By Willy van der Heide
Drie jongens mogen als beloning voor een goed rapport een zeereis maken op een nieuwe vrachtboot.
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With the Christmas season upon him, Detective Sergeant Bruce Robertson of Edinburgh's best is gearing up socially—kicking issues off with per week of intercourse and medication in Amsterdam. There are a few extensive flies within the ointment, although: a lacking spouse and baby, a nagging cocaine behavior, a few painful below-the-belt eczema, and a string of not easy extramarital affairs.
Maggie and Ira Moran were married for twenty-eight years–and it indicates: of their quarrels, of their workouts, of their skill to tolerate with affection each one other’s eccentricities. Maggie, a kooky, lovely meddler and an irrepressible optimist, wishes not anything greater than to mend her son’s damaged marriage.
Jason M. Hough’s pulse-pounding debut combines the drama, swagger, and vibrant characters of Joss Whedon’s Firefly with the expertise of sci-fi writer John Scalzi.
within the mid-23rd century, Darwin, Australia, stands because the final human urban in the world. the realm has succumbed to an alien plague, with many of the inhabitants remodeled into senseless, savage creatures. The planet’s refugees flock to Darwin, the place an area elevator—created through the architects of this apocalypse, the Builders—emits a plague-suppressing aura.
Skyler Luiken has an extraordinary immunity to the plague. sponsored via a global workforce of fellow “immunes,” he leads missions into the harmful desert past the aura’s part to discover the assets Darwin must stave off cave in. but if the Elevator starts off to malfunction, Skyler is tapped—along with the intense scientist, Dr. Tania Sharma—to remedy the secret of the failing alien know-how and retailer the ragged remnants of humanity.
Praise for The Darwin Elevator
“[Jason M. ] Hough’s first novel combines the rapid-fire motion and noteworthy characters linked to Joss Whedon’s short-lived Firefly television sequence with the accessibility and medical acumen of J. S. Corey’s ‘Expanse’ sequence. ”—Library magazine (starred review)
“The better part approximately alien tales is their secret, and Jason Hough knows that like no different. packed with compelling characters and thick with rigidity, The Darwin Elevator can provide either melancholy and wish in addition to a big dose of ask yourself. It’s a super debut, and Hough can take my cash every time he writes whatever any more. ”—Kevin Hearne, long island instances bestselling writer of The Iron Druid Chronicles
“Newcomer Hough monitors a expertise for inventive plotting and lifelike discussion, and the brisk pacing and cliffhanger finishing will preserve readers enthralled and eagerly expecting the subsequent installment. ”—Publishers Weekly
“Jason M. Hough does an exceptional activity with this massive tale. the area of Darwin and the Elevator is deliciously complicated and fulfilling. Skyler, Tania, and the entire different characters are delightfully drawn and enjoyable to spend time with. . . . the tale unfolds with simply the fitting stability of excessive experience, espionage, humor, and emotional fact. . . . once you end, you’ll wish extra. ”—Analog
“A debut novel not like the other . . . this can be whatever exact. anything iconic. The Darwin Elevator is stuffed with majesty and sweetness, secret and mayhem, colourful characters and insidious schemes. ”—SF sign
“Fun, action-packed and exciting . . . a yes contender for technological know-how fiction debut of the 12 months! ”—Pat’s delusion Hotlist
“Claustrophobic, extreme, and pleasing . . . I couldn’t positioned this e-book down. The Darwin Elevator depicts a terrifying global, suspends it from a fragile thread, and forces you to learn with held breath as you expect the inevitable fall. ”—Hugh Howey, long island occasions bestselling writer of Wool
“Hough writes with impossible to resist strength and gritty realism. His places his characters via hell, mixing a powerful plot with heart-stopping motion and moments of uncooked terror because the international is going loopy within the shadow of unfathomable alien intentions. ”—Sara Creasy, writer of the Philip ok. Dick Award–nominated tune of Scarabaeus
A black jockey with a genius for horses and ladies . .. his white grasp, a slave to the corrupt wishes of his flesh . .. an amoral Southern attractiveness queen, out to seduce and make the most them either. .. . From this twisted human triangle comes one of many sensational novels of our time—a revelation of ardour, perversity and unusual hungers.
- Hyperion and Selected Poems (German Library)
- Clotel: or, The President's Daughter (Modern Library Classics)
- Tipping the Velvet: A Novel
Additional info for Avonturen in de Stille Zuidzee
These phenomena are registered repeatedly in the texts with which we are concerned in this book, but we will begin by exploring how they are played out through the styles and strategies of one postfeminist icon, Madonna, and the generations of female artists who have been identified as the potential inheritors of her mantle. Madonna and child? On 13 February 2011 Lady Gaga arrived at the 53rd Annual Grammy Awards in Los Angeles encased in a giant egg. As the makeshift womb bobbed above the crowds lining the red carpet, carried aloft by four rubber-clad male models, her creative director explained that Lady Gaga was ‘incubating’ and would not be ‘born’ until her performance that evening.
If feminism is an ontology, a way of being, then it is also a hauntology in the Derridean sense – a way of being that is shaped by anxieties about the past, concern for the future and an overarching uncertainty about its own status and ability to effect change in a world where its necessity is perpetually cast into doubt. As a meditation on politics after the ‘death of communism’, or what Francis Fukuyama augurs as the ‘end of history’, Specters of Marx shows how the ghosts of communist revolution continue to haunt the living present as signs of what might have been, and what might yet still be; they are, in essence, ghosts of political possibility.
Even in Walby’s account of feminism’s rude health, its distorted appearance and decreased visibility imply a peculiar ghostliness: if it is not dead, it is not alive in the same way that once it was. As Walby’s reflections indicate, the repeated – if erroneous – sounding of feminism’s death knell has altered the movement’s appearance within the popular imaginary; suspended somewhere between life and death, it is marked by both presence and absence. What, then, are the implications of this position?