Suddenly, Greg felt dizzy and tried to look around. In the first class section of the Air France A 380, the others seemed to be dropping off to sleep. Muffled cries sounded from the cockpit area. The huge plane heeded over and went into a dive.
Doctor Todt" is the first historical fiction novel in a series of 8, with the collective title After the Flood. "The Flood" is not a Noah's ark thing but the increasingly obvious fact that the human race is less and less capable to manage its habitat: Earth. As for a reversal, experts determined that the point of no return was passed in 1981 then, typically, classified. Few were prepared to listen anyway. The greatest enemy of man is man himself. I wrote about that in "The Spine of Western Culture" then, started on this epic account of capable and well-informed people who work on ultra-deep level, preparing to survive and be ready to resurface and rebuild the post-deluvian remains, in a way that makes a repetition of what caused the catastrophe impossible to repeat. The storyline stretches from the last fugitives leaving flaming Berlin in 1945 to survival stations orbiting somewhere in the northern hemisphere around 2050.
After the flood 8 The front-page cover shows a US LHA-6 Amphibious Assault Ship. In this book, a related construction figures as the USS “General Pershing.” Carlos Wiggen also wrote: “Kant and the Barbarians” “Philosophy at Gunpoint” “The Nazil Grail” “The Spine of Western Culture” “Doctot Todt” “The Girl from the Faraway Land” “The Nemesius People” “APOS” “The Falkenberg Run” “Life In The Times Of Perdition” “Charbydis”
Reviving Nietzsches use of the ancient gods Apollo and Dionysus as notions for seeing the emergence, growth, and imminent and final decay of Western culture, Carlos Wiggen goes through the historical process by way of selected interpretations of this cultures drama, thought, and social structure. Is the spine of a radically new culture already forming? If so, what is its essence?
Feral children, "enfants loups", moved through southern France. The Vagrant Volves formes armed units, "the Black Corps" protecting the white. The children met in Spain at "Wolf's Ridge" howling through the night.
Douglas Ayr's submarine began an uncontrolled dive toward the massive plain of the seamount at nine hundred feet, leaving her sister vessel, the Helena, as a dark spec against the distant moon-silver surface. "Dive, go after him!" Martin shouted. Having dodged the sinking debris, the Helena started a crash dive. Meanwhile, the sub had gone from tail up to nose up and kept sinking slowly at a thirty-degree angle. The tail hit the barren stone plain first, crushing the planes and screws. Then, the boat settled on its keel in a horizontal position, resting on the three beams that were still in place under the belly. The Helena descended on an even keel. "I've got her on sonar," Benny reported, "belly landing." "Put us next to her," Martin said, striving to speak clearly. Chris, Van, Greg, Rainer, Young, Woo, Huang, Brian--all the others were in shock.
Another colossal wave made the section heel over nearly forty-five degrees. As the bottom part moved accordingly, the pull led the limp torpedo with it and, it crashed against the metal. That made it come to life. It sped up, made a full turn and rammed the flotsam, demolishing its deepest point. The hut came loose and fell straight into the water then continued--and hit a steel beam in the subs' harness, cutting it and making the Ayr slip downward, nose first. That spelled the end for the rest of the construction, and the sub, free, began an uncontrolled dive toward the massive, barren plain of the seamount.
Reviving Nietzsches use of the ancient gods Apollo and Dionysus as notions for seeing the emergence, growth, and imminent and final decay of Western culture, Carlos Wiggen goes through the historical process by way of selected interpretations of this cultures drama, thought, and social structure. Is the spine of a radically new culture already forming? If so, what is its essence?
Mariatégui afirma que "imaginamos siempre a Chaplin en la traza vagabunda de Charlot… siempre listo para la aventura… como un pequeño Don Quijote…" La quimera del oro le sirve a Mariátegui para explicar en este apasionado texto que se trata de "un retorno sentimental al circo, a la pantomima." En otra película genial de Chaplin, El circo, "ha dado como nunca en el blanco… un logro pura y absolutamente cinematográfico". El arte de Chaplin conquista "el máximo de su función hedonística y libertadora… con su sonrisa y su traza dolorida, alivia la tristeza del mundo".
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