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"A riveting...saga of survival against formidable odds" (Washington Post) about one man who survived a World War II plane crash in Alaska's harsh Yukon territory Shortly before Christmas in 1943, five Army aviators left Alaska's Ladd Field on a routine flight to test their hastily retrofitted B-24 Liberator in harsh winter conditions. The mission ended in a crash that claimed all but one-Leon Crane, a city kid from Philadelphia with no wilderness experience. With little more than a parachute for cover and an old Boy Scout knife in his pocket, Crane now found himself alone in subzero temperatures. Crane knew, as did the Ladd Field crews who searched unsuccessfully for the crash site, that his chance of survival dropped swiftly with each passing day. But Crane did find a way to stay alive in the grip of the Yukon winter for nearly twelve weeks and, amazingly, walked out of the ordeal intact. 81 Days Below Zero recounts, for the first time, the full story of Crane's remarkable saga. In a drama of staggering resolve and moments of phenomenal luck, Crane learned to survive in the Yukon's unforgiving wilds. His is a tale of the capacity to endure extreme conditions, intense loneliness, and flashes of raw terror-and emerge stronger than before.
A suspenseful WWII page-turner and an enormously witty tale of camaraderie and collusion, Ted Fahrenwald's memoir takes you behind the scenes to offer unique insights into the daily courage and intrigues of the French Resistance and various Allies as they battled the vicious German occupiers-and suffered the violent retribution that was often the result. At 22, Ted was a daredevil pilot on his 100th mission when he bailed out of his burning Mustang two days after D-Day. Parachuting into the Nazi-infested farmland of Normandy, he was immediately picked up by the Maquis, the rural guerrilla arm of the Resistance. His wily and gregarious personality, high-school French, and backwoods skills helped him forge deep and lifelong friendships with these heroic patriots. Ted joined them on their night-time raids and relished their frequent parties fueled by home-brewed Calvados brandy. But he was determined to rejoin his squadron in England, so he left his helpers to hike north through heavily occupied forests toward the Channel Coast and the advancing Allied liberation armies. Captured by the Wehrmacht, interrogated as a spy, and interned in a POW camp, he made a daring escape just before his scheduled deportation to Germany. Being drafted by the unruly Maquis and captured by the German army didn't diminish Ted's talent for spotting the ironic humor in even the most aggravating situations-nor his penchant for extracting his own improvised and sometimes hilarious version of justice.
"Mostly California is not a Book On California, rather a book of California this-and-thats, packrat's loot, vagabond's gleanings, such a mixture as is found in small boy's pockets and most people's minds after a day of casual roaming . . ."--From Mostly California, "This Might Be Called a Preface", p. [11].
“A witty, entertaining, and enlightening antidote to sloppy, inflated, vague, or dull prose.” —Publishers Weekly Writing comes in grades of quality in the fashion of beer and baseball games—good, better, and best. With the experience of a lifetime spent writing, James J. Kilpatrick wants to make a few judgment calls. Here, in the great tradition of Theodore Bernstein, Edwin Newman, and William Safire, a master of the art gives us a finely crafted, witty guide to writing well. Intended for laymen and professionals alike, The Writer’s Art highlights techniques and examples of good writing—and a section of the book called “My Crotchets and Your Crotchets” comprises more than two hundred personal judgment calls, often controversial, often funny, on word usage. “Put it on your shelf between Strunk & White’s Elements of Style and William Zinsser’s On Writing Well.” —Cleveland Plain Dealer “An honest, forthright, and at times charming look into American usage.” —The New York Times Book Review “The Writer’s Art is itself a work of art.” —Dallas Morning News