The book tells the adventures of five American prisoners of war on an uncharted island in the South Pacific. Begining in the American Civil War, as famine and death ravage the city of Richmond, Virginia, five northern POWs decide to escape in a rather unusual way – by hijacking a balloon! This is only the beginning of their adventures...

THE MAN IN THE MOON.THE Man in the MoonCame tumbling down,And asked his way to Norwich;They told him south,And he burnt his mouthWith eating cold pease-porridge. TO MARKET, TO MARKET.TO market, to market, to buy a fat Pig;Home again, home again, dancing a jig. The Man In the Moon.To Market, to Market.There Was a Man.The Lion and the Unicorn.Little Miss Muffet.Oranges and Lemons.Goosey, Goosey Gander.Humpty Dumpty.Baa, Baa, Black Sheep.The Three Wise Men of Gotham. STORIES: - The Man In the Moon.- To Market, to Market.- There Was a Man.- The Lion and the Unicorn.- Little Miss Muffet.- Oranges and Lemons.- Goosey, Goosey Gander.- Humpty Dumpty.- Baa, Baa, Black Sheep.- The Three Wise Men of Gotham.

A Magánügyb?l megismert magánnyomozó, Dave Bexley ismét úgy érzi, minek elvállalni egy ügyet, ha kett?t is lehet - aztán j?n a t?bbi magától. El?sz?r egy bánatos víg ?zvegy orvul meggyilkolt férjének gyilkosát kell el?keríteni, majd egy bájakkal er?sen megáldott h?lgy zsarolóit megállítani. Tetejében még megtalálja a titkosszolgálat is, hogy elveszett biológiai fegyverek után kutasson. ?s, mivel a nap 24 órából áll, képbe kerül a korábban elt?ntnek hitt, titokzatos Leslie Morton is, és az általa hajszolt mágnesfegyver.Bár Dave néha úgy érzi, csupán gyalog a sakktáblán - de tudjuk jól, akár egy gyalog is képes játékokat eld?nteni.

Tényleg azt hitted, hogy kamasznak lenni k?nny?? Bár a tizen?t éves Pataki Emma élete igen távol áll a t?kéletest?l, hiszen anya nélkül kell feln?nie alkoholista apukája és nagymamája szigorú kontrollja alatt, ? mégis megpróbálja élni a tinik szokásos mindennapjait. Bulizik a barátaival, mindent megbeszél b?lcs barátn?jével és még szerelmes is az elb?v?l? mosolyú osztálytársába. Az eszes kaposvári lány ügyesen lavíroz az ellentmondást nem t?r? apa elvárásai és a barátok napról napra féktelenebbé váló kicsapongásai k?z?tt. Az élet azonban nem t?ri sokáig ezt a t?rékeny egyensúlyt, szemberohan Emmával, hogy minél hamarabb g?rdíthessen elé megoldhatatlannak t?n? nehézségeket. A méretes akadályok k?z?tt botladozó lány mindinkább kétségbeesik, és kérdéses, hogy sikerülhet-e átverekednie magát az ?t elgáncsolni látszó problémákon. Vajon meg tud birkózni Emma az emberfeletti er?t kívánó kihívásokkal? Képes helytállni és feln?ttként viselkedni olyan helyzetekben, amik még sok valódi feln?ttnek is feladnák a leckét? ?s vajon ráj?n, hogy milyen súlyos titkot rejteget el?le a családja? Gombos Tünde a Margó-díjra jel?lt Szerelemtánc után megint egy embert próbáló helyzetbe került fiatal t?rténetét meséli el a t?le már megszokott stílusban, hol humorosan, hol szívhez szólóan.

Bob Houston, the youngest agent of the Federal Bureau of Investigation, stepped out of the Department of Justice Building and turned toward home, his heart beating faster than it had in months. It hardly seemed real but he was now a full-fledged agent in the greatest man hunting division in the Federal Government. Bob paused a moment at the curb. Another man who had emerged from the justice building joined him. It was his uncle, Merritt Hughes, one of the most famous detectives in the department. He put his arm around Bob’s shoulders and shook him in a rough but friendly embrace.“Well, Bob, how does it feel to be a real federal agent?” he asked. It was a moment before Bob replied, and when he finally spoke the words came slowly.“I hardly know,” he confessed, “as yet it doesn’t seem real, but there is one thing I do know—I’m going to work night and day to make a success of this new job.” “Don’t worry about making a success,” advised his uncle. “You’ve got the stuff to make good or you wouldn’t have been taken into the department.”“When do you think I’ll get my first assignment on a new case?” asked Bob. “That’s hard to say,” replied the famous detective, “but if I were you I’d go home now and get a good night’s sleep. In this kind of a game you’d better sleep when you can.” “Then I’m headed for home now,” said Bob. “Good night, and thanks for all you’ve done for me.”With that the young federal agent strode off down the avenue, his lungs drinking in great gulps of the cool air of the fall night. Merritt Hughes stood on the curb of the justice building watching his nephew until Bob turned the corner a block away. Anyone noticing the federal agent would have seen a slight smile of pleasure on his lips and he might have guessed that Merritt Hughes was greatly pleased by the events which had happened in the preceding hours. As a matter of fact, Bob Houston, a plain clerk in the archives division of the War Department, temporarily a provisional federal agent, had been the key figure in preventing the theft of some of Uncle Sam’s most valuable radio secrets.

Alice was beginning to get very tired of sitting by her sister on the bank, and of having nothing to do: once or twice she had peeped into the book her sister was reading, but it had no pictures or conversations in it, 'and what is the use of a book,' thought Alice 'without pictures or conversation?'So she was considering in her own mind (as well as she could, for the hot day made her feel very sleepy and stupid), whether the pleasure of making a daisy-chain would be worth the trouble of getting up and picking the daisies, when suddenly a White Rabbit with pink eyes ran close by her. There was nothing so VERY remarkable in that; nor did Alice think it so VERY much out of the way to hear the Rabbit say to itself, 'Oh dear! Oh dear! I shall be late!' (when she thought it over afterwards, it occurred to her that she ought to have wondered at this, but at the time it all seemed quite natural); but when the Rabbit actually TOOK A WATCH OUT OF ITS WAISTCOAT-POCKET, and looked at it, and then hurried on, Alice started to her feet, for it flashed across her mind that she had never before seen a rabbit with either a waistcoat-pocket, or a watch to take out of it, and burning with curiosity, she ran across the field after it, and fortunately was just in time to see it pop down a large rabbit-hole under the hedge. In another moment down went Alice after it, never once considering how in the world she was to get out again. The rabbit-hole went straight on like a tunnel for some way, and then dipped suddenly down, so suddenly that Alice had not a moment to think about stopping herself before she found herself falling down a very deep well. Either the well was very deep, or she fell very slowly, for she had plenty of time as she went down to look about her and to wonder what was going to happen next. First, she tried to look down and make out what she was coming to, but it was too dark to see anything; then she looked at the sides of the well, and noticed that they were filled with cupboards and book-shelves; here and there she saw maps and pictures hung upon pegs. She took down a jar from one of the shelves as she passed; it was labelled 'ORANGE MARMALADE', but to her great disappointment it was empty: she did not like to drop the jar for fear of killing somebody, so managed to put it into one of the cupboards as she fell past it. 'Well!' thought Alice to herself, 'after such a fall as this, I shall think nothing of tumbling down stairs! How brave they'll all think me at home! Why, I wouldn't say anything about it, even if I fell off the top of the house!' (Which was very likely true.) Down, down, down. Would the fall NEVER come to an end! 'I wonder how many miles I've fallen by this time?' she said aloud. 'I must be getting somewhere near the centre of the earth. Let me see: that would be four thousand miles down, I think—' (for, you see, Alice had learnt several things of this sort in her lessons in the schoolroom, and though this was not a VERY good opportunity for showing off her knowledge, as there was no one to listen to her, still it was good practice to say it over) '—yes, that's about the right distance—but then I wonder what Latitude or Longitude I've got to?' (Alice had no idea what Latitude was, or Longitude either, but thought they were nice grand words to say.) ? ? ABOUT AUTHOR: ??Charles Lutwidge Dodgson (1832 – 1898), better known by his pen name, as “Lewis Carroll”, was an English writer, mathematician, logician, Anglican deacon and photographer. His most famous writings are Alice's Adventures in Wonderland and its sequel Through the Looking-Glass, as well as the poems "The Hunting of the Snark" and "Jabberwocky", all examples of the genre of literary nonsense.

F?szerepl?nk Kópé, egy erdei manó, aki kirándulók fogságábae sik, majd az erd?b?l egy f?városi lakótelepre kerül. A manó megsz?kik a rabságból, és meghúzódik egy limlommal zsúfolter kélyen. Nem esik kétségbe, hanem kényelmes kuckót alakít ki a kacatok k?z?tt. Kópé az épület el?tt magasodó akácfán k?zlekedik az erkélyek k?z?tt. ?gy talál egy barátot, Dórit, aki egyedül él az anyukájával, és soha nem járt erd?ben. A manó mesélni kezd az otthonáról, az odvas t?lgyrol, a barátairól. A mesékhez Dóri rajzokat készít. A rideg lakótelepen nem ismerik egymást az emberek, és éppen Kópé kalandozása, kíváncsisága hozza ?ket ?szsze. Dóri megismerkedik Olga nénivel, akit?l kertész kedni tanul,virágokat nevel az erkélyen, másoktól cicát kap. A k?nyvben az izgalmas kalandokat, mint például amikor Kópét majdnem elüti egy autó, vagy amikor lepottyan egyik erkélyrol a másikra, mulatságos részek gazdagítják. Az erdei él?világ valóságh? bemutatása keveredik a fantáziavilágbeli lények, tündérek és manók jellemzésével. Megtudhatjuk például, milyen is egy manó esküv?! Ajánlott korosztály: 5 és 10 év k?z?tt.

When does life begin?... A well-known book says "forty". A well-known radio program says "eighty". Some folks say it's mental, others say it's physical. But take the strange case of Mel Carlson who gave a lot of thought to the matter. Mel felt as if he were floating on clouds in the deepest, most intense dark he had ever experienced. He tried opening his eyes but nothing happened, only a sharp pain. Little bits of memory flashed back and he tried to figure out what could have happened, where he was. The last thing he could remember was the little lab hidden back in the mountains in an old mine tunnel. Remote, but only an hour's drive from the city. What had he been doing? Oh yes, arguing with Neil again. He even recalled the exact words."Damn it, Mel," his partner had said. "We've gone about as far as possible working with animal brains. We've got to get a human one." "We can't," Mel had disagreed. "There'd be enough of an uproar if the papers got hold of what we've been doing with animals. If we did get someone in a hospital to agree to let us use his brain on death, they would close us up tighter than a drum.""But our lab's too well hidden, they'd never know." "It wouldn't work anyway. The brain might be damaged for lack of oxygen and all of our work would go for nothing. Worse, it might indicate failure where a fresh, healthy brain would mean success.""We'll never know unless we try," said Neil almost violently, dark eyes glittering. "Our funds aren't going to last forever."

To the irreverent—and which of us will claim entire exemption from that comfortable classification—there is something very amusing in the attitude of the orthodox criticism toward Bernard Shaw. He so obviously disregards all the canons and unities and other things which every well-bred dramatist is bound to respect that his work is really unworthy of serious criticism (orthodox). Indeed he knows no more about the dramatic art than, according to his own story in "The Man of Destiny," Napoleon at Tavazzano knew of the Art of War. But both men were successes each in his way—the latter won victories and the former gained audiences, in the very teeth of the accepted theories of war and the theatre. Shaw does not know that it is unpardonable sin to have his characters make long speeches at one another, apparently thinking that this embargo applies only to long speeches which consist mainly of bombast and rhetoric. There never was an author who showed less predilection for a specific medium by which to accomplish his results. He recognized, early in his days, many things awry in the world and he assumed the task of mundane reformation with a confident spirit. It seems such a small job at twenty to set the times aright. He began as an Essayist, but who reads essays now-a-days—he then turned novelist with no better success, for no one would read such preposterous stuff as he chose to emit. He only succeeded in proving that absolutely rational men and women—although he has created few of the latter—can be most extremely disagreeable to our conventional way of thinking. As a last resort, he turned to the stage, not that he cared for the dramatic art, for no man seems to care less about "Art for Art's sake," being in this a perfect foil to his brilliant compatriot and contemporary, Wilde. He cast his theories in dramatic forms merely because no other course except silence or physical revolt was open to him. For a long time it seemed as if this resource too was doomed to fail him. But finally he has attained a hearing and now attempts at suppression merely serve to advertise their victim. It will repay those who seek analogies in literature to compare Shaw with Cervantes. After a life of heroic endeavor, disappointment, slavery, and poverty, the author of "Don Quixote" gave the world a serious work which caused to be laughed off the world's stage forever the final vestiges of decadent chivalry. The institution had long been outgrown, but its vernacular continued to be the speech and to express the thought "of the world and among the vulgar," as the quaint, old novelist puts it, just as to-day the novel intended for the consumption of the unenlightened must deal with peers and millionaires and be dressed in stilted language. Marvellously he succeeded, but in a way he least intended. We have not yet, after so many years, determined whether it is a work to laugh or cry over. "It is our joyfullest modern book," says Carlyle, while Landor thinks that "readers who see nothing more than a burlesque in 'Don Quixote' have but shallow appreciation of the work." Shaw in like manner comes upon the scene when many of our social usages are outworn. He sees the fact, announces it, and we burst into guffaws. The continuous laughter which greets Shaw's plays arises from a real contrast in the point of view of the dramatist and his audiences. When Pinero or Jones describes a whimsical situation we never doubt for a moment that the author's point of view is our own and that the abnormal predicament of his characters appeals to him in the same light as to his audience. With Shaw this sense of community of feeling is wholly lacking. He describes things as he sees them, and the house is in a roar. Who is right If we were really using our own senses and not gazing through the glasses of convention and romance and make-believe, should we see things as Shaw does Must it not cause Shaw to doubt his own or the public's sanity to hear audiences laughing boisterously over tragic situations And yet, if they did not come to laugh, they would not come at all. Mockery is the price he must pay for a hearing. Or has he calculated to a nicety the power of reaction Does he seek to drive us to aspiration by the portrayal of sordidness, to disinterestedness by the picture of selfishness, to illusion by disillusionment It is impossible to believe that he is unconscious of the humor of his dramatic situations, yet he stoically gives no sign. He even dares the charge, terrible in proportion to its truth, which the most serious of us shrinks from—the lack of a sense of humor. Men would rather have their integrity impugned. In "Arms and the Man" the subject which occupies the dramatist's attention is that survival of barbarity—militarism—which raises its horrid head from time to time to cast a doubt on the reality of our civilization. No more hoary superstition survives than that the donning of a uniform changes the nature of the wearer. This

BOW-WOW AND MEW-MEW is one of the few books for beginners in reading that may be classed as literature. Written in words of mostly one syllable, it has a story to tell, which is related in so attractive a manner as to immediately win the favor of young children. It teaches English and English literature to the child in the natural way: through a love for the reading matter. It is the character of story that will, in the not distant future, replace the ordinary primer or reader with detached sentences, and which seldom possesses any relation to literature.The ultimate objects of any story can only be effected through the love for a story. The prominent point in this story is development of good character, which may well be regarded as the highest purpose of education. The transformation from bad to good traits in the dog and cat cannot but have a desirable effect on every child that reads the story. Bow-Wow and Mew-Mew become dissatisfied with their home and their surroundings, and ungrateful toward their benefactress. As the story tells, "They did not find good in any thing." But after running away and suffering hunger, neglect, and bad treatment, their characters begin to change. They naturally come to reflect their mistress's goodness. They learn the value of companionship and friendship, and the appreciation of a home. However, the ethical thoughts in the story are presented without a moral. The child really lives the scenes described. He has the emotions of the characters and feels their convictions. And this determines the worth of a story as an agent in character development.The narrative furnishes, further, the proper kind of exercise for the imagination. It affords abundant opportunity for the play of the dramatic instinct in the child, and effects a happy union of the "home world" and the "school world." The illustrations, drawn by Miss Hodge, have been planned and executed with considerable care.

A mérf?ldk?nek számító Sons of Anarchy - Kemény motorosok cím? televíziós sorozat negyedik évadja után játszódó t?rténetét Kurt Sutter, a széria vezet? producere találta ki. A klubtagság fele éppenhogy csak kiszabadult a Stockton állami b?rt?nb?l, de a Galindo drogkartell máris a nyakukban liheg, így nem unatkoznak a motorosok. Jax Teller, a SAMCRO aleln?ke mégis kénytelen egy másik problémával foglalkozni, amikor megtudja, hogy ír féltestvére, Trinity már hónapok óta az Egyesült ?llamokban tartózkodik - és az orosz Bratva-gengszterekkel lóg. Most azonban elt?nt, és Jax biztos abban, hogy ehhez az életét fenyeget? maffiaháborúnak van k?ze. Jax, Chibs és Opie társaságában Nevadába utazik, hogy megkeresse, és hazavigye. Trinity ugyan félig ír, félig viszont Teller, és ahol a Tellerek megjelennek, ott k? k?v?n nem marad. ?A Maffiózók óta nem uralta így a tévéképerny?t egy csapat izzadt, er?szakos vadállat...” - Rolling Stone. ?Els? osztályú... A mai napig az egyik legjobb tévésorozat.” - Newsday. ?Az egyik legjobb dráma a tévében.” - Time. ??t csillagból négy... A Sons csúcsra járatja a drámát.” - New York Daily News.?

The Discovery of the Future is a philosophical lecture by H. G. Wells that argues for the knowability of the future. It was originally delivered to the Royal Institution on January 24, 1902. Before appearing in book form. Wells begins by distinguishing between “two divergent types of mind,” one that judges and attaches importance principally to what has happened in the past and one that judges and attaches importance principally to what will happen in the future. To the former he attributes the adjectives “legal or submissive,” “passive,” and “oriental,” and to the latter the adjectives “legislative, creative, organizing, or masterful,” and “active,” calling it “a more modern and much less abundant type of mind.” ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?*** It will lead into my subject most conveniently to contrast and separate two divergent types of mind, types which are to be distinguished chiefly by their attitude toward time, and more particularly by the relative importance they attach and the relative amount of thought they give to the future. The first of these two types of mind, and it is, I think, the predominant type, the type of the majority of living people, is that which seems scarcely to think of the future at all, which regards it as a sort of blank non-existence upon which the advancing present will presently write events. The second type, which is, I think, a more modern and much less abundant type of mind, thinks constantly and by preference of things to come, and of present things mainly in relation to the results that must arise from them. The former type of mind, when one gets it in its purity, is retrospective in habit, and it interprets the things of the present, and gives value to this and denies it to that, entirely with relation to the past. The latter type of mind is constructive in habit, it interprets the things of the present and gives value to this or that, entirely in relation to things designed or foreseen. While from that former point of view our life is simply to reap the consequences of the past, from this our life is to prepare the future. The former type one might speak of as the legal or submissive type of mind, because the business, the practice, and the training of a lawyer dispose him toward it; he of all men must constantly refer to the law made, the right established, the precedent set, and consistently ignore or condemn the thing that is only seeking to establish itself. The latter type of mind I might for contrast call the legislative, creative, organizing, or masterful type, because it is perpetually attacking and altering the established order of things, perpetually falling away from respect for what the past has given us. It sees the world as one great workshop, and the present is no more than material for the future, for the thing that is yet destined to be. It is in the active mood of thought, while the former is in the passive; it is the mind of youth, it is the mind more manifest among the western nations, while the former is the mind of age, the mind of the oriental. Things have been, says the legal mind, and so we are here. The creative mind says we are here because things have yet to be. Now I do not wish to suggest that the great mass of people belong to either of these two types. Indeed, I speak of them as two distinct and distinguishable types mainly for convenience and in order to accentuate their distinction. There are probably very few people who brood constantly upon the past without any thought of the future at all, and there are probably scarcely any who live and think consistently in relation to the future. The great mass of people occupy an intermediate position between these extremes, they pass daily and hourly from the passive mood to the active, they see this thing in relation to its associations and that thing in relation to its consequences, and they do not even suspect that they are using two distinct methods in their minds.

Soman Chainani els? regénye, a New York Times bestseller Jók és Rosszak Iskolája folytatásában Sophie és Agatha visszatér Gavaldonba, és boldogan élnek saját világukban, ám az élet nem olyan tündérmese, amilyennek képzelték… Agatha már úgy érzi, bárcsak más boldog befejezést kívánt volna a mesének, ám ekkor véletlenül megtalálja és kinyitja a Jók és Rosszak Iskolájának kapuját. A lányok azzal szembesülnek, hogy az a világ, amit az els? tanévben tapasztaltak, megváltozott. A boszorkányok és a hercegn?k a Lányok Iskolájában laknak. Elhatározták, hogy kirekesztik életükb?l a hercegeket. Tedros és a fiúk a Rossz Iskolája régi tornyainak lakói lettek. A két iskola k?z?tt háború van kit?r?ben. Vajon Agatha és Sophie helyre tudják állítani a békét? Vajon Sophie jó tud maradni úgy, hogy Tedros állandóan üld?zi? ?s kihez húz Agatha szíve? A barátn?jéhez vagy a hercegéhez? Soman Chainani kül?nleges világot teremtett. A Newbery-díj legutóbbi jutalmazottja, Ann M. Martin ?páratlan mesének” nevezi, amely ?csupa romantika, varázslat, humor és rejtvény. Legszívesebben egyhuzamban olvasnánk végig.”

Roman classique, en fran?ais original. Selon Wikipédia: ?Jules Gabriel Verne (8 février 1828 - 24 mars 1905) est un auteur fran?ais qui a été le pionnier du genre de la science-fiction, notamment des romans comme Voyage au centre de la terre (1864), Vingt mille lieues sous la mer (1870) et autour du monde en quatre-vingts jours (1873) Verne a écrit sur l'espace, l'air et les voyages sous-marins avant que les voyages aériens et les sous-marins pratiques soient inventés. Selon Index Translationum, il est le troisième auteur le plus traduit au monde, certains de ses livres ont été transformés en films ... Verne, avec HG Wells, est souvent surnommé le ?père de la science-fiction?

Roman classique, mis en place pendant la guerre civile américaine, dans le fran?ais original. Selon Wikipédia: ?Jules Gabriel Verne (8 février 1828 - 24 mars 1905) est un auteur fran?ais qui a été le pionnier du genre de la science-fiction, notamment des romans comme Voyage au centre de la terre (1864), Vingt mille lieues sous la mer (1870) et autour du monde en quatre-vingts jours (1873) Verne a écrit sur l'espace, l'air et les voyages sous-marins avant que les voyages aériens et les sous-marins pratiques soient inventés. Selon Index Translationum, il est le troisième auteur le plus traduit au monde, certains de ses livres ont été transformés en films ... Verne, avec HG Wells, est souvent surnommé le ?père de la science-fiction?

Sweetwater Canyon Book 5?–?A New Year’s Novelette (32 pages plus 20 pages of “sneak peek of Book 3) The Sweetwater Canyon musicians celebrate Hogmanay (New Year’s Eve) in Scotland with Rachel’s father, Gavin Cullen. Since his wife’s death eight years ago, Gavin has never completely been the same. Clearing the cobwebs of the past year in order to begin anew is a tradition with special meaning at the family bed and breakfast inn. When a young, homeless stranger is invited inside he is met with caution by some members of the band. Will he be a source of division or will he help to free the Cullen’s from the past?

As Beatrice’s wedding day approaches, murder finds a way to make her pressed for time.? Beatrice and Wyatt’s days are spent planning their cozy, chapel wedding. Both widowed, they mean to keep their wedding an intimate, family affair. But everyone in Dappled Hills still wants to celebrate the happy couple. Beatrice and Wyatt find themselves at dinners, picnics, and barbeques in their honor. When one of the festivities goes deadly wrong, Beatrice must try to unveil the killer before making her vows.

When everything you count on for your existence fails, could you survive? Within days of a series of monster solar storms slamming into earth, electrical grids fail and everything in the northern hemisphere with a computer chip ceases functioning. Electricity can’t be completely restored for at least a decade, and the result that everything modern life depends on to function is gone. There is no way to pump gas or water. Cell towers are wiped out, along with satellites. Airplanes and most vehicles will not operate. Communication is practically impossible. People cannot access life-saving prescription drugs or food. Police, fire services, and the military are overwhelmed, and hospitals can’t cope. There’s no one to come to the rescue, and as mass panic ensues, people begin dying. Fear and violence escalate until society collapses. An unlikely hero emerges. Chaco is a well-educated freedom fighter on a death list in El Salvador. Having fled to the United States, he is in hiding by working for a wealthy couple as their handyman and gardener. Following the disaster, he reveals his true identity, and convinces his employers and their neighbors to follow him over brutal mountain passes to a self-sufficient commune nearly 800 miles away. But only a few will survive. Readers' reviews:? "So exciting couldn't put down!" "Great adventure into the potential unknown world of the future." "Very entertaining read!" If you liked this book, check out Peggy's fantasy fairy tale,? The Splendid and Extraordinary Life of Beautimus Potamus? as well! ? About the Author Peggy A. Wheeler is a writer of fantastical fiction. Her debut novel, THE RAVEN'S DAUGHTER is published by Dragon Moon Press in Canada. Peggy studied English and Creative Writing at the U.C.L.A., where she was the only undergraduate chosen to study with Robert Pinsky, former Poet Laureate of the United States. Peggy has led adult poetry and fiction writing critique groups and workshops in both Colorado and California. ?

When death is the perfect deception, betrayal must be the greatest gift. "Superbly written fantasy novel!" - Goodreads review In a secret world of giants, Wisps, War Crows, and ancient magic, Nicolas Bennett discovers he is the heir to the throne of a fantastical Kingdom. Nicolas is prophesied to become one of the greatest of all Dragon Nightfalls—but only if he can kill the recently awakened Overlord Dragon, Arnyek Tolvaj. Known as the Shadow Thief, Arnyek Tolvaj is the doom of Telluric Grand and a looming threat to Relic, the City with Seven Gates. Joined by three new friends, Nicolas sets out on a dangerous journey, determined to accomplish the impossible. And when he finally comes face to face with the Shadow Thief, Nicolas truly understands the private agony of what it means to be a savior. About the Author Steven L. Lovett is a long-time student of T.H. White, a sentimentalist of C.S. Lewis, and an unabashed fan of J.R.R. Tolkien. (He says he, too, will have "made it" as a novelist when everyone begins referring to him as S.L. Lovett.) A professor by day and a writer by night (or by weekends or any other free time), Steven lives with his wife, their daughter, and their family dogs on a quiet, wooded street in a small town in eastern Kansas. Readers' reviews "I absolutely fell in love with Telluric Grand and all of its characters. This is so well written, I could feel the fog and smell the food." "You can see similarities to other fantasy series (I would call it kind of a mix between Lord of the Rings and the Chronicles of Narnia), but it is definitely it's own world, with creatures unlike any I've ever read about. " "You can definitely see influences here from Narnia, Lord of the Rings, and even Harry Potter. So if you enjoy any of those books, this one will probably hold your attention as well."

A classic of Danish children's literature, translated into over a dozen languages.. Winner Best Children's Book and PEN award The Norse Gods have been fighting an endless war with the Giants and now they’re growing weak and losing their powers, so the God of Thunder, Thor, travels to earth to find help. He asks Erik, an ordinary teenage boy, to go on a secret mission to Asgard and the Land of the Giants. Once in the Land of the Gods, Erik has to train to gain the skills to outwit and outrun the Giants. Together with Thor’s daughter, Trud, Erik ventures to the Land of the Giants to search for magic apples - the only thing which can revive the dying Gods. But time is running out. Can they rescue the Goddess and prevent Ragnarok, the End of the World? Reviews "Erik and the Gods: Journey to Valhalla is an exciting retelling of Norse myths and legends that many of us have most likely heard of at some point in our lives. The author brings old myths and legends vividly to life with his story and whisks readers off on a magical adventure into the epic world of Norse mythology where adventure abounds. I was positively surprised by this novel, because it has the feel of an epic adventure due to the author's way of writing about the various Gods and their deeds in a marvellous way. The author effortlessly evokes a sense of an adventure and makes sure that his readers are having a good time." **** -?Seregil of Rhiminee "When the great hammer-wielding Thor whisks Erik off to Asgard, the boy finds himself in a new (and very ancient) world preparing to embark on a perilous quest. It will be an action-packed journey on a mythological scale, with Gods and giants, with monsters and magical knives, with dragons and wolves and serpents, with treachery and heroism. Olsen's breathless new adventure is filled with the old stories, which it conjures back into life an exciting and original introduction to one of the greatest of all mythological universes." --Daniel Hahn, Oxford Companion to Children's Literature "Famous myths and legends burst into life again when 13-year-old Erik is enlisted to help out the Norse gods, now fallen on hard times. His adventures that follow are in the same epic league as Tolkien's The Lord of the Rings , but delivered with a lighter touch as Erik brings in his own modern perspective to all he sees and hears now going on around him. Packing each chapter with incident and extraordinary detail concerning everyday life in Valhalla, the ancient home of the gods, Lars-Henrik Olsen provides readers of all ages with an unfailingly good-humoured feast for the imagination. Published thirty years ago in Danish, this wonderfully entertaining story, the first of four involving Erik, richly deserves a wider audience today." --Nicholas Tucker, Rough Guide to Children s Books "Lars-Henrik Olsen s epic novel of Erik s adventures with the Viking gods is a main reason why the powerful tales of Norse mythology continue to be shared by generations of Danes. When, as a young teenager, I first encountered Erik and the Gods, I discovered what would become a lifelong passion for fantasy and, not least, reading. I am delighted that this novel has been translated into English for the first time and will be available to a whole new generation of readers." --Jakob Stougaard-Nielsen, UCL Scandinavian Studies Lars-Henrik Olsen is a Danish author. His writing spans both children's, youth and adult books. He has written over 70 books including non-fiction about animals and nature, Nordic mythology and several historical novels. His books have been translated into a total of 13 different languages and sold millions of copies. He also helped found the Panda Club for the World Wildlife Fund. His novel? Erik and the Gods: Journey to Valhalla ?(Erik Menneskeson) was awarded The Danish Children's Book Award in 1986. A film is now being made of the book in Denmark.

What if your best friend were working with your worst enemy? All is not well in Bridges. The Four Families accuse each other of spying while Red Dog attacks escalate. Aristocratic jewel merchant Dame Anastasia Louis, styling herself "The Queen of Diamonds," hires her long-time friend, private eye Jacqueline Spadros, to collect from her debtors so she can leave the city. But Jacqui can't leave David Bryce's kidnapping and the murders of her teenage informants unpunished. Convinced that her mortal enemy, the madman "Black Jack" Diamond, was complicit in the crimes, she pursues ways to prove it. The scoundrel and his crew, however, seem to be one step ahead: the terrifying man in white is seen outside David's home, forged letters are appearing across the city, and merchants in the Spadros quadrant report threats from a man who fits his description.? ? Jacqui is warned of a plot against her life. Those who try to warn Jacqui are murdered, and evidence emerges that Jacqui's mother is next on the list.? With time running out, Jacqui is forced to make a horrifying choice. Someone will surely die. Will it be Jacqui, or her mother?