By John Stack
The writer of the Masters of the ocean sequence, is again with a standalone conflict e-book that would blow all others out of the water. 1587. international locations are locked in sour clash. One strives for dominance, the opposite for survival. After many years of spiritual strife, Elizabeth sits at the throne of britain. The reformation maintains. Catholic revolts were ruthlessly quashed, and Elizabeth has ordered the execution of her cousin, Mary Queen of Scots. at the continent bloody non secular wars rage, yet England stands aside, her surrounding seas holding her secure from the land armies of her would-be enemies. simply at sea do the English exhibit their enamel. Sea captains and adventurers, hungry for the spoils of alternate from the Spanish major, usually assault the gold-laden galleons of Catholic Spain. they're terriers nipping on the toes of war-horses yet their victories disrupt the treasury of Spain, England's maximum risk, and Elizabeth's refusal to rein in her sea-captains extra antagonises Philip II. Thomas Varian is a captain in Drake's ambitious army, emerging quick during the ranks. yet he guards a mystery - one for which he may pay together with his existence if came across: he's a Catholic. he's approximately to discover his conflicting loyalty to his faith, to his Queen, and to his nation proven lower than the main bold of conditions: dealing with the strong Armada. Unknown to Varian, he'll even be dealing with his long-estranged father, who's combating at the facet of the Spanish enemy...
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Additional info for Armada
He had also struck up a congenial relationship with another Alister, the son of Prime Minister Ramsay MacDonald. It was as simple as that. At any rate the ‘interview’ dissolved into lively conversation, and from there we went to lunch and then up to his house, where I was introduced to ‘my friend Miss Goddard’. A routine mannerly hint from me that I ought to be on my way was brushed aside, and through the long afternoon we sat round the empty swimming pool (there was a polio epidemic that summer) and I left at sundown on a promise to be back next day to dinner.
As documentary support for a thesis merely, there is the eerie similarity between Oliver Twist and the first sixty pages or so of Chaplin’s Autobiography. But as a reincarnation of everything spry and inquisitive and Cockney-shrewd and invincibly alive and cunning, Chaplin was the young Dickens in the flesh. I had started to read Dickens when I was not more than nine, and by the time I was twelve I had gone through all the novels and whatever I could lay my hands on by way of memoirs and biographies, from Forster and Dolby to Mamie Dickens’s My Father as I Recall Him.
This may at first sound suspicious as fact and coy as a confessional, because we think of fame as something that burgeons and can hardly amaze its object, unless it mushrooms overnight, as with Lindbergh. It happened to Chaplin when he was already earning $1,250 a week, a salary which would have been handsome for an opera star. ) He was, at the time, the most financially precious property in the movies. But it is hard for us now to appreciate how inbred was the American motion picture business in its infancy, how much of a colony in exile its practitioners had created.