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Elden Duane Rogers died on March 19, 1945, one of the eight hundred who perished on the aircraft carrier USS Franklin that day. It was his nineteenth birthday. Write home often, the navy told sailors like Elden, thinking it would keep up morale among sailors and those waiting for them stateside. But they were told not to write anything about where they were, where they had been, where they were going, what they were doing, or even what the weather was like. Spies were presumed everywhere, and loose lips could sink ships. Before a sailor’s letter could be sealed and sent, a censor read it and with a razor blade cut out words that told too much. So Long for Now reconstructs the lost world of a sailor’s daily life in World War II, piecing together letters from Elden’s family in Vega, Texas, and from his girlfriend, the untold stories behind Elden’s own letters, and the context of the war itself. Historian Jerry L. Rogers delves past censored letters limited to small talk and local gossip to conjure the danger, excitement, boredom, and sacrifices that sailors in the Pacific theater endured. He follows Elden from enlistment in the navy through every battle the USS Franklin saw. Flight deck crashes, kamikaze hits, and tensions and alliances aboard ship all built to the unprecedented chaos and casualties of the Japanese air attack on March 19. “So long for now,” Elden signed off—never “Goodbye.” This moving work poignantly confronts the horrors of war, giving voice to a young sailor, the country he served, the family and friends he left behind, and the hope that has sustained them.
In World War II, Bill Dwyer served as a Stars & Stripes correspondent with the US Fourth Infantry Division in Belgium, Luxembourg and Germany (often in company with Collier’s correspondent Ernest Hemingway). He was a member of a six-man truce party who went behind enemy lines for three hours and worked to negotiate the surrender of Rothenburg, a walled Bavarian city dating to the 14th century. For this action he was awarded the Bronze Star.
Now celebrating the 42nd anniversary of The Hitchhiker’s Guide to the Galaxy, soon to be a Hulu original series! “A madcap adventure . . . Adams’s writing teeters on the fringe of inspired lunacy.”—United Press International Back on Earth with nothing more to show for his long, strange trip through time and space than a ratty towel and a plastic shopping bag, Arthur Dent is ready to believe that the past eight years were all just a figment of his stressed-out imagination. But a gift-wrapped fishbowl with a cryptic inscription, the mysterious disappearance of Earth’s dolphins, and the discovery of his battered copy of The Hitchhiker’s Guide to the Galaxy all conspire to give Arthur the sneaking suspicion that something otherworldly is indeed going on. God only knows what it all means. Fortunately, He left behind a Final Message of explanation. But since it’s light-years away from Earth, on a star surrounded by souvenir booths, finding out what it is will mean hitching a ride to the far reaches of space aboard a UFO with a giant robot. What else is new? “The most ridiculously exaggerated situation comedy known to created beings . . . Adams is irresistible.”—The Boston Globe
In this magically evocative novel, William Maxwell explores the enigmatic gravity of the past, which compels us to keep explaining it even as it makes liars out of us every time we try. On a winter morning in the 1920s, a shot rings out on a farm in rural Illinois. A man named Lloyd Wilson has been killed. And the tenuous friendship between two lonely teenagers—one privileged yet neglected, the other a troubled farm boy—has been shattered. Fifty years later, one of those boys—now a grown man—tries to reconstruct the events that led up to the murder. In doing so, he is inevitably drawn back to his lost friend Cletus, who has the misfortune of being the son of Wilson's killer and who in the months before witnessed things that Maxwell's narrator can only guess at. Out of memory and imagination, the surmises of children and the destructive passions of their parents, Maxwell creates a luminous American classic of youth and loss.
The author, a computer science professor diagnosed with terminal cancer, explores his life, the lessons that he has learned, how he has worked to achieve his childhood dreams, and the effect of his diagnosis on him and his family.
"Taut with tension.… [E]nding with a hint of hope."—Rob Merrill, Associated Press Cathartic, affirming, and steeped in the empathy and precise observations of character for which Dubus is celebrated, Gone So Long explores how the wounds of the past afflict the people we become. Gone So Long is a riveting family drama about an ex-con who did time for murder, the estranged daughter he hasn’t seen in forty years, and the grandmother angry enough to kill him. A profound exploration of the struggle between the selves we wish to be, and the ones—shaped by chance and circumstance, as well as character—that we can’t escape, it confirms Andre Dubus’s reputation as a novelist whose “compassion is unsentimental and unblinking, total and unwavering” (Paul Harding).
A bold reassessment of what caused the Late Bronze Age collapse In 1177 B.C., marauding groups known only as the "Sea Peoples" invaded Egypt. The pharaoh's army and navy managed to defeat them, but the victory so weakened Egypt that it soon slid into decline, as did most of the surrounding civilizations. After centuries of brilliance, the civilized world of the Bronze Age came to an abrupt and cataclysmic end. Kingdoms fell like dominoes over the course of just a few decades. No more Minoans or Mycenaeans. No more Trojans, Hittites, or Babylonians. The thriving economy and cultures of the late second millennium B.C., which had stretched from Greece to Egypt and Mesopotamia, suddenly ceased to exist, along with writing systems, technology, and monumental architecture. But the Sea Peoples alone could not have caused such widespread breakdown. How did it happen? In this major new account of the causes of this "First Dark Ages," Eric Cline tells the gripping story of how the end was brought about by multiple interconnected failures, ranging from invasion and revolt to earthquakes, drought, and the cutting of international trade routes. Bringing to life the vibrant multicultural world of these great civilizations, he draws a sweeping panorama of the empires and globalized peoples of the Late Bronze Age and shows that it was their very interdependence that hastened their dramatic collapse and ushered in a dark age that lasted centuries. A compelling combination of narrative and the latest scholarship, 1177 B.C. sheds new light on the complex ties that gave rise to, and ultimately destroyed, the flourishing civilizations of the Late Bronze Age—and that set the stage for the emergence of classical Greece.
So Long Been Dreaming: Postcolonial Science Fiction & Fantasy is an anthology of original new stories by leading African, Asian, South Asian, and Aboriginal authors, as well as North American and British writers of colour. Stories of imagined futures abound in Western writing. Writer and editor Nalo Hopkinson notes that the science fiction/fantasy genre ''speaks so much about the experience of being alienated, but contains so little writing by alienated people themselves.'' It's an oversight that Hopkinson and Mehan aim to correct with this anthology. The wealth of postcolonial literature has included many who have written insightfully about their pasts and presents. With So Long Been Dreaming they creatively address their futures. With an introduction by Hugo and Nebula Award-winner Samuel R. Delany. Contributors to So Long Been Dreaming are Opal Palmer Adisa, Celu Amberstone, Ven Begamudre, Tobias S. Buckell, Wayde Compton, Andrea Hairston, Maya Khankhoje, Tamai Kobayashi, Larissa Lai, Karin Lowachee, devorah major, Suzette Mayr, Carole McDonnell, Nnedi Okorafor-Mbachu, Eden Robinson, Nisi Shawl, Vandana Singh, Sheree R. Thomas, and Greg van Eekhout.
Through a close reading of Leaves of Grass, its constituent poems, particularly Song of Myself and Whitman's prose and letters, Aspiz charts how the poet's exuberant celebration of life is a consequence of his central concern: the ever presence of death and the prospect of an afterlife.