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A singular fatality has ruled the destiny of nearly all the most famous of Leonardo da Vinci's works. Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while the third—the picture of the Last Supper at Milan—has suffered irremediable injury from decay and the repeated restorations to which it was recklessly subjected during the XVIIth and XVIIIth centuries. Nevertheless, no other picture of the Renaissance has become so wellknown and popular through copies of every description. Vasari says, and rightly, in his Life of Leonardo, "that he laboured much more by his word than in fact or by deed", and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved to this day. To us, now, it seems almost inexplicable that these valuable and interesting original texts should have remained so long unpublished, and indeed forgotten. It is certain that during the XVIth and XVIIth centuries their exceptional value was highly appreciated. This is proved not merely by the prices which they commanded, but also by the exceptional interest which has been attached to the change of ownership of merely a few pages of Manuscript. That, notwithstanding this eagerness to possess the Manuscripts, their contents remained a mystery, can only be accounted for by the many and great difficulties attending the task of deciphering them. The handwriting is so peculiar that it requires considerable practice to read even a few detached phrases, much more to solve with any certainty the numerous difficulties of alternative readings, and to master the sense as a connected whole. Vasari observes with reference to Leonardos writing: "he wrote backwards, in rude characters, and with the left hand, so that any one who is not practised in reading them, cannot understand them". The aid of a mirror in reading reversed handwriting appears to me available only for a first experimental reading. Speaking from my own experience, the persistent use of it is too fatiguing and inconvenient to be practically advisable, considering the enormous mass of Manuscripts to be deciphered. And as, after all, Leonardo's handwriting runs backwards just as all Oriental character runs backwards—that is to say from right to left—the difficulty of reading direct from the writing is not insuperable. This obvious peculiarity in the writing is not, however, by any means the only obstacle in the way of mastering the text. Leonardo made use of an orthography peculiar to himself; he had a fashion of amalgamating several short words into one long one, or, again, he would quite arbitrarily divide a long word into two separate halves; added to this there is no punctuation whatever to regulate the division and construction of the sentences, nor are there any accents—and the reader may imagine that such difficulties were almost sufficient to make the task seem a desperate one to a beginner. It is therefore not surprising that the good intentions of some of Leonardo s most reverent admirers should have failed.
The myth of Scott of the Antarctic, Captain Robert Falcon Scott, icon of fortitude and courage who perished with his fellow explorers on their return from the South Pole on March 29th, 1912, is an enduring one, elevated, dismantled and restored during the turbulence of the succeeding century. Until now, the legend of the doomed Terra Nova expedition has been constructed out of Scott's own diaries and those of his companions, the sketches of 'Uncle Bill' Wilson and the celebrated photographs of Herbert Ponting. Yet for the final, fateful months of their journey, the systematic imaging of this extraordinary scientific endeavor was left to Scott himself, trained by Ponting. In the face of extreme climactic conditions and technical challenges at the dawn of photography, Scott achieved an iconic series of images; breathtaking polar panoramas, geographical and geological formations, and action photographs of the explorers and their animals, remarkable for their technical mastery as well as for their poignancy. Lost, fought over, neglected and finally resurrected, Scott's final photographs are here collected, accurately attributed and catalogued for the first time: a new dimension to the last great expedition of the Heroic Age and a humbling testament to the men whose graves still lie unmarked in the vastness of the Great Alone.
A thrilling tale of high-altitude death and survival set on the snowy summits of Mount Everest, from the bestselling author of The Terror. It's 1924 and the race to summit the world's highest mountain has been brought to a terrified pause by the shocking disappearance of George Mallory and Sandy Irvine high on the shoulder of Mt. Everest. By the following year, three climbers -- a British poet and veteran of the Great War, a young French Chamonix guide, and an idealistic young American -- find a way to take their shot at the top. They arrange funding from the grieving Lady Bromley, whose son also disappeared on Mt. Everest in 1924. Young Bromley must be dead, but his mother refuses to believe it and pays the trio to bring him home. Deep in Tibet and high on Everest, the three climbers -- joined by the missing boy's female cousin -- find themselves being pursued through the night by someone . . . or something. This nightmare becomes a matter of life and death at 28,000 feet - but what is pursuing them? And what is the truth behind the 1924 disappearances on Everest? As they fight their way to the top of the world, the friends uncover a secret far more abominable than any mythical creature could ever be. A pulse-pounding story of adventure and suspense, The Abominable is Dan Simmons at his spine-chilling best.
***NPR Books We Love selection*** “If you’re only going to read one Everest book this decade, make it The Third Pole. . . . A riveting adventure.”—Outside Shivering, exhausted, gasping for oxygen, beyond doubt . . . A hundred-year mystery lured veteran climber Mark Synnott into an unlikely expedition up Mount Everest during the spring 2019 season that came to be known as “the Year Everest Broke.” What he found was a gripping human story of impassioned characters from around the globe and a mountain that will consume your soul—and your life—if you let it. The mystery? On June 8, 1924, George Mallory and Sandy Irvine set out to stand on the roof of the world, where no one had stood before. They were last seen eight hundred feet shy of Everest’s summit still “going strong” for the top. Could they have succeeded decades before Sir Edmund Hillary and Tenzing Norgay? Irvine is believed to have carried a Kodak camera with him to record their attempt, but it, along with his body, had never been found. Did the frozen film in that camera have a photograph of Mallory and Irvine on the summit before they disappeared into the clouds, never to be seen again? Kodak says the film might still be viable. . . . Mark Synnott made his own ascent up the infamous North Face along with his friend Renan Ozturk, a filmmaker using drones higher than any had previously flown. Readers witness first-hand how Synnott’s quest led him from oxygen-deprivation training to archives and museums in England, to Kathmandu, the Tibetan high plateau, and up the North Face into a massive storm. The infamous traffic jams of climbers at the very summit immediately resulted in tragic deaths. Sherpas revolted. Chinese officials turned on Synnott’s team. An Indian woman miraculously crawled her way to frostbitten survival. Synnott himself went off the safety rope—one slip and no one would have been able to save him—committed to solving the mystery. Eleven climbers died on Everest that season, all of them mesmerized by an irresistible magic. The Third Pole is a rapidly accelerating ride to the limitless joy and horror of human obsession.
After Evgeny Zamiatin emigrated from the USSR in 1931, he was systematically airbrushed out of Soviet literary history, despite the central role he had played in the cultural life of Russia’s northern capital for nearly twenty years. Since the collapse of the Soviet Union, his writings have gradually been rediscovered in Russia, but with his archives scattered between Russia, France, and the USA, the project of reconstructing the story of his life has been a complex task. This book, the first full biography of Zamiatin in any language, draws upon his extensive correspondence and other documents in order to provide an account of his life which explores his intimate preoccupations, as well as uncovering the political and cultural background to many of his works. It reveals a man of strong will and high principles, who negotiated the political dilemmas of his day—including his relationship with Stalin—with great shrewdness.
This monumental novel, divided into four separate books, celebrates the end of an era, the irrevocable destruction of the comfortable, predictable society that vanished during World War I.
Called a “masterpiece” in a starred review from School Library Journal, award-winning author Chris Crutcher’s acclaimed Staying Fat for Sarah Byrnes is an enduring classic. This bestselling novel is about love, loyalty, and friendship in the face of adversity. “Superb plotting, extraordinary characters, and cracking narrative make this novel unforgettable.”—Publishers Weekly Sarah Byrnes and Eric Calhoune have been friends for years. When they were children, his weight and her scars made them both outcasts. Now Sarah Byrnes—the smartest, toughest person Eric has ever known—sits silent in a hospital. Eric must uncover the terrible secret she’s hiding before its dark current pulls them both under. Will appeal to fans of Marieke Nijkamp, Andrew Smith, and John Corey Whaley. “Once again, Chris Crutcher plunges his readers into life's tough issues within a compelling story filled with human compassion . . . with his characteristic intelligence, humor, and empathy."—ALAN Review An American Library Association Best Book for Young Adults
Part autobiography, part fiction, this early work by the author of The Master and Margarita shows a master at the dawn of his craft, and a nation divided by centuries of unequal progress. In 1916 a 25-year-old, newly qualified doctor named Mikhail Bulgakov was posted to the remote Russian countryside. He brought to his position a diploma and a complete lack of field experience. And the challenges he faced didn’t end there: he was assigned to cover a vast and sprawling territory that was as yet unvisited by modern conveniences such as the motor car, the telephone, and electric lights. The stories in A Country Doctor’s Notebook are based on this two-year window in the life of the great modernist. Bulgakov candidly speaks of his own feelings of inadequacy, and warmly and wittily conjures episodes such as peasants applying medicine to their outer clothing rather than their skin, and finding himself charged with delivering a baby—having only read about the procedure in text books. Not yet marked by the dark fantasy of his later writing, this early work features a realistic and wonderfully engaging narrative voice—the voice, indeed, of twentieth century Russia’s greatest writer.