Clive Cussler, the Grand Master of the American action adventure novel, grew up in Alhambra, California. He later attended Pasadena City College for two years, but then enlisted in the Air Force during the Korean War where he served as an aircraft mechanic and flight engineer in the Military Air Transport Service. Upon his discharge, he became a copywriter and later creative director for two of the nation's leading ad agencies. At that time, he wrote and produced radio and television commercials that won numerous international awards one at the prestigious Cannes Film Festival. Cussler began writing in 1965 and published his first novel featuring Dirk Pitt® in 1973. His first non-fiction work, THE SEA HUNTERS, was released in 1996. Because of this work the Board of Governors of the Maritime College, State University of New York considered THE SEA HUNTERS in lieu of a Ph.D. thesis and awarded Cussler a Doctor of Letters degree in May of 1997. It was the first time since the College was founded in 1874 that such a degree was bestowed. As THE SEA HUNTERS and THE SEA HUNTERS II novels relate, Cussler is the founder the National Underwater & Marine Agency, (NUMA) a 501C3 non-profit organization that dedicates itself to American maritime and naval history. Cussler and his crew of marine experts and NUMA volunteers have discovered over 60 historically significant underwater wreck sites. After verifying their finds, NUMA turns the rights to the artifacts over to non-profits, universities, or government entities all over the world. Some of these finds include the C.S.S. Hunley, best known as the first submarine to sink a ship in battle; the Housatonic, the ship the Hunley sank; the U-20, the U-boat that sank the Lusitania; the Cumberland, sunk by the famous ironclad, Merrimack; the Confederate raider Florida; the Navy airship, Akron; the Republic of Texas Navy warship, Zavala, found under a parking lot in Galveston, Texas; and the remains of the Carpathia, the valiant ship that braved icebergs to rescue the survivor's of the Titanic. In addition to being Chairman of NUMA, Cussler is a fellow in both the Explorers Club of New York and the Royal Geographic Society in London. He has also been honored with the Lowell Thomas Award for outstanding underwater exploration.

Children take great pleasure in listening to stories, and there are some terrific books on CD . You'll find that these books not only provide you with an occasional break from reading (and rereading the same stories again and again); they also enrich your child's multi-sensory experiences with books. Hearing a book read on CD helps a child see how the words on the page can come alive in a fluid, expressive way. It helps her focus on the sounds of words read without interruption and provides a model of fluent reading. Audio books also give her an important introduction to listening — a skill that she must master in order to learn to read. Many books on CD have interesting sound effects, music, and multiple narrators that are especially motivating and fun for young children. Narrators on CD tend to embellish their storytelling with silly voices and dramatic enhancements. They emphasize reading as a source of pleasure rather than a skill, and make children eager to learn how to read. Beyond their sheer enjoyment of audio books, children also develop a sense of narrative structure and understanding of language. Stories on CD help them to grasp the rich and various ways in which language distills and conveys meaning. In addition, exposing your child to a range of narrators and their different styles of reading will deepen his grasp of the reading process. Teachers often set up a listening center so that two to four children can listen to the same book at the same time. This can provide a wonderful opportunity for children to hear their favorite books read aloud again and again. The more they listen, the greater the likelihood that they will learn new vocabulary words. And, when listening with a special friend, the opportunities for playing creatively and acting out parts of the story are endless.

Pullman was born in Norwich, Norfolk, England, to RAF pilot Alfred Outram and Audrey Evelyn Merrifield. The family travelled with his father's job, including to Southern Rhodesia (now Zimbabwe), where he spent time at school. His father was killed in a plane crash in 1953 when Pullman was seven. His mother remarried and with a move to Australia came Pullman's discovery of comic books including Superman and Batman, a medium which he continues to espouse. From 1957 he was educated at Ysgol Ardudwy school in Harlech, Gwynedd and spent time in Norfolk with his grandfather, a clergyman. Around this time Pullman discovered John Milton's Paradise Lost, which would become a major influence for His Dark Materials. From 1963 Pullman attended Exeter College, Oxford, receiving a Third class BA in 1968, in an interview with the Oxford Student he stated that "he did not really enjoy the English course" and that "I thought I was doing quite well until I came out with my third class degree and then I realised that I wasn’t — it was the year they stopped giving fourth class degrees otherwise I’d have got one of those". He discovered William Blake's illustrations around 1970, which would also later influence him greatly Pullman married Judith Speller in 1970 and began teaching children and writing school plays. His first published work was The Haunted Storm, which joint-won the New English Library's Young Writer's Award in 1972. He nevertheless refuses to discuss it. Galatea, an adult fantasy-fiction novel, followed in 1978, but it was his school plays which inspired his first children's book, Count Karlstein, in 1982. He stopped teaching around the publication of The Ruby in the Smoke (1986), his second children's book, whose Victorian setting is indicative of Pullman's interest in that era. Pullman taught part-time at Westminster College, Oxford between 1988 and 1996, continuing to write children's stories. He began His Dark Materials about 1993. Northern Lights (published as The Golden Compass in the US) was published in 1996 and won the Carnegie Medal, one of the most prestigious British children's fiction awards, and the Guardian Children's Fiction Award. Pullman has been writing full-time since 1996, but continues to deliver talks and writes occasionally for The Guardian. He was awarded a CBE in the New Year's Honours list in 2004. Pullman also began lecturing at a seminar in English at his alma mater, Exeter College, Oxford, in 2004. He is currently working on The Book of Dust, a sequel to his completed His Dark Materials trilogy.

Audio recordings of language programs—streaming—have an advantage over print or academic classes because hearing is how humans learn to speak. That is how we learned our native tongues, and how we effectively learn second languages. As babies, we listened to our parents speaking. In our hard-wired desire to communicate, we learned our native language by imitating them. According to linguists, babies begin by distinguishing basic syllables, and around 3 months, start to babble, making simple sounds (“ba-ba-ba” or “ma-ma-ma”). They also imitate the tonal changes of their parents’ language. By sixmonths, they can distinguish the sounds of their native language fromthose of foreign languages and begin to practice its sounds, intonations, and rhythms.Most children by the age of 1 year can say a few simple words, even if they aren’t clear on theirmeanings. At 18months, most children have a speaking vocabulary of eight to ten words. By 2, they begin forming simple sentences. And then language fluency begins to soar. In the early 1900s, European linguists proposed that language learning would be better if it were conducted in the target language. In this approach—called the Direct Method (or Natural Method)—all directions, explanations, and definitions are given in the language being taught. In a French class, French and only French is spoken or read. All grammar is learned inductively. While this method most closely imitates the way we learn our first language, it is difficult to teach and can be frustrating and discouraging to learners. Most audio-based language learning programs combine both native and target languages into talking phrasebooks.