Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Years before Charles Lindbergh's flight from New York to Paris electrified the nation, a group of daredevil pilots, most of them veterans of the World War I, brought aviation to the masses by competing in the sensational transcontinental air race of 1919. The contest awakened Americans to the practical possibilities of flight, yet despite its significance, it has until now been all but forgotten. In The Great Air Race, journalist and amateur pilot John Lancaster finally reclaims this landmark event and the unheralded aviators who competed to be the fastest man in America. His thrilling chronicle opens with the race's impresario, Brigadier General Billy Mitchell, who believed the nation's future was in the skies. Mitchell's contest-critics called it a stunt-was a risky undertaking, given that the DH-4s and Fokkers the contestants flew were almost comically ill-suited for long-distance travel: engines caught fire in flight; crude flight instruments were of little help in clouds and fog; and the brakeless planes were prone to nosing over on landing. Yet the aviators possessed an almost inhuman disregard for their own safety, braving blizzards and mechanical failure as they landed in remote cornfields or at the edges of cliffs. Among the most talented were Belvin "The Flying Parson" Maynard, whose dog, Trixie, shared the rear cockpit with his mechanic, and John Donaldson, a war hero who twice escaped German imprisonment. Jockeying reporters made much of their rivalries, and the crowds along the race's route exploded, with everyday Americans eager to catch their first glimpse of airplanes and the mythic "birdmen" who flew them. The race was a test of endurance that many pilots didn't finish: some dropped out from sheer exhaustion, while others, betrayed by their engines or their instincts, perished. For all its tragedy, Lancaster argues, the race galvanized the nation to embrace the technology of flight. A thrilling tale of men and their machines, The Great Air Race offers a new origin point for commercial aviation in the United States, even as it greatly expands our pantheon of aviation heroes.

All primary school teachers have to teach art but few have sufficient formal training to feel confident with the subject. This book shows how teachers and their pupils can get the most out of art lessons. This book should be of interest to lecturers and students of Primary education and primary school teachers.

Years before Charles Lindbergh’s flight from New York to Paris electrified the nation, a group of daredevil pilots, most of them veterans of the World War I, brought aviation to the masses by competing in the sensational transcontinental air race of 1919. The contest awakened Americans to the practical possibilities of flight, yet despite its significance, it has until now been all but forgotten. In The Great Air Race, journalist and amateur pilot John Lancaster finally reclaims this landmark event and the unheralded aviators who competed to be the fastest man in America. His thrilling chronicle opens with the race’s impresario, Brigadier General Billy Mitchell, who believed the nation’s future was in the skies. Mitchell’s contest—critics called it a stunt—was a risky undertaking, given that the DH-4s and Fokkers the contestants flew were almost comically ill-suited for long-distance travel: engines caught fire in flight; crude flight instruments were of little help in clouds and fog; and the brakeless planes were prone to nosing over on landing. Yet the aviators possessed an almost inhuman disregard for their own safety, braving blizzards and mechanical failure as they landed in remote cornfields or at the edges of cliffs. Among the most talented were Belvin “The Flying Parson� Maynard, whose dog, Trixie, shared the rear cockpit with his mechanic, and John Donaldson, a war hero who twice escaped German imprisonment. Jockeying reporters made much of their rivalries, and the crowds along the race’s route exploded, with everyday Americans eager to catch their first glimpse of airplanes and the mythic “birdmen� who flew them. The race was a test of endurance that many pilots didn’t finish: some dropped out from sheer exhaustion, while others, betrayed by their engines or their instincts, perished. For all its tragedy, Lancaster argues, the race galvanized the nation to embrace the technology of flight. A thrilling tale of men and their machines, The Great Air Race offers a new origin point for commercial aviation in the United States, even as it greatly expands our pantheon of aviation heroes.