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Orson Welles read the poem on an episode of The Radio Reader's Digest (11 October 1942), [9] [10] Command Performance (21 December 1943), [11] and The Orson Welles Almanac (31 May 1944). [12] High Flight has been a favourite poem amongst both aviators and astronauts. It is the official poem of the Royal Canadian Air Force and the Royal Air Force.
The Politics of James Bond: from Fleming's Novel to the Big Screen. Lincoln, Nebraska: University of Nebraska Press. ISBN 978-0-8032-6240-9. Chancellor, Henry (2005). James Bond: The Man and His World. London: John Murray. ISBN 978-0-7195-6815-2. Fleming, Fergus (2015). The Man with the Golden Typewriter: Ian Fleming's James Bond Letters. New ...
A fictional biography. Pearson begins the story with his discovery that James Bond exists; MI6 had assigned Ian Fleming to write novels based on the real agent. MI6 instructs Pearson to write 007's biography; he is introduced to a retired James Bond—who is in his fifties, yet healthy, sun-tanned, and with Honeychile Ryder, the heroine of Dr. No
Later James Weldon Johnson used it in his poem "The Prodigal Son", which was published in his 1927 book of poems God's Trombones: Seven Negro Sermons in Verse. [4] The passage—which likewise refers to an arm (singular) rather than arms (plural)—reads: Young man— Young man— Your arm's too short to box with God.
The title piece of Phillip and Robert King's 2002 collection of bridge-related short stories, Your Deal, Mr. Bond, [20] features a James Bond who is assigned by M to defeat a villain named Saladin. Bond impersonates real-life bridge expert Zia Mahmood in order to combat Saladin at the bridge table.
Tomorrow Never Dies is a 1997 spy film, the eighteenth in the James Bond series produced by Eon Productions and the second to star Pierce Brosnan as fictional MI6 agent James Bond. Directed by Roger Spottiswoode from a screenplay by Bruce Feirstein , it follows Bond as he attempts to prevent Elliot Carver ( Jonathan Pryce ), a power-mad media ...
[3] As it begins misleadingly with a description of the speaker’s devotion to God in the octave, there is no clue that could prepare the reader for the rest of the poem, where the position of the speaker changes. [4] There, he no longer praises God’s actions with passive acceptance. [5] Instead, he begins to tremble in fear. [6]
The poem, like many of Oliver St. John Gogarty 's humorous verses, was written for the private amusement of his friends. In the summer of 1905, he sent a copy to James Joyce, then living in Trieste, via their common acquaintance Vincent Cosgrave. Joyce and Gogarty had quarreled the previous autumn, and Cosgrave presented the poem as a peace ...