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Wilbur Wright was an RAF pilot in World War II. He served with the RAF as a fighter pilot during World War 2, and subsequently as a flying instructor. He later worked as a technical author for a hovercraft company. He claimed to have encountered the ghost of a downed gunner in 1941. He self-published an account of this in 1993. [2]
Richard Purdy Wilbur (March 1, 1921 – October 14, 2017) was an American poet and literary translator. One of the foremost poets, along with his friend Anthony Hecht, of the World War II generation, Wilbur's work, often employing rhyme, and composed primarily in traditional forms, was marked by its wit, charm, and gentlemanly elegance.
Francesca Wright (1897–1985, England, f/d), pseudonym of Denise Naomi Klein Franz Wright (1953–2015, Austria/US, p) Helena Rosa Wright (1887–1982, England, nf)
"South of My Days" (1945) is a poem by Australian poet Judith Wright. [1] It was originally published in The Bulletin on 8 August 1945, [2] and was subsequently reprinted in the author's single-author collections and a number of Australian poetry anthologies. [1] The poem depicts a landscape of desolation and isolation, both physical and emotional.
The kings of Great Britain, Spain, and Italy came to see Wilbur fly. [103] The Wright Model A Flyer flown by Wilbur 1908–1909 and launching derrick, France, 1909. All three Wrights relocated to Pau, where Wilbur made many more public flights in nearby Pont Long. Wilbur gave rides to a procession of officers, journalists, and statesmen ...
Those in Peril is a book by the author Wilbur Smith.The book focuses on the lives of billionaire Hazel Bannock, who is the owner of the Bannock Oil Corp, and Major Hector Cross, an ex-SAS operative and the owner of a security company, Cross Bow Security.
River God is a novel by author Wilbur Smith.It tells the story of the talented eunuch slave named Taita, his life in Egypt, the flight of Taita along with the Egyptian populace from the Hyksos invasion, and their eventual return.
The line is one of the most highly regarded and widely debated lines in contemporary poetry, [2] [1] and has often been seen as having had cemented Wright's poetic legacy. [3] The line has been widely interpreted. In 2010, Dan Piepenbring , writer for The Paris Review, summarized a large amount of the attention directed towards the poem: