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This is a science fiction novel where Britain has been invaded because of the evil plans of an Irishman. The whole of the world is at war and it seems inevitable that life as we know it is about to disappear. There is also a huge comet hurtling towards Earth ...
In Clifden, the chief coast town of Connemara, there is a house at the end of a triangle which the two streets of the town form, the front windows of which look straight down the beautiful harbour and bay, whose waters stretch out beyond the islands which are scattered along the coast and, with the many submerged reefs, make the entrance so difficult...
George Griffith (1857-1906), full name George Chetwynd Griffith-Jones, was a prolific British science fiction writer and noted explorer who wrote during the late Victorian and Edwardian age. Many of his visionary tales appeared in magazines such as Pearson's Magazine and Pearson's Weekly before being published as novels. Griffith was extremely popular in the United Kingdom, though he failed to find similar acclaim in the United States, in part due to his utopian socialist views. A journalist, rather than a scientist, by background, what his stories lack in scientific rigour and literary grace they make up for in sheer exuberance of execution. The Angel of the Revolution: A Tale of the Coming Terror (1893) remains his best and most famous work.
From Pole to Pole by George Griffith is about the latest experiment examined by Professor Hafkin and Mr. Arthur Princeps: the journey through the center of the earth. Excerpt: "Well, Professor, what is it? Something pretty important, I suppose, from the wording of your note. What is the latest achievement? Have you solved the problem of aerial navigation, or got a glimpse into the realms of the fourth dimension, or what?" "No, not any of those as yet, my friend, but something that may be quite as wonderful of its sort," replied Professor Haffkin, putting his elbows down on the table and looking keenly across it under his shaggy, iron-grey eyebrows at the young man who was sitting on the opposite side pulling meditatively at a good cigar and sipping a whisky-and-soda."
We is a dystopian novel which is set in a dystopian future police state. D-503 lives in the One State, an urban nation constructed almost entirely of glass, which allows the secret police/spies to inform on and supervise the public more easily. The structure of the state is analogous to the prison design concept developed by Jeremy Bentham commonly referred to as the Panopticon. Furthermore, life is organized to promote maximum productive efficiency along the lines of the system advocated by the hugely influential F. W. Taylor. People march in step with each other and wear identical clothing. There is no way of referring to people save by their given numbers. Males have odd numbers prefixed by consonants; females have even numbers prefixed by vowels. Along with Jack London's The Iron Heel, We is generally considered to be the grandfather of the satirical futuristic dystopia genre. Yevgeny Zamyatin (1884-1937) was a Russian author of science fiction and political satire. Due to his use of literature to criticize Soviet society, Zamyatin has been referred to as one of the first Soviet dissidents.
Edwardian Culture: Beyond the Garden Party is the first truly interdisciplinary collection of essays dealing with culture in Britain c.1895-1914. Bringing together essays on literature, art, politics, religion, architecture, marketing, and imperial history, the study highlights the extent to which the culture and politics of Edwardian period were closely intertwined. The book builds upon recent scholarship that seeks to reclaim the term ‘Edwardian’ from prevalent, restrictive usages by venturing beyond the garden party – and the political rally – to uncover some of the terrain that lies between. The essays in the volume – which deal with both famous writers such as J. M. Barrie and Arnold Bennett, as well as many lesser-known figures – draw attention to the nuanced multiplicity of experience and cultural forms that existed during the period, and highlight the ways in which a closer examination of Edwardian culture complicates our definitions of ‘Victorian’ and ‘Modern’. The book argues that the Edwardian era, rather than constituting a coda to the Victorian period or a languid pause before modernism shook things up, possessed a compelling and creative tenor of its own.
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