[N123.Ebook] PDF Ebook Golden Apples of the Sun, The, by Ray Bradbury

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Ray Bradbury is a modern cultural treasure. His disarming simplicity of style underlies a towering body of work unmatched in metaphorical power by any other American storyteller. And here, presented in a new trade edition, are thirty-two of his most famous tales--prime examples of the poignant and mysterious poetry which Bradbury uniquely uncovers in the depths of the human soul, the otherwordly portraits of outré fascination which spring from the canvas of one of the century's great men of imagination. From a lonely coastal lighthouse to a sixty-million-year-old safary, from the pouring rain of Venus to the ominous silence of a murder scene, Ray Bradbury is our sure-handed guide not only to surprising and outrageous manifestations of the future, but also to the wonders of the present that we could never have imagined on our own.Ray Bradbury is a modern cultural treasure. His disarming simplicity of style underlies a towering body of work unmatched in metaphorical power by any other American storyteller. And here, presented in a new trade edition, are thirty-two of his most famous tales--prime examples of the poignant and mysterious poetry which Bradbury uniquely uncovers in the depths of the human soul, the otherwordly portraits of outre fascination which spring from the canvas of one of the centurys great men of imagination. From a lonely coastal lighthouse to a sixty-million-year-old safari, from the pouring rain of Venus to the ominous silence of a murder scene, Ray Bradbury is our sure-handed guide not only to surprising and outrageous manifestations of the future, but also to the wonders of the present that we could never have imagined on our own.

• Sales Rank: #741812 in Books
• Published on: 1997-11-01
• Released on: 1997-11-01
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .79" w x 5.25" l, .60 pounds
• Binding: Paperback
• 352 pages

About the Author

In a career spanning more than seventy years, Ray Bradbury, who died on June 5, 2011 at the age of 91, inspired generations of readers to dream, think, and create. A prolific author of hundreds of short stories and close to fifty books, as well as numerous poems, essays, operas, plays, teleplays, and screenplays, Bradbury was one of the most celebrated writers of our time. His groundbreaking works include Fahrenheit 451, The Martian Chronicles, The Illustrated Man, Dandelion Wine, and Something Wicked This Way Comes. He wrote the screen play for John Huston's classic film adaptation of Moby Dick, and was nominated for an Academy Award. He adapted sixty-five of his stories for television's The Ray Bradbury Theater, and won an Emmy for his teleplay of The Halloween Tree. He was the recipient of the 2000 National Book Foundation Medal for Distinguished Contribution to American Letters, the 2004 National Medal of Arts, and the 2007 Pulitzer Prize Special Citation, among many honors.

Throughout his life, Bradbury liked to recount the story of meeting a carnival magician, Mr. Electrico, in 1932. At the end of his performance Electrico reached out to the twelve-year-old Bradbury, touched the boy with his sword, and commanded, "Live forever!" Bradbury later said, "I decided that was the greatest idea I had ever heard. I started writing every day. I never stopped."

Most helpful customer reviews

20 of 20 people found the following review helpful.
The poet laureate of science fiction
By A Customer
This is the first collection of Ray Bradbury's stories I ever read, and it still rocks! I was only 13, and it immediately put me into his own, lyrical and yet dark world: lovelorn sea monsters, pining away for foghorns; time-traveling big-game hunters who accidentally change our history; spaceships dispatched to collect a piece of the sun; dictatorships that outlaw any form of eccentric behavior, such as *not* watching television---a scary premise, indeed, since we're practically in that world now; and more. Bradbury's delight in telling stories, inventing fabulous glimpses into other worlds as well as our own, radiates from every page. His work is warm, but it is not overly sentimental---he is unafraid to let a story end very badly for its characters, if it should help him to make the point he has in his mind. Nor are his tales all scary and dark---one or two are positively hilarious. This is not just highly recommended---it is urged that you rush out and purchase it...

12 of 12 people found the following review helpful.
'Fear no more the heat of the sun...'
By Michele L. Worley
While these stories are excellent, most don't fit neat pigeonholes within Bradbury's work. Only some are SF. I've discussed them not in order of appearance, but alphabetically.
"The April Witch" - Cecy is plain-faced, 17, and odd - in fact, a witch from a witch family. She can take possession of any creature, live through its experiences - but she wants romance. So lovely Ann Leary finds herself going to the dance with the boy she's not speaking to...(If you're interested in Cecy's family, try _The October Country_ and _From the Dust Returned_.)
"The Big Black and White Game" - Set in 1940s Wisconsin. Once a year, two pickup baseball teams face off on a long summer day, just before the Cakewalk Jamboree, and somehow the white team always wins. But this year...hmm. If this appeals to you, look for other Bradbury stories like "Way Up High in the Middle of the Air".
"Embroidery" - A nuclear test scheduled for five o'clock has the women sitting on a porch worrying over fancywork rather than supper. An interesting parallel is implied, as one woman, having made a mistake early on, rips out the design...
"En La Noche" - Mrs. Navarrez has been grieving at the top of her lungs for days over her husband's departure for the army. The other sleepless adults in the tenement are growing desperate. When Mr. Villanazul comes up with a suggestion, guess who gets to carry it out.
"The Flying Machine" - The emperor of China sees a great wonder in the dawn - a man has built a kite that lets him fly! But the inventor isn't the only far-sighted man in this tale.
"The Fog Horn" - The old lighthouse keeper has told his assistant of many strange things, seen out here on the edge of the sea, to prepare him for these autumn nights when the strangest thing of all appears. One of Bradbury's best.
"The Fruit at the Bottom of the Bowl" - Acton just killed Huxley with his bare hands in Huxley's own house. The background of the murder is provided as Acton retraces his actions, trying to remove all traces of his presence. But even obsessive people can't always get everything.
"The Garbage Collector" - He liked his job, until civil defense created procedures for atomic attack.
"The Golden Apples of the Sun" - The ship is heading for the sun, to scoop up some starfire and take it back to Earth. A man may be killed by frost if he fears fire too much...
"The Golden Kite, the Silver Wind" - The mandarin has brought his chief advisor - his daughter - a problem. Kwan-Si has built a wall shaped like a pig - which threatens the mandarin's city, built in the shape of an orange. Each town is built and rebuilt, choosing a shape in response to one another. The final solution is ingenious. If you like this, seek out Barry Hughart's _Bridge of Birds_; Number Ten Ox's native village once had a similar problem. :)
"The Great Fire" - Nobody could quench it, because it was inside cousin Marianne - she's staying until October, and going out on dates every night. Father says he'll have been in the cemetery for about 130 days then...
"The Great Wide World Over There" - Cora, who always wanted adventure, has spent her life in the valley, going to town only twice a year. Illiterate, she can't escape through books. But now her nephew's coming to visit.
"Hail and Fairwell" - Willie looks 12, but he's 43. This isn't a variation on "Jeffty Was Five"; his mind is normal. While he can get by, he can't settle anywhere for long...
"Invisible Boy" - Charlie's staying with Old Lady while his parents are away. But she likes having him around, and sets about using witchcraft to keep him.
"I See You Never" - Mr. Ramirez left Mexico City for San Diego a little over two years ago. He's built a life for himself - a good life, by his lights. His landlady even believes that a good workingman has a right to get drunk once a week if he likes. There's only one problem...
"The Meadow" - That's only what it used to be. Then the movie producer came along, and said, Let there be Paris! Let there be Constantinople! And lo, hundreds of cities came into being. On the outside, it's a movie set. To the night watchman, it knocks the 'real' world into a cocked hat.
"The Murderer" - He's being interviewed by a shrink: the victims are yakking machines: telephones and the like. This used to be SF...
"The Pedestrian" - A companion piece to _Fahrenheit 451_. The writer walks for pleasure every night, so the cops have picked him up as a suspicious character.
"Powerhouse" - The woman, riding with her husband through the desert to her dying mother, never needed religion. During a great storm, they take shelter at a powerhouse in the desert. Bradbury explores the nature of faith and being alone a little, here. A quiet story, but richly textured as most of his work is.
"A Sound of Thunder" - Time Safari, Inc. advertises that if you name the animal, they'll take you hunting. After all, what difference could it possibly make to history - whether a dinosaur died a natural death or from a bullet, a few million years ago?
"Sun and Shadow" - A fashion photographer, trying to use a picturesque cracked wall as a backdrop, encounters Ricardo Reyes, who objects to his neighbourhood's poverty being treated as a stage set. A gem.
"The Wilderness" - Leonora and Janice are facing their last night on Earth. Tomorrow they catch the rocket, to meet their menfolk on Mars.

11 of 11 people found the following review helpful.
Bradbury's SF strength is in the humanity...
By Ryan Garcia (hose@webelite.com)
You've probably heard a half a dozen Ray Bradbury stories without even knowing it. His tales of space flights, Martian expeditions, and strange occurences on our own planet are all classics. While "Martian Chronicles" is arguably the best collection of Bradbury stories, this book also shows the amazing talent of Bradbury. His ability to mix the human with the fantastic makes for incredible stories.
This book collects several of the best stories Bradbury ever created in one volume. There are several books that group Bradbury stories together, but few contain the raw number of stories as this one.
My own personal favorite Bradbury story is in this collection: "A Sound of Thunder." This short tale of a time-travelling dinosaur safari is an amazingly powerful look at the wonder and consequences of time travel and personal behavior. The story is easily consumed by the youngest reader and just as easily debated by science fiction scholars for hours. I first heard this story on an audio tape during a family car trip--hearing it inspired me to read other Bradbury stories. To me, Bradbury will always be "A Sound of Thunder" and that's quite a reputation to have.
One of Bradbury's longer shorts, "Frost and Fire," is also included. This is an amazing tale of the rapid development of humans on Mercury. Rapid in that everyone grows quickly and dies young. Set against the backdrop of a planet that allows only a few brief minutes of freedom on the surface before the residents must hide from the scorching heat or blistering cold. The story can be appreciated from a pure SF perspective or just from the human side--Bradbury creates realistic worlds in the most fantastic location.
Two other stories are also stand-outs: "The Fog Horn" and "Here There Be Tygers." Saying anything about the actual plots would give away the stories, but I will say they both present unexpected twists that will have you thinking twice about your own normal everyday lives.
As a first introduction to Bradbury this collection is excellent. It gathers together a wide variety of his stories from various sub-genres and has enough to keep readers busy for a while. Ultimately you'll want to read other story collections, but this book will give you a taste of things to come.
For Bradbury fans who haven't read some of these stories I probably don't need to recommend the book at all--by now you've already clicked on a purchase link and had the book sent to you.
For everyone else I can only urge that you try Bradbury. Even if you aren't a science fiction fan, Bradbury is a very approachable author and his works cross the traditional boundaries of science fiction. This isn't nerdy Star Trek or hard-core Neuromancer. His stories are human and that's what makes them universal. Rocketships are entirely optional.

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[L606.Ebook] Free Ebook The Big Show, by Pierre Clostermann

Free Ebook The Big Show, by Pierre Clostermann

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The Big Show, by Pierre Clostermann

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Pierre Clostermann joined the Free French Forces in 1941 as a fighter pilot and later served as a squadron leader in the R.A.F. Whether he is describing a deadly duel with a Focke-Wulf high over Germany or the nerve tingling excitement of a 400 mile-an-hour strafing run at treetop level, Clostermann makes the reader share his experience. From the cramped cockpit of a flashing Spitfire you will live through the dangers, the strains, the strange exhilarations of 420 sorties against the Nazi air and ground forces.

• Sales Rank: #2087153 in Books
• Published on: 1951
• Number of items: 1
• Binding: Mass Market Paperback

Most helpful customer reviews

1 of 4 people found the following review helpful.
Clostermann's "The Big Show" is definitely a fun read, but riddled with inaccuracies
By Aviation Book Fan
First, the good. There's loads of air combat action in this book. The preliminaries are dispensed with on pages 3-13. Pages 13-268 are full of Clostermann's combat flying. I think that's why so many people like it. It's a fun read. Some books are slow to get to the action, but not this one.

Now, the bad. I've got two issues with the book. ONE - despite his success, Clostermann does not set a good example for a disciplined fighter pilot. He's not a wingman a leader can depend on. If there's an enemy aircraft to shoot at, Clostermann will ditch his leader. I'm surprised he's so open about it.

TWO - the book is full of inaccuracies and faulty analysis. Some of these errors are so blatant, I find myself wondering how they were possible. Did the author/editor/publisher not bother to do even the most basic fact checking? My best guess is that Clostermann wanted to spice up the book by making his achievements seem even more impressive than they actually were. How else to explain such blatant errors? If so, that was a big mistake, since Clostermann's actual achievements need no enhancement.

The rest of the review is a (very long) list of wingman/accuracy/analysis issues I have found in the book. I do not consider myself an authority, but I want to point out Clostermann's claims I take issue with. I hate to think of a newcomer reading this book and accepting everything in it as the truth, which a lot of people seem to do given the high ratings this book receives. Frankly, I think the The Big Show is highly overrated due to all the factual errors. After reading my issues with the book, I encourage you to do your own fact checking and draw your own conclusions.

UNRELIABLE WINGMAN:

Page 27 (in my Bantam paperback): "The sky, which had been filled with hurtling Spitfires, seemed suddenly empty - my No. 1 had disappeared. Never mind, I was not going to lose my Focke-Wulf." (Clostermann's first mission - Lt Martell was his No. 1)

Page 34: "I was flabbergasted. I had shot down two Huns! Two Huns! I was at the same time bursting with pride and trembling with suppressed jitters, my nerves all jangled."

"What about Martel? What had happened to him? He would again think I had left him in the lurch. The sky was empty." (Clostermann's second mission - 27 July 1943 - wingman to Lt Martell again)

Pages 37-43: "I was Commandant Mouchotte's No. 2."

"A Hun opened fire; the tracers passed 15 yards from my wing tips. Decidedly unhealthy. I opened the throttle wide, pulled desperately on the stick to follow Mouchotte who was doing a very tight turn and climbing almost vertically."

"I had pulled too hard. The engine cut out for one precious second and I hung there, with my nose in the air, while the first Huns began to flash like thunderbolts in between our sections."

"My engine picked up, with a terrific jerk, but too late; I had lost contact with my section, whom I could see 100 yards further up, climbing in a spiral. Couldn't be helped. I did a wide barrel roll, which brought me within 100 yards of a Focke-Wulf at whom I let loose a long burst of 20mm. with 40 degree correction."

"A few seconds later I heard, for the last time, Commandant Mouchotte's voice, calling: `I am alone!'"

(Flying as his Squadron Commander's wingman, Clostermann loses him, and Mouchotte is isolated and killed - this time he claims his engine cut for one second as an excuse for losing his leader - do I believe him after the previous incidents?)

Page 87: "Meanwhile Jacques and I - contrary to our settled habits - followed on Sutherland's heels like faithful hounds and had the pleasure of seeing him liquidate another `190' at 600 yards range."

(Clostermann freely admits his "settled habit" is not to stay with his leader)

INACCURACIES AND FAULTY ANALYSES:

Page 30: "All the Richthofen pilots were hand-picked. They were commanded by one of the aces of the German Air Force, Major von Graff."

Page 36: "To complete the picture, we heard over the German radio three days later that Major von Graff, Iron Cross with swords, oak-leaves and diamonds, had been wounded in the course of a heroic combat against an enemy force very superior in numbers!"

I cannot find a reference to "Major von Graff" in the historical record, which would be hard to believe for a pilot who won the Knight's Cross with oak-leaves, swords, and diamonds - Germany's highest decoration (other than the Knights Cross in gold presented only to Rudel).

I assume Clostermann is referring to Hermann Graf here, who was a JG commander who won the decoration described.

However, Hermann Graf was never the commander of JG-2 Richthofen, nor was he shot down by Clostermann's Tempest unit. The list of commanders of JG-2 does not include anyone named "Graff".

202 of Graf's 212 victories were scored with JG-52 on the eastern front. On 28 January 1943, Graf came to the western front as an instructor pilot. On 11 June 1943, he took command and began creating a high altitude fighter unit that was eventually designated JG-50. On 11 November 1943, Graf was given command of JG-11. It was while flying with JG-11 on 29 March 1944 that Graf shot down a P-51 Mustang and in the confusion of the dog fight collided with another Mustang. He managed to bail out, but was injured and had to spend some time in the hospital. Graf eventually returned to the eastern front and JG-52 as its commander on 1 October 1944. He was JG-52's last wartime commander. By choosing Graf, with his astounding victory tally of 212, as their opponent, was Clostermann trying to impress?

Pages 70-71: "On my right was a Fortress, holed like a sieve but flying all the same, and on my left a red-nosed Mustang limped along."

"England at last. Just inland I could make our four crashed Fortresses in the fields."

"We landed at Manston after the Fortress, exhausted, drained. We parked by the Mustang. Introductions. The pilot was the renowned Major Beeson, commander of the 7th Mustang Squadron. It was his last mission, for he was due to be repatriated to the States the week after."

"The Schweinfurt factory had been razed to the ground, but out of the 280 Fortresses only about 50 were still airworthy." (Here Clostermann is describing his escort duties on the second Schweinfurt raid on 14 October 1943)

At the time of the second Schweinfurt raid, Beeson was a Lieutenant (not a Major) in the 334th Fighter Squadron (not the 7th) and was not the commander of that squadron. Furthermore, he was flying a Thunderbolt (not a Mustang) at that time. Beeson did not fly a Mustang until 28 February 1944. Finally, the red noses were not authorized until mid-March 1944. Clostermann is way off on his facts here.

On the second Schweinfurt raid, 60 B-17s were lost, 121 were damaged but returned, leaving 99 undamaged. 17 of the damaged B-17s could not be repaired and were scrapped. So, 104 of the 121 damaged B-17s were still flyable and could be repaired and put back into service. So, 99 B-17s that returned from second Schweinfurt were undamaged, and up to 203 B-17s could be considered airworthy. 50 airworthy B-17s was a big exaggeration.

Page 115: "Against these the Allied Expeditionary Air Forces could pit exactly 2,371 first-line fighters, of which 1,764 were R.A.F."

For D-Day, the 9th Air Force had 18 Fighter Groups, and the 8th Air Force had 15 Fighter Groups for a total of 33. 33 Fighter Groups, with 3 Squadrons in each Group, with each Squadron puting up 16 aircraft yields 1584 U.S. fighters. Clostermann implies there were only 607 U.S. fighters for D-Day. I can't say 1584 is the exact number, but I think it's safe to say that Clostermann is a little light on the U.S. contribution. It seems to me that Clostermann has a penchant for minimizing the U.S. contribution in general.

Page 162: "In emergencies you could over-boost it up to nearly 3,000 h.p. and 4,000 revs., and the speed went up to 460 m.p.h. In a dive the Tempest was the only aircraft to reach, without interfering with its handling qualities to any marked extent, sub-sonic speeds, i.e. 550-600 m.p.h." (Clostermann refers to the Tempest here)

The Tempest was definitely a high-performance aircraft in its day, but I would have to see some data before I would believe 600 mph - with no detriment to handling qualities - in a dive.

Page 164: "...and another costly raid by Fortresses had to be laid on (about 100 never came back)..." (Clostermann is referring to a raid on Wiener-Neustadt here)

The second raid on Schweinfurt was the U.S. bomber raid with the highest losses in WW2. 60 bombers were lost. Clostermann's claim of 100 bombers lost on a raid on Wiener-Neustadt is far too high.

Page 168: "The Messerschmitt 262 was very tricky to fly with a wing loading of 44 lbs. per square foot, a landing speed of just under 200 m.p.h. and a difficult take-off. The turbines also gave trouble and there were certainly high losses through accidents - JG-52, for instance, losing 23 pilots in three months."

I read a British report on a captured Me-262 that reports a touchdown speed of 175 kilometers per hour, which translates into 109 mph. Clostermann's Me-262 landing speed is about double what it should be. A 200 mph landing speed would have been a real handful!

JG-52 never flew the Me-262. It flew the Me-109 exclusively throughout the war. Also, JG-52 was never in combat with Clostermann's unit. JG-52 fought on the eastern front starting with the invasion of the Soviet Union in 1941 through the end of the war. In the last days of the war, as the German lines collapsed, JG-52 was based in Austria and Czechoslovakia. During that time, JG-52 has some isolated combats with allied bomber escorts.

Page 170: "All in all the average standard of German fighter pilots was much higher at the turn of the year 1944-5 than at any other time since 1940. This can only be explained - apart from possible considerations of morale, such as the defence of the Fatherland - by the fact that the crack fighter units had absolute priority in everything, including personnel and also the handing out of fuel and lubricants. We were therefore very likely to meet in combat nothing but very experienced pilots, while in 1942, 1943 and early 1944 there had been a rotation of pilots between the Western and Russian fronts which often brought us in contact with units of very middling worth. These were later concentrated exclusively on the Eastern front. In principle the Russian front was a rest cure for the Luftwaffe, quantity mattering more than quality, and the best units were kept in reserve to face the R.A.F. and protect German towns against American daylight bombing. Such, grosso modo, was the situation of the Luftwaffe at the end of 1944."

Clostermann's claim that German pilot proficiency was at a peak at the end of 1944/beginning of 1945 is in complete opposition to everything I have read on the subject. My understanding is that the German fighter force was at a low-ebb after sustaining serious losses over the previous year.

Between February 20-25, 1944, as part of the European strategic bombing campaign, the United States Strategic Air Forces (USSTAF) launched Operation Argument, a series of missions against German-held territory that became known as Big Week. Over the course of Big Week, the German fighter force lost 17 percent of its pilots - nearly 100 were killed. Big Week is frequently described as a watershed event. Losses of experienced German fighter pilots were so severe in this one week that the force never recovered and went into steady decline until the end of the war. Intense air combat attrition on the eastern front and over the course of the allied invasion of Europe made a bad situation even worse.

Of course, experienced German fighter pilots were still flying, and those individuals were as dangerous as ever, but their numbers dropped with each passing day. Most of the German fighter force was made up of newer pilots who generally had significantly less experience than their Allied opponents. Clostermann's claim flies in the face of virtually every other source. Perhaps he wants his opponents to appear more powerful than they actually were in order to impress his readers.

Page 175: "This operation had been brilliantly worked out and superbly executed. Allied public opinion would have been dealt a staggering blow if it had known of it. The American censorship and the press services, in a flat spin, tried to present this attack as a great Allied victory, by publishing peculiar figures. We pilots were still laughing about them three months later." (Clostermann is referring to Operation Bodenplatte here)

Clostermann's assessment of Bodelplatte is in opposition to all that I have read about it. Operation Bodenplatte achieved some surprise and tactical success, but was ultimately a failure. A great many Allied aircraft were destroyed on the ground, but these losses were quickly replaced. Since the majority of Allied losses were empty planes sitting on the ground, Allied aircrew casualties were quite small. Conversely, the Germans lost many fighter pilots they could not replace.

The Luftwaffe lost 143 pilots killed and missing. 70 were captured and 21 wounded including three Geschwaderkommodore, five Gruppenkommandeure, and 14 Staffelkapitäne - the largest single-day loss for the Luftwaffe. Clearly, many of the pilots lost were experienced leaders and veterans. Thus, Bodenplatte was a short-term success but a long-term failure. Allied losses were soon made up. The Luftwaffe pilots lost were irreplaceable. German historian Gerhard Weinberg wrote that it left the Germans, "weaker than ever and incapable of mounting any major attack again."

Page 195: "And we closed the discussion by a conclusive argument that always annoyed Spitfire pilots considerably, i.e. that our landing speed was almost greater than their cruising speed."

If this was said as a joke, and not a "conclusive argument", it might be worth a laugh. However, maintaining that a Spitfire (with a top speed around 400 mph) has a cruise speed that is barely above the Tempest's 100+ mph landing speed is ridiculous.

Page 211: "At Rheine/Hopsten Nowotny was in sole charge of Jagdgeschwader 52, which was dispersed on various satellites: Nordhorn, Plantlunne, Neuenkirchen, Luned, Hesepe and Bramsche. JG-52 effectives comprised about 75 Me 109's, 75 Focke-Wulf 190's and about 100 jet Messerschmitt 262s. A staffel of Junkers 88 night fighters was attached to it. This represented, with the tactical reserve, about 400 fighter planes under the orders of this twenty-two-year-old Lieutenant Colonel."

Page 212: "Hurtling through the air like a bullet Bob Clark miraculously went through the wall of flack without being hit and fired a long burst at the silvery Me 262, which was in the final phase of its approach. The Messerschmitt crashed in flames just on the edge of the airfield."

"A fortnight later we learnt by cross-checking captured document and prisoners' reports that that Me 262 had been piloted by Nowotny."

JG-52 flew the Me-109 exclusively throughout the war. No FW-190's, Me-262's or Ju-88's as claimed by Clostermann. As mentioned earlier, JG-52 fought on the eastern front and never faced Clostermann's unit. Again, I think Clostermann is trying to build up his opponent here. JG-52 was the most renowned and successful fighter wing of World War Two, with over 10,000 aerial victories claimed, so I suspect Clostermann claims to have fought JG-52 to impress his readers.

Walter Nowotny never commanded JG-52. He was the Luftwaffe's 5th highest scoring Ace with 258 victories. He spent his entire eastern front combat time in JG-54. He briefly commanded JG-101, then a fighter training school, and then Kommando Nowotny flying the Me-262. Nowotny was 24 years old in 1944 (not 22). Nowotny scored 3 victories in the Me-262 before he was killed flying it on 8 November 1944.

It remains unclear whether Nowotny was killed due to engine failure or whether he was shot down by United States Army Air Forces (USAAF) Captain Ernest Fiebelkorn (20th Fighter Group) and 1st Lieutenant Edward "Buddy" Haydon (357th Fighter Group) east of Hesepe. What is clear is that Nowotny was not shot down by Clostermann's Tempest squadron. Again, I suspect Clostermann has chosen to claim Nowotny's shoot down to impress his readers.

Page 233: "S.S. planes had been shooting up and bombing our advanced columns, considerably hampering their progress and their supply echelons."

I have never heard of SS fighter or bomber units! SS ground units had a reputation for combat prowess and fanaticism. Again, I believe Clostermann has invented SS air units to impress his readers.

This is a long list of egregious errors. Why did Clostermann do it? I have to believe he was not a lazy writer who did not bother to research his facts. I can only conclude that he felt the need to embellish his story to impress his readers. Too bad, because the unvarnished truth is impressive enough. It's still a fun book to read, just don't put too much stock in any of the facts, figures, or opinions.

By the way, there are much better fighter pilot memoirs out there. If the RAF in WW2 is your interest, try "Spitfire Pilot" by Roger Hall, "First Light" by Geoffrey Wellum, "Nine Lives" by Alan Deere, "Flying Start" by Hugh Dundas, "Fight for the Sky" by Douglas Bader, "Fly for Your Life" by Robert Stanford Tuck, "Tale of a Guinea Pig" by Geoffrey Page. Good reads, and believable too!

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• Sales Rank: #1822945 in Books
• Published on: 2008
• Binding: Paperback
• 69 pages

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2 of 2 people found the following review helpful.
awsome book and cd
By Amazon Customer
great book on prophecy,very interesting.Our lord is coming soon.please be ready.Dont be left behind,ask CHRIST to come in to your heart.He is the only one that can take away your sin

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• Sales Rank: #3996322 in Books
• Published on: 2006-01-01
• Original language: English
• Number of items: 1
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• Sales Rank: #2854669 in Books
• Published on: 1980-03
• Ingredients: Example Ingredients
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- The First World War
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• Sales Rank: #1340448 in Books
• Published on: 2010-02-22
• Original language: English
• Number of items: 1
• Dimensions: 6.70" h x .40" w x 9.50" l, 1.00 pounds
• Binding: Paperback
• 192 pages

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By cruz699
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Too Late
By mitjeda
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The Portfolio and the Diagram is about the changing ways architects see, read, and use the words and images of architectural publications. Architects today do not use the glossy photographs of magazines in the same way that nineteenth-century architects mobilized the drawings in the grand folios. The images have changed, and so have the ways in which they are used.The book begins with an outline of the academic discipline and the mimetic practice of the portfolio, established in America during the late nineteenth century. World War I triggered a historical process that resulted in the demise of the portfolio and the emergence of the discourse of the diagram. The Beaux Arts-trained architects had fashioned their discipline through the meticulous object-centered images of the portfolio. The discourse of the diagram provided a new range of possibility in the architect's relation to words, images, and buildings. More than the diagram itself, more than the province of narrow-minded functionalists, the discourse of the diagram is a complex formation of texts, concepts, and modes of representation.Concerned less with constructing a new kind of modernism than with understanding the boundaries and structures of modernity, the book is a history of modern architecture as a discursive practice and its striving to become a viable discipline.

• Sales Rank: #4852478 in Books
• Published on: 2006-02-17
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .75" w x 8.00" l, 1.84 pounds
• Binding: Paperback
• 403 pages

Review

"With the resurgence of interest in diagrams for design, The Portfolio and the Diagram is a timely and valuable reminder that reflecting on the historical uses of diagrams enables more-informed future practices and, hopefully, avoids the separation of fact and appearance that continues in too many architectural practices today." Journal of Architectural Education

"This book alters our view of American architecture during the 1920s and 1930s. It reaches far beyond the narratives indebted to the European avant-garde or technological modernization to elucidate the rich intellectual history behind the emergence of American modernism as a socially-oriented practice."--Gail Fenske, School of Architecture, Art, and Historic Preservation, Roger Williams University

"This insightful history of the 1920s and '30s entices us with multiple implications. The Portfolio of drawings and the abstract Diagram, two 'practical systems' of architectural production, have also generated distinct languages for understanding and debating the very nature of architecture itself."--Gwendolyn Wright, Professor of Architecture, Columbia University

"Because architects do not make buildings but representations of them, the media of architectural thought and discourse will always merit attention and reconsideration, especially in a time such as ours when the techniques of producing this 'discourse' are rapidly changing. The Portfolio and the Diagram illuminates the historical and theoretical conditions of the shift in representational intentions and techniques that defines the modern period -- a shift that has both destabilized and invigorated contemporary architecture."--David Leatherbarrow, University of Pennsylvania

About the Author

Hyungmin Pai is Associate Professor of Architecture at the University of Seoul.

Sherry Blankenship has taught graphic design in theUS, New Zealand and Lebanon and offered courses andworkshops in Jordan, India, Turkey and Zimbabwewhich has only stimulated her interest in design andculture. Before entering design education, she designedbooks and magazines. She currently writes and codesignsComma, a publication dedicated to graphic designin the Middle East.

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• Published on: 2010-10-01
• Binding: Hardcover

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Featuring stunning images, revealing maps, historic facts, and concise analysis, the National Geographic Almanac of American History is carefully balanced to provide readers with a deeper comprehension of United States history.

The Almanac is unparalleled in its reader-friendly format: the book's four major sections are enhanced by a thorough table of contents, a detailed index, and bibliography, plus a feature on how to use the book. Section 1 explores America's geologic makeup and answers the question, "How was the land responsible for the way in which America developed?" Milestones comprise section 2: Twelve essays discuss how America evolved to become the global leader it is today. Section 3 covers the major eras in America's history, beginning with the earliest Native Americans. The final section of the book covers: Leaders, Wars, Religion and Beliefs, Presidents, and finally, Milestone Documents, including the Declaration of Independence, the Emancipation Proclamation, the Gettysburg Address, and more.

With an introduction by Hugh Ambrose, historian and a founding director of The National D-Day Museum, the National Geographic Almanac of American History is a timely and essential resource that every American should own.

• Sales Rank: #808392 in Books
• Brand: Brand: National Geographic
• Published on: 2005-12-06
• Released on: 2005-12-06
• Original language: English
• Number of items: 1
• Dimensions: 9.51" h x 1.20" w x 7.74" l, 2.68 pounds
• Binding: Hardcover
• 384 pages

Features

• ISBN13: 9780792283683
• Notes: 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

About the Author
James Miller earned his Ph.D. in history from Indiana University. After teaching at Richard Stockton College of New Jersey, he was an editor in economics and history. He lives in Charlottesville, Virginia and is currently writing a biography of a Revolutionary War hero.

John Thompson is the author of six National Geographic books, and is currently researching a book on Benedict Arnold's march to Quebec. He lives with his family in Charlottesville, Virginia.

Hugh Ambrose currently serves as Historical Consultant for a miniseries about WWII being developed by Stephen Spielberg, Tom Hanks, and HBO. He is a Founding Board Member of The National D-Day Museum in New Orleans where he lives.

Most helpful customer reviews

51 of 53 people found the following review helpful.
Must have for all ages!
By A. M. Hylton
I had borrowed this book from our local library and was very impressed. There's so much information in it and so many great pictures...it is worth having on your shelf and you will refer to it often as you look up historical words or questions you run into, your children can use it for school...It is the only book of this kind, that I could find, that has the entire history and is not concentrating on just one time-period or subject abt. American history. I also bought the "world history" one from National Georaphic. It is a great price and I haven't seen it at this price anywhere else (trust me I've done some research before buying).

9 of 11 people found the following review helpful.
Beautifully illustrated reference book
By Z Hayes
The National Geographic Almanac of American History makes a wonderful reference book on American history if one is looking for one title that covers American history from prehistory to the present. The book is very user-friendly and well-organized, and is divided into the following:
The Land
Milestones [covering immigration, religion, rise of democracy, language, legal system,slavery, industry, social reform, conservation and environment, civil rights, space race, and global mission]
Major Eras [from prehistory - present]
At a Glance
Appendix
Recommended reading
Index
Illustrations credits

Though I wouldn't say this book is exhaustive in its scope, it is wide and the work is enhanced by more than 200 illustrations and maps. The essays that cover some milestone events are insightful and the illustrated time lines of important events are very useful. For those who like to read a history book with lavish illustrations, this book does an admirable job and is well-worth the money, especially at the discounted rate offered here. It makes an excellent supplementary reference tool for students, history aficionados, and reference book collectors, and would enhance any personal library. A great companion work to this would be the "Almanac of World History" also by National Geographic.

9 of 11 people found the following review helpful.
Choppily written
By An Amazonian
This book seems to have been written to run about 500 pages before it was cut down to its final length of 338 pages. many of the sections I've read have been difficult to truly understand--sometimes the authors makes claims that need more explanation, and other times the sentences or paragraphs seem to be non sequitors. Great images, though.

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There is something in men intrinsically, a primitive urge perhaps, that drives us to want to please Women. Does this male refrain sound familiar? “I was just trying to make her happy!” How to Make a Woman Happy is about taking relationships that are new, okay, not bad, doing fine, getting old or facing trouble, and making them exhilarating, exciting or just plain workable. It was written for men who want ideas. Sometimes one idea is all you need—and this book offers ideas aplenty. Whether it’s romancing her, gift-giving, intimacy suggestions, simple ideas for avoiding arguments, dealing with crying, love making, traditions, or communication for the impaired, this book has it all. Take the practical Ideas that appeal to you and place them in the enclosed “Keep Her Happy” and “Romance” cheat sheets which you can tear out and place in your wallet or enter in your smart phone. You owe it to yourself to make her happy. Having and keeping anything worthwhile takes effort, whether it’s your jump shot, your job, or your relationship.

• Sales Rank: #2330596 in Books
• Published on: 2015-02-23
• Original language: English
• Number of items: 1
• Dimensions: 7.00" h x .22" w x 4.35" l, .17 pounds
• Binding: Paperback
• 94 pages

About the Author
About the Author Denis Hickey grew up in a family headed by strong, loving women who provided him with a sound basis to write this book. He ran his first business at twenty-six and retired at forty-eight to backpack around the world and write. In between he raised a fun family with a wonderful woman and two lovely daughters, Shannon and Chimene. In business he learned entrepreneurial skills in Silicon Valley and worked with companies on the leading edge of five different technologies. Later he co-founded the crisis management firm, Hickey & Hill. Denis lives in Warsaw, Poland, with his second wife, Malgosia, and son, Sean, pursuing his passion for writing and striving to achieve a mellow satisfaction in life.

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0 of 0 people found the following review helpful.
A good friend that give you good advice
By Davide
Nice "How to" manual, it is stuffed of very useful suggestions,from the unusual to the smarter one,

I received this book as a LibraryThing reviewer

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