The Stowaway Girl

Reproduction of the original: The Stowaway Girl by Louis Tracy

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.

"The Stowaway Girl" by Louis Tracy. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

The spectacular, true story of a scrappy teenager from New York’s Lower East Side who stowed away on the most remarkable feat of science and daring of the Jazz Age, The Stowaway is “a thrilling adventure that captures not only the making of a man but of a nation” (David Grann, bestselling author of Killers of the Flower Moon). It was 1928: a time of illicit booze, of Gatsby and Babe Ruth, of freewheeling fun. The Great War was over and American optimism was higher than the stock market. What better moment to launch an expedition to Antarctica, the planet’s final frontier? Everyone wanted in on the adventure. Rockefellers and Vanderbilts begged to be taken along as mess boys, and newspapers across the globe covered the planning’s every stage. And then, the night before the expedition’s flagship set off, Billy Gawronski—a mischievous, first-generation New York City high schooler, desperate to escape a dreary future in the family upholstery business—jumped into the Hudson River and snuck aboard. Could he get away with it? From the soda shops of New York’s Lower East Side to the dance halls of sultry Francophone Tahiti, all the way to Antarctica’s blinding white and deadly freeze, author Laurie Gwen Shapiro “narrates this period piece with gusto” (Los Angeles Times), taking readers on the “novelistic” (The New Yorker) and unforgettable voyage of a plucky young stowaway who became a Roaring Twenties celebrity, a mascot for an up-by-your bootstraps era.

Considering accounts written by Northwest Coast marine tourists between 1861 and 1990, Nancy Pagh examines the ways that gender influences the roles women play at sea, the spaces they occupy on boats, and the language they use to describe their experiences, their natural surroundings, and their contact with Native peoples. Unique features of this book include its interdisciplinary nature and its combination of scholarly information and a style that general readers will appreciate. The text is engaging but also serves to make fresh and relevant links between scholarship in diverse areas of inquiry; for example, Western Canadian and American history, feminist geography, post-colonial theory, and women and environments.

How a generation of women artists is transforming photography with analogue techniques. Beginning in the 1990s, a series of major artists imagined the expansion of photography, intensifying its ideas and effects while abandoning many of its former medium constraints. Simultaneous with this development in contemporary art, however, photography was moving toward total digitalization. Lateness and Longing presents the first account of a generation of artists—focused on the work of Zoe Leonard, Tacita Dean, Sharon Lockhart, and Moyra Davey—who have collectively transformed the practice of photography, using analogue technologies in a dissident way and radicalizing signifiers of older models of feminist art. All these artists have resisted the transition to the digital in their work. Instead—in what amounts to a series of feminist polemics—they return to earlier, incomplete, or unrealized moments in photography’s history, gravitating toward the analogue basis of photographic mediums. Their work announces that photography has become—not obsolete—but “late,” opened up by the potentially critical forces of anachronism. Through a strategy of return—of refusing to let go—the work of these artists proposes an afterlife and survival of the photographic in contemporary art, a formal lateness wherein photography finds its way forward through resistance to the contemporary itself.

Rory Stowaway's family tradition of adventure hunting comes to an end when his grampa comes up missing. That is, until he discovers his Gran knows what really happened to his Grampa.