggest opposition yet... his own destiny!
EDDIE NEALE is a recaptured P.O.W. Narrowly avoiding a watery grave, he's thrown into solitary confinement. Things look bleak. UNDEAD German soldiers. MAD dogs. A Kommandant struggling to maintain order. Evidence of UNEARTHLY HORRORS hiding in the lake's murky depths! Maybe being locked up...is the safest place to be?
Fictional war narratives often employ haunted battlefields, super-soldiers, time travel, the undead and other imaginative elements of science fiction and fantasy. This encyclopedia catalogs appearances of the strange and the supernatural found in the war stories of film, television, novels, short stories, pulp fiction, comic books and video and role-playing games. Categories explore themes of mythology, science fiction, alternative history, superheroes and "Weird War."
George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Politics and the English Language, the second in the Orwell’s Essays series, Orwell takes aim at the language used in politics, which, he says, ‘is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind’. In an age where the language used in politics is constantly under the microscope, Orwell’s Politics and the English Language is just as relevant today, and gives the reader a vital understanding of the tactics at play. 'A writer who can – and must – be rediscovered with every age.' — Irish Times
Itês the end of days, and the end of HOT DAMN! Teddyês fate will be sealed forever, for better or worse. Oh, and also the fate of the entire world rests in the hands of God, Satan, and both their armies. No big deal.
"Written as 'true fiction' The 15% Solution's primary purpose is to show how fascism can be gradually introduced into any country, even the 'world's greatest democracy', and by constitutional means, no less"-- p. [4] cover.
Like other composition readers, Counterbalance has as its primary purpose to improve thinking, reading and writing skills, recognizing throughout the degree to which these are inextricably interlinked. Where Counterbalance differs from almost all other composition readers is in the prominence it gives to writing by women. More and more of the writers in modern Western society are women and women now comprise a substantial majority of the students in many undergraduate courses. Yet most texts are eighty per cent or more comprised of writing by men. As its title suggests, this book acts as a counterbalance; over three-quarters of the essays are by women. The feminist stance of Counterbalance is unequivocal; an important aim of this text is to encourage students to question assumptions about gender. But for those to whom the word ‘feminist’ engenders immediate unease, it should be emphasised that the stance of the text is provocative and open-minded rather than strident or exclusionary; Audre Lorde and bell hooks are here, but so is George Orwell. The text is also designed as a counterbalance in other respects; many of the essays here explore issues of race, culture and class. Notions of correctness and issues of free speech and responsibility are also treated. As a whole the book is thus an invigorating and enormously wide-ranging spur to thought and discussion. Yet it avoids the scatter-gun approach so common to first-year collections; Counterbalance retains throughout a focus on language—perhaps the one area that all students, no matter what their backgrounds and interests, can connect to out of their everyday experience. The book’s thesis is that we can all think more clearly and use language more effectively if we know not only something about the traditional areas of composition and grammar but also something about how language influences us. The essays selected demonstrate a variety of expository styles, organizations and methods of development. They are organized into seven chapters so as to present a coherent progression, moving from simpler essays on more familiar topics to more difficult concepts and writing assignments.