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On 5 May 1725 a Dutch ship's officer, Leendert Hasenbosch, was set ashore on the desert island of Ascension in the South Atlantic Ocean, as a punishment for sodomy. He tried to survive on turtles and birds but found very little water on the barren island. He wrote a diary. He probably died after about half a year. In January 1726 British mariners found his tent, diary and other things and brought the diary to England. In 1726 a first English version of the diary of the Dutch castaway was published. Other versions followed in 1728, 1730 and 1976. Who was the castaway? The truth was disclosed by the Dutch historian Michiel Koolbergen (1953-2002), in a posthumously published book in Dutch. With the support of Michiel Koolbergen's family and publisher, this new book discloses the truth in English. This book is the second edition, with some improvements compared to the original edition of 2006. This book is illustrated with line drawings, both historic ones and by the Dutch artist Anneke de Vries.
An examination of the unique governance of islands and their role in contemporary global politics.
Many of today's teenagers are tired of the pressure to compete and consume-and are looking for a different way to live their lives. This book offers an alternative: the 2,500-year old practice of Buddhism. Written in a style that will have immediate appeal to young "seekers" and those wanting to understand the ancient teachings, this book addresses such relevant topics as peer pressure, emotional difficulties, stress, fostering peace, and even protecting the environment. For everyone looking for self-help, self-esteem, and self-awareness, this book offers advice on: •Discovering truth in a world of hype •Finding peace amid the ups and downs of life •Accepting ourselves •Working with difficult emotions •How to meditate •Dealing with temptations and making the right decisions about sex and drugs •Advice on volunteering, working for peace, and protecting the environment
This is the story of a family caught in the throes of war, a family with a 165 year tradition of service to their country. Sam is torn between his love for his family and his sense of duty to his country. His decision takes him from the quiet hills of Pennsylvania to the torrid jungles of Burma. While his family struggles with shortages and rationing, he fights to survive the terrors of war. This story is based on actual experiences and official records from World War II.
Annie, younger sister of the princess who would be known as Sleeping Beauty, is immune to magic and stays awake when the rest of the castle falls into an enchanted sleep, then sets out to find a way to break the spell.
Cartoonist Winsor McCay (1869-1934) is rightfully celebrated for the skillful draftmanship and inventive design sense he displayed in the comic strips Little Nemo in Slumberland and Dream of the Rarebit Fiend. McCay crafted narratives of anticipation, abundance, and unfulfilled longing. This book explores McCay's interest in dream imagery in relation to the larger preoccupation with fantasy that dominated the popular culture of early twentieth-century urban America. McCay's role as a pioneer of early comics has been documented; yet, no existing study approaches him and his work from an art historical perspective, giving close readings of individual artworks while situating his output within the larger visual culture and the rise of modernism. From circus posters and vaudeville skits to department store window displays and amusement park rides, McCay found fantastical inspiration in New York City's burgeoning entertainment and retail districts. Wide Awake in Slumberland connects McCay's work to relevant children's literature, advertising, architecture, and motion pictures in order to demonstrate the artist's sophisticated blending and remixing of multiple forms from mass culture. Studying this interconnection in McCay's work and, by extension, the work of other early twentieth-century cartoonists, Roeder traces the web of relationships connecting fantasy, leisure, and consumption. Readings of McCay's drawings and the eighty-one black-and-white and color illustrations reveal a man who was both a ready participant and an incisive critic of the rising culture of fantasy and consumerism.