Crater Trueblood and the Lunar Rescue Company (Helium-3, by Homer Hickam

By Homer Hickam

A abducted lunar heiress. A deranged-science syndicate. An drawing close asteroid impression. Crater Trueblood has extra to rescue than simply his ex-girlfriend . . . specifically the complete human race.

Maria Medaris is the 21-year-old matriarch of the main strong family members at the moon. She is beautiful, she is strong, and she or he is excessive upkeep. but if Maria is abducted via purple-faced, gene-splicing scientists in league together with her father, her merely desire is the very guy she as soon as spurned: Crater Trueblood.

Much greater than Maria is at stake: the planet Earth, majestically emerging over the lunar horizon, is within the crosshairs of an asteroid engineered by means of Maria's abductors. If Crater can't cease it, then Earth faces a dinosaur-style collision. And humanity faces an extinction-level event.

Along with Crescent, his fiercely dependable, bioengineered she-warrior, Crater and the Lunar Rescue corporation needs to come to Maria's rescue—before she joins forces with the brainiac lunatics who've taken her hostage . . . and who intend to make her queen.

Can Maria ultimately glance past her personal egocentric love of energy? Can Crescent conquer her jealous attachment to Crater? Can Crater rescue his former fiancée and divert the apocalyptic asteroid in one day?

The destiny of 2 worlds hangs within the stability . . . and the clock is ticking.

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Extra resources for Crater Trueblood and the Lunar Rescue Company (Helium-3, Book 3)

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As a key member of a group of late nineteenth-century intellectuals, nicknamed ‘the Souls’*, Violet talked about art and berated the philistinism of the Victorian age. She was also much admired for her own amateur gifts, with several of her busts and her silver-point and pencil portraits exhibited in London galleries. A reputation for being different, even mildly rebellious, had attached itself to her. While Violet deferred to the formal duties of a Duke’s wife, she clearly preferred intimate suppers to grand dinners and court events.

1 Yet over the following days she would be feted by artists and critics as a black pearl, an ebony Venus, a jazz age vamp with the soul of an African goddess. Postcards of ‘La Baker’ went on sale, as did a range of Josephine dolls. Her shiny black hair and coffee-coloured skin, the source of so much abuse back home, were harnessed to the marketing of French beauty products: hair pomade for the glossing of Eton crops; walnut oil for the faking of summer tans. Her hard, supple body was celebrated as an icon of contemporary style – reflecting the glossy streamlined aesthetic of art deco and the gamine flair of the French garçonne.

They were written about by the same novelists and journalists, photographed for the same publications. But biography is essentially about the colour and detail of individual lives and in writing this book I’ve been fortunate to profit from the groundwork of many other fine biographers. To their research and knowledge I owe a profound debt. In the matter of language, the 1920s was a world away from our own politically conscious era. Young women were girls, blacks were often niggers, female actors were actresses, and even though this usage can grate on modern ears, I’ve opted to retain a flavour of it, for the sake of period accuracy.

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