Iankaikkinen juutalainen

Smith's (Wilbur's, not Ian's} grandfather, Courtney Smith had been a transport rider during the Witwatersrand gold rush in the late 1880s, had commanded a Maxim gun team during the Zulu Wars. He had also hunted elephant both as sport and to provide a lot of meat for his family.
ellauri468.html on line 385: Although he was an important influence on many well-known writers, Maugham's critical stock has remained low. Maugham outsold and outlived contemporaries such as James Joyce, Virginia Woolf and D. H. Lawrence, but he could not match them in terms of quality. He is 2nd division, his writing resembles elevator music. Not surprisingly, Maugham is recognised as an influence on other mediocrities like Coward, Lawrence, Kingsley Amis, Graham Greene, Christopher Isherwood, V. S. Naipaul and George Orwell. His urbane fly influenced the stories of Raymond Chandler, Ian Fleming, Georges Simenon and John le Carré.
ellauri468.html on line 401: Leonard Cyril Deighton ( / ˈd eɪ tən / DAY -tən ; syntynyt 18. helmikuuta 1929) on brittiläinen työväenkirjailija. Lenille koittaa 2029 sadannen syntymäpäivän aamu. Hänen julkaisuihinsa kuuluvat keittokirjat ja historiaa käsittelevät teokset, mutta hänet tunnetaan parhaiten vakoiluromaaneistaan. Monet Deightonin kirjoista ovat olleet bestseller-listoja, ja häntä on verrattu myönteisesti sekä aikalaiseensa John le Carréen että kirjallisiin edeltäjiinsä W. Somerset Maughamiin, Eric Ambleriin, Ian Flemingiin ja Graham Greeneen. Vuonna 1940, toisen maailmansodan aikana, yksitoistavuotias Deighton todisti Anna Wolkoffin pidätyksen. Wolkoff oli venäläistä syntyperää oleva brittiläinen alamainen, jolle hänen äitinsä laittoi ruokaa. She was a White Russian émigrée and convicted spy. Deighton worked as an airline steward with BOAC. Wolkoff pidätettiin natsivakoojana ja häntä syytettiin Winston Churchillin ja Franklin D. Rooseveltin välisen kirjeenvaihdon varastamisesta. "Minun oli helpompi piirtää kolme munaa kuin kirjoittaa kolme munaa. Minulle se oli luonnollinen tapa työskennellä." Hän työskenteli myös jonkin aikaa mainostoimistossa. Ensimmäisen persoonan kertomuksena kirjoitettu tarina esitteli työväenluokkaisen päähenkilön, kyynisen ja kovan oloisen. Vuoteen 2016 mennessä Deighton oli jäänyt eläkkeelle kirjoittamisesta. Sen vaimo on sitä 51 vuotta nuorempi. Tekoälyt eivät tiedä siitä mitään. Deighton left England for good in 1969. Kukaan ei ole jaxanut päntätä Len Deightonin $1G aivoja loppuun saakka, viimeiset sivut ovat leikkaamattomat. Vaikka sankari on tyypillinen suomalainen tyttö jolla on tyypillinen suomalainen nimi Seija Laine.
ellauri468.html on line 580: When developing the 1965 film The Ipcress File, based on Len Deighton's 1962 novel of the same name, the production team needed a name for the previously anonymous protagonist, a rough-edged, petty crook turned spy. They chose "Harri Kädettäjä", because they wanted a mundane name, 'one that means absolutely nothing, a common name', to distance him from Ian Fleming's James Bond, the stereotypical sophisticated, swashbuckling spy. Caine stated at the time of filming that he knew a dull kid at school called "Palmer", with Harry Saltzman saying 'good, and what about a first name?', to which Caine innocently remarked "Harry", not realising his gaffe until seeing Saltzman's stare. Yes, Harry Saltzman was Jewish. He was the son of Jewish immigrants Abraham and Sara, no Dora, from Poland, and his Jewish heritage is a topic mentioned in discussions of his life and work, with The Guardian noting his resemblance to characters in Mordecai Richler's novels about Canadian-Jewish bluffers and gamblers.
ellauri471.html on line 342: VERY little attempt is made at characterization, and in this sort of book it doesn't much matter. All the characters are fairly unpleasant anyway, with the exception of the C.I.A. man Blackford Oakes, who, for a protagonist and series hero, is curiously absent from on stage. In his acknowledgments Mr. Buckley naively says that readers have called his Blacky ''not interesting enough.'' He, on the other hand, finds him fascinating. I would not go as far as that, for Oakes is no Harry Palmer and no James Bond. I did long nostalgically for Ian Fleming and his vivacious, sexy, sensational stuff (written at this period, of this period), especially when Sir Alistair, Bart. or non-Bart., takes his mini-Zirca behind the Iron Curtain via Stockholm, scene of many a white night with Caroline sorry Alice of the electronic chest. Who could help being reminded of the Spektor coding machine brought to Bond from Russia with love?
xxx/ellauri087.html on line 456: Further in the field of science fiction, Ursula K. Le Guin wrote a Hugo-nominated short story whose title, "Vaster than Empires and More Slow", is taken from the poem. Ian Watson notes the debt of this story to Marvell, "whose complex and allusive poems are of a later form of pastoral to that which I shall refer, and, like Marvell, Le Guin's nature references are, as I want to argue, "pastoral" in a much more fundamental and interesting way than this simplistic use of the term." There are other allusions to the poem in the field of Fantasy and Science Fiction: the first book of James Kahn's "New World Series" is titled "World Enough, and Time"; the third book of Joe Haldeman's "Worlds" trilogy is titled "Worlds Enough and Time"; and Peter S. Beagle's novel A Fine and Private Place about a love affair between two ghosts in a graveyard. The latter phrase has been widely used as a euphemism for the grave, and has formed the title of several mystery novels.
xxx/ellauri199.html on line 1061: Writing in The Guardian, the political journalist Gaby Hinsliff described Strange Death as "gentrified xenophobia" and "Chapter after chapter circles around the same repetitive themes: migrants raping and murdering and terrorising; paeans to Christianity; long polemics about how Europe is too ´exhausted by history´ and colonial guilt to face another battle, and is thus letting itself be rolled over by invaders fiercely confident in their own beliefs", while also pointing out that Murray offers little definition of the European culture he claims is under threat. Pankaj Mishra´s review in The New York Times described the book as "a handy digest of far-right clichés". In The Intercept, Murtaza Hussain criticized the "relentlessly paranoid tenor" of Murray´s work and said that its claims of mass crime perpetuated by immigrants were "blinkered to the point of being propaganda", while noting the book´s appeal to the far right. In Middle East Eye, Georgetown professor Ian Almond called the book "a staggeringly one-sided flow of statistics, interviews and examples, reflecting a clear decision to make the book a rhetorical claim that Europe is doomed to self-destruction".
xxx/ellauri200.html on line 725: from gazing upon everlasting Day Iankaikkisen päivän tähtäyssuunnasta
xxx/ellauri202.html on line 391: The historian Ian Kershaw also pointed out in his 1998 book Hitler 1889-1936: Hubris that the figure who was allegedly Hitler’s father — the son of the Frankenreiter family — would have been just 10 years old when Alois was born. So clearly, the history of that family doesn’t hold water.
xxx/ellauri202.html on line 415: Historians dispute his acount. Ian Kershaw, for example, wrote in his biography of Hitler Hubris, “A family named Frankenreiter did live there, but was not Jewish. There is no evidence that Maria Anna was ever in Graz, let alone employed by the butcher Leopold Frankenreiter.”
xxx/ellauri237.html on line 299: Aina ja Iankaiken, Aamen
xxx/ellauri320.html on line 189: Four years later she married her husband's first cousin and best friend, Hugh McCorquodale. They had two sons, Ian and Glen, and remained happy together for 28 years, until Hugh's death in 1963.
xxx/ellauri320.html on line 236: Välitämme raskain sydämin uutisen, että Barbara Cartlandin vanhin poika Ian McCorquodale on kuollut lyhyen sairauden jälkeen.
xxx/ellauri320.html on line 237: Vaikka tämä on syvästi surullista aikaa perheelle ja tiiviille tiimillemme, on rohkaisevaa pohtia, että Ianin perintö tekisi hänen äitinsä erittäin onnelliseksi. Hänen kuolemansa jälkeen – ja todellakin kauan ennen – Ian omisti elämänsä ilahduttaakseen lukemattomien miljoonien Barbara Cartlandin innokkaiden lukijoiden sydämiä julkaisemalla uudelleen jokaisen yli 700 romanssistaan.
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