By Kenneth Oppel
Sailing towards sunrise, and that i was once perched atop the crow's nest, being the ship's eyes. We have been nights out of Sydney, and there'd been no climate to talk of to this point. i used to be protecting watch on a depressing stack of nimbus clouds off to the northwest, yet we have been leaving it a ways in the back of, and it tender going all of the as far back as Lionsgate urban. Like using a cloud. . . .
Matt Cruse is a cabin boy at the Aurora, a big airship that sails countless numbers of toes above the sea, ferrying prosperous passengers from urban to urban. it's the lifestyles Matt's continuously sought after; confident he's lighter than air, he imagines himself as buoyant because the hydrium gasoline that powers his send. One evening he meets a loss of life balloonist who speaks of lovely creatures drifting during the skies. it is just after Matt meets the balloonist's granddaughter that he realizes that the man's ravings may well, in reality, were precise, and that the creatures are thoroughly actual and totally mysterious.
In a swashbuckling experience corresponding to Jules Verne and Robert Louis Stevenson, Kenneth Oppel, writer of the best-selling Silverwing trilogy, creates an imagined international during which the air is populated via transcontinental voyagers, pirates, and beings by no means earlier than dreamed of through the people who sail the skies.
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Extra info for Airborn (Matt Cruse, Book 1)
It took me a moment or two to drift back into consciousness. The bedside light was still blazing. I squinted at the elderly digital clock by the bed – so 1970s that it had mechanically flipping numbers. m. I had been asleep for around three hours. I lifted the phone. I managed to mumble . . ' . . but my voice was so thick with groggy sleep that I must have sounded semi-comatose. There was a long pause on the other end. Then I heard a woman's voice. ' The line went dead. I put the receiver down.
I've got a big meeting first thing tomorrow,' he said sheepishly. 'A job interview. ' I caught Meg's glance – imploring me not to let on that I knew about Charlie's unemployed status. Isn't it amazing how family life is an ever-widening web of petty confidences and 'please don't tell your brother I told you . ' 'I'm sorry to hear that, Charlie,' I said. 'And I'm sorry I boxed your ears before. It's a bad day and . ' Charlie silenced me by leaning forward and giving me a fast buzz on the cheek.
The twists in the plot are perfectly timed to keep the pages turning' The Times 'Curl up and enjoy' Spectator 'A big ambitious book . . the storytelling is accomplished and the characters of the women, particularly Sara's true and singular voice, stay in the mind well after the last page' Irish Times 'Kennedy chillingly evokes the atmosphere of disbelief, then visceral fear which tore media-America apart' Lisa Appignanesi, Independent 'An engrossing fable of moral choice' Sunday Telegraph 'This superb story of divided loyalties and personal tragedy will leave you pinned to your seat' Woman & Home 'Escapism at its very best' Sunday Business Post 'Postwar Manhattan simply leaps off the page' Independent on Sunday (Fifty Best) 'Outstanding' Good Housekeeping About the author Douglas Kennedy's novels – The Dead Heart, The Big Picture, The Job, The Pursuit of Happiness, A Special Relationship, State of the Union, Temptation and The Woman in the Fifth – have all been highly praised bestsellers.