Download Free Skygirl Book in PDF and EPUB Free Download. You can read online Skygirl and write the review.

Being a teenage girl is hard enough, but for DeDe Christopher it is proving impossible. Last year, DeDe discovered that she possessed fantastic abilities that were strangely similar to those of a comic book character named SkyBoy. With the help of her best friend Jason, a self-professed comic geek, DeDe accepted her legacy and became Sky Girl. Now, DeDe must learn what it means to be a heroine and how her late father's connection to SkyBoy will affect her destiny.
DigiCat Publishing presents to you this special edition of "Peggy Wayne, Sky Girl" by Betty Baxter Anderson. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
Close on the heels of the American public’s early enthusiasm over the airplane came aviation stories for the young. From 1910 until the early 1960s, they exalted flight and painted the airplane as the most modern and adventuresome of machines. Most of the books were directed at boys; however, a substantial number sought a girls’ audience. Erisman’s account of several aviation series and other aviation books for girls fills a gap in the history and criticism of American popular culture. It examines the stories of girls who took to the sky, of the sources where authors found their inspiration, and of the evolution of aviation as an enterprise open to all. From the heady days of early aviation through the glory days of commercial air travel, girls’ aviation books trace American women’s participation in the field. They also reflect changes in women’s roles and status in American society as the sex sought greater equality with men. As aviation technology improved, the birdwomen of the pre-World War I era, capable and independent-minded, gave way to individualistic 1930s adventurers patterned on Amelia Earhart, Jacqueline Cochran, and other feminine notables of the air. Their stories lead directly into the coming of commercial air travel. Career stories paint the increasingly glamorous world of the 1940s and 1950s airline stewardess, the unspoken assumptions lying behind that profession, and the inexorable effects of technological and economic change. By recovering these largely forgotten books and the social debates surrounding women’s flying, Erisman makes a substantial contribution to aviation history, women’s history, and the study of juvenile literature. This first comprehensive study of a long-overlooked topic recalls aviation experiences long past and poses provocative questions about Americans’ attitudes toward women and how those attitudes were conveyed to the young.
Offering historical images, documents, and firsthand experiences, covers the history of flight attendants from the earliest days of air travel to the present day.
Sky Girl takes up the airborne commedia in a new atmosphere of revised service, revised glamour, and revised terror. From far and quite, quite near, the poems of Rosemary Griggs observe with a kind but unsettling gaze the trials of the flight attendant, post-disaster. Our girl Kimberlie jets to parts known and unknown- Saginaw, Phuket, Isoka, Maui, a weekend getaway, a layover, the great blue yonder- inspiring affection and sympathetic fear and loneliness wherever she goes. These are poems as varied and exploratory, and deeply humane, as any job description can be.
“In her new chic outfit, she looks like anything but a stewardess working. But work she does. Hard, too. And you hardly know it.” So read the text of a 1969 newspaper advertisement for Delta Airlines featuring a picture of a brightly smiling blond stewardess striding confidently down the aisle of an airplane cabin to deliver a meal. From the moment the first stewardesses took flight in 1930, flight attendants became glamorous icons of femininity. For decades, airlines hired only young, attractive, unmarried white women. They marketed passenger service aloft as an essentially feminine exercise in exuding charm, looking fabulous, and providing comfort. The actual work that flight attendants did—ensuring passenger safety, assuaging fears, serving food and drinks, all while conforming to airlines’ strict rules about appearance—was supposed to appear effortless; the better that stewardesses performed by airline standards, the more hidden were their skills and labor. Yet today flight attendants are acknowledged safety experts; they have their own unions. Gone are the no-marriage rules, the mandates to retire by thirty-two. In Femininity in Flight, Kathleen M. Barry tells the history of flight attendants, tracing the evolution of their glamorized image as ideal women and their activism as trade unionists and feminists. Barry argues that largely because their glamour obscured their labor, flight attendants unionized in the late 1940s and 1950s to demand recognition and respect as workers and self-styled professionals. In the 1960s and 1970s, flight attendants were one of the first groups to take advantage of new laws prohibiting sex discrimination. Their challenges to airlines’ restrictive employment policies and exploitive marketing practices (involving skimpy uniforms and provocative slogans such as “fly me”) made them high-profile critics of the cultural mystification and economic devaluing of “women’s work.” Barry combines attention to the political economy and technology of the airline industry with perceptive readings of popular culture, newspapers, industry publications, and first-person accounts. In so doing, she provides a potent mix of social and cultural history and a major contribution to the history of women’s work and working women’s activism.
Amelia Earhart’s prominence in American aviation during the 1930s obscures a crucial point: she was but one of a closely knit community of women pilots. Although the women were well known in the profession and widely publicized in the press at the time, they are largely overlooked today. Like Earhart, they wrote extensively about aviation and women’s causes, producing an absorbing record of the life of women fliers during the emergence and peak of the Golden Age of Aviation (1925–1940). Earhart and her contemporaries, however, were only the most recent in a long line of women pilots whose activities reached back to the earliest days of aviation. These women, too, wrote about aviation, speaking out for new and progressive technology and its potential for the advancement of the status of women. With those of their more recent counterparts, their writings form a long, sustained text that documents the maturation of the airplane, aviation, and women’s growing desire for equality in American society. In Their Own Words takes up the writings of eight women pilots as evidence of the ties between the growth of American aviation and the changing role of women. Harriet Quimby (1875–1912), Ruth Law (1887–1970), and the sisters Katherine and Marjorie Stinson (1893–1977; 1896–1975) came to prominence in the years between the Wright brothers and World War I. Earhart (1897–1937), Louise Thaden (1905–1979), and Ruth Nichols (1901–1960) were the voices of women in aviation during the Golden Age of Aviation. Anne Morrow Lindbergh (1906–2001), the only one of the eight who legitimately can be called an artist, bridges the time from her husband’s 1927 flight through the World War II years and the coming of the Space Age. Each of them confronts issues relating to the developing technology and possibilities of aviation. Each speaks to the importance of assimilating aviation into daily life. Each details the part that women might—and should—play in advancing aviation. Each talks about how aviation may enhance women’s participation in contemporary American society, making their works significant documents in the history of American culture.