Through the Looking-Glass, and What Alice Found There (1871) is a novel by Lewis Carroll (Charles Lutwidge Dodgson), the sequel to Alice's Adventures in Wonderland (1865). The themes and settings of Through the Looking-Glass make it a kind of mirror image of Wonderland: the first book begins outdoors, in the warm month of May (4 May), uses frequent changes in size as a plot device, and draws on the imagery of playing cards; the second opens indoors on a snowy, wintry night exactly six months later, on 4 November (the day before Guy Fawkes Night), uses frequent changes in time and spatial directions as a plot device, and draws on the imagery of chess. In it, there are many mirror themes, including opposites, time running backwards, and so on. Short Summary: Alice is playing with a white kitten (whom she calls "Snowdrop") and a black kitten (whom she calls "Kitty")—the offspring of Dinah, Alice's cat in Alice's Adventures in Wonderland—when she ponders what the world is like on the other side of a mirror's reflection. Climbing up on the fireplace mantel, she pokes at the wall-hung mirror behind the fireplace and discovers, to her surprise, that she is able to step through it to an alternative world. In this reflected version of her own house, she finds a book with looking-glass poetry, "Jabberwocky", whose reversed printing she can read only by holding it up to the mirror. She also observes that the chess pieces have come to life, though they remain small enough for her to pick up. Upon leaving the house (where it had been a cold, snowy night), she enters a sunny spring garden where the flowers have the power of human speech; they perceive Alice as being a "flower that can move about." Elsewhere in the garden, Alice meets the Red Queen, who is now human-sized, and who impresses Alice with her ability to run at breathtaking speeds. This is a reference to the chess rule that queens are able to move any number of vacant squares at once, in any direction, which makes them the most "agile" of pieces. The Red Queen reveals to Alice that the entire countryside is laid out in squares, like a gigantic chessboard, and offers to make Alice a queen if she can move all the way to the eighth rank/row in a chess match. This is a reference to the chess rule of Promotion. Alice is placed in the second rank as one of the White Queen's pawns, and begins her journey across the chessboard by boarding a train that literally jumps over the third row and directly into the fourth rank, thus acting on the rule that pawns can advance two spaces on their first move.

In “True Ghost Stories,” Mr. Carrington presents a number of startling cases of this character; but they are not the ordinary “ghost stories”—based on pure fiction, and having no foundation in reality. Here we have a well-arranged collection of incidents, all thoroughly investigated and vouched for, and the testimony obtained first-hand and corroborated by others. The chapter on “Haunted Houses” is particularly striking. The first chapter deals with the interesting question, “What is a Ghost?” and attempts to answer this question in the light of the latest scientific theories which have been advanced to explain these supernatural happenings and visitants. It is a book of absorbing interest, and cannot fail to grip and hold the attention of every reader—no matter whether he be a student of these questions, or one merely in search of hair-raising anecdotes and stories. He will find them here a-plenty! The following little book endeavors to bring together a number of “ghost stories” of the more startling and dramatic type,—but stories, nevertheless, which seem to be well authenticated; and which have been obtained, in most instances, at first hand, from the original witnesses; and often contain corroborative testimony from others who also experienced the ghostly phenomena. Some of these incidents, indeed, rise to the dignity of scientific evidence; others are less well authenticated cases,—but interesting for all that. These have been grouped in various Chapters, according to their evidential value. Chapters II. and III. contain well-evidenced cases, some of which have been taken from the Proceedings and Journals of the Society for Psychical Research (S. P. R.), or from Phantasms of the Living, or from other scientific books, in which narratives of this character receive serious consideration. Chapter V., on the contrary, contains a number of incidents which,—striking and dramatic as they are,—cannot be included in the two earlier Chapters, as presenting real evidence of Ghosts; but are published rather as startling and interesting ghost stories. Chapter IV., devoted to “Haunted Houses,” contains brief accounts of the most famous Haunted Houses, and of the phenomena which have been witnessed within them. Appendix A gives a list of a few of the important “Historical Ghosts,” Appendix B describes the “Phantom Armies” lately seen by the Allied troops in France—while Appendix C lists a number of books of Ghost Stories which the interested reader may care to peruse. A short Glossary, at the beginning of the book, explains the meaning of certain terms used,—which are not, perhaps, ordinarily met with in books of this character. In the Introductory Chapter, I have endeavored to explain, very briefly, the nature and character of Ghosts; what they are; and the various scientific theories which have been brought forward, of late years, to explain Ghosts. I hope that this may prove of interest to the reader; in case it does not do so, he is invited to “skip” directly to Chapter II., which begins our account of “True Ghost Stories.” I wish to express my thanks in this place to the Council of the English S. P. R. for special permission to quote and to summarize several striking cases here reproduced; also to Miss Estelle Stead, for permission to utilize several cases previously printed at length in Mr. Wm. T. Stead’s collections of Ghost Stories. H. C. [Author]

The War of the Worlds is a military science fiction novel by H. G. Wells. It first appeared in serialized form in 1897, published simultaneously in Pearson's Magazine in the UK and Cosmopolitan magazine in the US. The first appearance in book form was published by William Heinemann of London in 1898. It is the first-person narrative of the adventures of an unnamed protagonist and his brother in Surrey and London as Earth is invaded by Martians. Written between 1895 and 1897, it is one of the earliest stories that detail a conflict between mankind and an extraterrestrial race. The novel is one of the most commented-on works in the science fiction canon. The War of the Worlds has two parts, Book One: The Coming of the Martians and Book Two: The Earth under the Martians. The narrator, a philosophically-inclined author, struggles to return to his wife while seeing the Martians lay waste to southern England. Book One also imparts the experience of his brother, also unnamed, who describes events in the capital and escapes the Martians by boarding a ship near Tillingham, on the Essex coast. The plot has been related to invasion literature of the time. The novel has been variously interpreted as a commentary on evolutionary theory, British Imperialism, and generally Victorian superstitions, fears and prejudices. At the time of publication it was classified as a scientific romance, like his earlier novel The Time Machine. The War of the Worlds has been both popular (having never gone out of print) and influential, spawning half a dozen feature films, radio dramas, a record album, various comic book adaptations, a television series, and sequels or parallel stories by other authors. It has even influenced the work of scientists, notably Robert Hutchings Goddard. Plot SummaryYet across the gulf of space, minds that are to our minds as ours are to those of the beasts that perish, intellects vast and cool and unsympathetic, regarded this earth with envious eyes, and slowly and surely drew their plans against us.— H. G. Wells (1898), The War of the Worlds The Coming of the MartiansThe narrative opens in an astronomical observatory at Ottershaw where explosions are seen on the surface of the planet Mars, creating much interest in the scientific community. Later a "meteor" lands on Horsell Common, near the narrator's home in Woking, Surrey. He is among the first to discover that the object is an artificial cylinder that opens, disgorging Martians who are "big" and "greyish" with "oily brown skin," "the size, perhaps, of a bear," with "two large dark-coloured eyes," and a lipless "V-shaped mouth" surrounded by "Gorgon groups of tentacles." The narrator finds them "at once vital, intense, inhuman, crippled and monstrous." They briefly emerge, have difficulty in coping with the Earth's atmosphere, and rapidly retreat into the cylinder. A human deputation (which includes the astronomer Ogilvy) approaches the cylinder with a white flag, but the Martians incinerate them and others nearby with a heat-ray before beginning to assemble their machinery. Military forces arrive that night to surround the common, including Maxim guns. The population of Woking and the surrounding villages are reassured by the presence of the military. A tense day begins, with much anticipation of military action by the narrator.

Кра?на, яку залишили ?? творц?, винах?дники та мислител?, приречена на в?йну, голод ? смерть. Владу захоплюють нев?гласи, корупц?онери й мародери. ?стор?я трива? бодай тому, що одна вольова ж?нка на ?м’я Да?н? Та??арт переконана, що досконалий св?т справжн?х ц?нностей ?сну?. Вона намага?ться зламати сценар?й неминучо? катастрофи. ?? Атлантида не м?ф. У св?т? ще ? см?ливц?, спроможн? створити сусп?льний лад, де нема? конфл?кт?в, не виника? потреби в самопожертв?, жодна людина не становить загрози для мети ?нших. Бунт?вн? атланти знають, що розум таки переможе. Риторичне питання, хто такий Джон ?олт, насправд? ма? в?дпов?дь, а неймов?рн? ?де? — сво? вт?лення, яке проголомшу? людську уяву. В останн?й частин? свого фундаментального роману ?дей Айн Ренд змальову? ц?л?сну ф?лософську систему, яка дос? виклика? палк? дискус??, де в?д захвату до обурення — один крок.

This book is called The White Spark as the white spark or vacuum cell in Nature IS THE RIGHT HAND OF GOD—it is a ubiquitous principle of the universe and is the cause and parent of electricity, combustion, radium, snow-flakes, flowers, trees, leaves, crystallization, wireless telegraphy, animal forms and EVEN LIFE ITSELF. This book is the key to every department of human endeavor, as it enunciates the basic principle and THE PRIME MOVER of the universe.?It tells the road to health, the cause and cure of disease, the truth about the germ humbug and drug treatments, serums and antitoxins. It shows why luminosity is produced on the flesh of various organisms, why a slice of pollock when first iced, then heated to 100 degrees and then thrust into a temperature of 50 degrees becomes luminous. It shows the farmer that he can become a magician of agriculture—tells that the nitrogen of the air is only a dust of quartz rocks, like the invisible moisture of the air is "a dust of water"—that the nodules on the roots of the clover and legumes do not abstract nitrogen from the air, for if they did nature would have placed these bacteriological growths on the vine and not the root, the scientists have the cart before the horse in this case and the nodular cells form the proteids from sand or silica, this book tells how it is done. It tells what a trance is and how the soul can leave the body temporarily. How JESUS CHRIST is carrying out the biblical prophesy by TELEPATHY. Gives the truths about the ideal society, alcohol, drunkenness, causes of crime, longevity and law.

Biblioteca pentru toi copiii“ cuprinde cele mai preuite opere ale scriitorilor clasici ai literaturii romne i universale. Crile de neuitat ale copilriei sunt disponibile astzi si in format e-book.Aventurile lui Tom Sawyer este una dintre acele cri rare despre care se poate afirma cu certitudine astzi, la mai bine de un secol de la apariia ei, c se adreseaz tuturor vrstelor, mai bine zis, copiilor de orice vrst.“ – Petre Solomon

Biblioteca pentru toi copiii“ cuprinde cele mai preuite opere ale scriitorilor clasici ai literaturii romne i universale. Crile de neuitat ale copilriei sunt disponibile astzi si in format e-book.Cu sufletul lui plin de contraste, mincinos, crud i poltron, naiv, rafinat i mojic totodat, resemnat i rebel, i totui plin de fermectoare elanuri de sinceritate, de tandree i de altruism, omuleul acesta nghesuie n inima lui pirpirie o ntreag umanitate [...] Romanul lui Jules Renard nchide ntr-o suit de ntmplri, ingenios construite i pline de naturalee, una dintre cele mai sfietoare drame omeneti: drama copilriei nefericite.“ – Modest Morariu

Biblioteca pentru toi copiii“ cuprinde cele mai preuite opere ale scriitorilor clasici ai literaturii romne i universale. Crile de neuitat ale copilriei sunt disponibile astzi si in format e-book.Am scris cri despre copii; m-am gndit la sufletul lor, care era doritor de o poveste duioas, cu animale. Fram, ursul polar e o poveste cam trist, dar e scris totui pentru copii; i e izvort dintr-un sentiment de mil pentru un pui de urs ntlnit la o menajerie.“ – Cezar Petrescu

Cella Serghi este Margaret Mitchell a noastr. Aceeai for epic, aceeai curgere a personajului, acelai tip de feminitate care lupt i trebuie s nving. Cine nu i amintete ultima pagin din Pe aripile vntului, ctor cititoare nu le-a slujit drept suport, drept lecie de via Un feminism cald care e mai mult un fel de solidaritate feminin...Naturaleea, spontaneitatea scriiturii, conturarea personajului principal, att de sincer i de cuceritor, capacitatea de-a face cititorul s viseze i, nu n ultim instan, succesul de public pentru o carte de dragoste, toate acestea nseamn c avem de a face cu o carte de referin.“ – Cleopatra Loriniu

Nu n latura caracterologic st ns meritul romanului lui Cezar Petrescu. n datele lor interne, personajele au ceva predictibil. Ascensiunile le sunt sincrone. Cderea unuia duce la prbuirea celorlali. i, de obicei, ntocmai ca n jocul de domino, toi au n preajm pe cte cineva. Momentele de singurtate sunt rare n Calea Victoriei. Admirabil, n schimb, e invenia epic, dei nu din ea, ci din lirismul difuz i s-a tras romancierului succesul. Fiecare capitol ncepe printr-un soi de avertisment metaforic, fr nicio legtur explicit cu coninutul ulterior. Unele dintre aceste puneri n tem (mai degrab dect n abis) au ntr-adevr structur de anecdote, dar att de generale, nct propriu-zis nu putem vorbi despre narativitate autentic. Cel mult, despre infuzie de stri de spirit. Procedeul ine de alegorie, i substratul vag moralizator se ghicete permanent ndrtul lui. nsi Calea Victoriei reprezint, au artat-o mai toi comentatorii, un alt nume pentru melanjul de opulen, viciu, civilitate, elegan, conspiraie i tragedie care freamt n marele ora. De altminteri, prea puine lucruri se petrec spaial pe fostul Pod al Mogooaiei.“ – Cosmin Ciotlo

De altminteri, ne asigur, mereu, autorul, tabloul societii imediat postbelice este moral fracturat att de cauze sociale multiple ct i de nelesuri foarte eterogene conferite evenimentelor de protagoniti. Or, n noua realitate fiecare se simte ndreptit s solicite ceva de la via, de la istorie, de la ceilali, i, nu chiar n ultimul rnd, de la soart. Peisajul tipologiilor umane nu este unul idilic i armonios, ci unul bazat pe dezacord, pe conflict i pe nenelegere. i stau cititorului, fa n fa, idealiti morali (Vasile Mogrea) care refuz orice compromis i orice umilin, dar i venic adaptaii la succes, dintre care erou paradigmatic este Alexandru Vardaru. El n-are deziluzii n via pentru c nu-i creeaz sperane dearte sau iluzii prosteti. Clar i rspicat, se autodefinete privindu-l cu mil, dezgust i dispre pe mutilatul nenelegtor Radu Coma: Eu m-am socotit ntotdeauna nedemn de aa-zise marile idealuri. Viaa mi s-a prut mai simpl... Omul nu se sacrific idealurilor vagi. Nu iubesc o lume imaginar; o iubesc pe cea real! Nu una viitoare; pe cea prezent!... tiu c nu putem face miracole, nici n viaa de toate zilele, nici n cea politic... Tot ce poi face e s corectezi puin i treptat realitatea. Chiar patriot, sunt fr imaginaie... Ideile generoase duc la dezordine, lirismul la catastrofe!...ntunecare este un titlu ce a ajuns s conin n sine mai multe sensuri, cel antropologic destinal fiind, desigur, cel mai profund. Dar acest neles va fi – pentru muli cititori – corelat mereu i cu semnificaii sociale i psihologice. De ce Pentru simplul motiv c baza social i cea psihologic din orice rzboi, rscoal sau revoluie aduc la suprafa multe fee ale ntunecrii. Acestea sunt stocate n memoria colectiv, iar unele au constituit obiect de analiz romanesc. Fiecare cititor apeleaz, vrnd-nevrnd, la aceste nelesuri ale ntunecrilor venite din cele dou mari surse: istoria i literatura. Oricum, ntunecare a lui Cezar Petrescu rmne un reper literar major, unul dttor de seam att pentru istoria literaturii romne, ct i pentru evoluia luminrilor i ntunecrilor colective, periodice, ale poporului nostru.“ – Vasile Morar

Nominalizat la Carnegie Award 2009, c??tig?tor al Guardian Children’s Fiction Prize 2008, James Tiptree Junior Award ?i Booktrust Teenage Prize 2008. Todd Hewitt e ultimul b?iat din Prentisstown, un ora? mai pu?in obi?nuit. Oamenii pot auzi ce g?ndesc ceilal?i. Tot timpul. Via?a lor se desf??oar? ?ntr-un cople?itor ?i ne?ncetat Vacarm; nu exist? intimitate, nici secrete. Chiar cu o lun? ?nainte de a ?mplini 13 ani, dat? la care ar urma s? devin? b?rbat, Todd descoper? ?nt?mpl?tor un loc lini?tit. F?r? Vacarm. ?ns? un asemenea loc nu poate exista! ?nseamn? c? locuitorii din Prentisstown l-au min?it. ?i acum va trebui s? fug? ca s? se salveze de la moarte... Dar unde s? fugi dac? cei care te urm?resc pot auzi TOT ce g?nde?ti? Un roman ?n tradi?ia Aventurilor lui Huckleberry Finn ?i a capodoperei De veghe ?n lanul de secar?, despre un adolescent care fuge, ?mpreun? cu c?inele s?u vorbitor, Manchee, spre o lume normal?. Chiar dac? asta ?nseamn? s? mearg? p?n? la cap?tul lumii... ?i mai departe. Ness e un scriitor foarte ?nzestrat, de o imprevizibilitate care-?i d? fiori. – The Times Sf?r?itul plin de suspans are efectul unui glon? tras direct ?n stomac. – Booklist Un roman care curge ?ntr-un ritm furios, ?nsp?im?nt?tor, captivant ?i, uneori, sf??ietor. Este o carte care-?i b?ntuie imagina?ia. –Sunday Telegraph ?Nu exist? nimic pe lumea asta ?n afar? de Vacarm, nimic altceva dec?t g?ndurile permanente ale oamenilor ?i toate lucrurile venind la tine ?i la tine ?i la tine, din clipa ?n care spac?ii au dat drumul virusului Vacarmului ?n timpul r?zboiului, un virus care-a ucis jum?tate din b?rba?i ?i toate femeile, inclusiv pe mama mea, un virus care i-a ?nnebunit pe restul b?rba?ilor ?i care a ?nsemnat sf?r?itul pentru tot neamul spac?ilor ?n momentul c?nd oamenii, ?n nebunia lor, au ridicat armele.“

n 1950 Boris Vian public, sub pseudonimul Vernon Sullivan, Femeile nu-i dau seama, un roman-pasti al prozei i stilului de via american ale mijlocului secolului XX. ntr-un discurs n care se vede clar intenia parodic, Vian povestete aventura ntins pe cteva zilei a tnrului de bani gata Francis Deacon, din care nu lipsesc drogurile, femeile, promiscuitatea fr limite, interveniile FBI, urmririle pe ap i pe uscat, travestiul i toate beneficiile materiale pe care America aflat n plin dezvoltare le poate oferi unui tnr dispus s nu fac nicio economie cnd vine vorba de distracie i senzaii tari.

Un nou thriller din seria Helen Grace Cadavrul unui b?rbat este g?sit ?ntr-o cas? goal?. Inima i-a fost scoas? din piept ?i trimis? so?iei ?i copiilor lui. E prima victim?, iar inspectoarea Helen Grace ?tie c? nu va fi ultima. Dar de ce s-ar afla un b?rbat cu o via?? ?mplinit? departe de cas? ?n toiul nop?ii? Presa ?l nume?te Jack Spintec?torul ?n sens invers: un criminal ?n serie, v?n?nd b?rba?i ?nsura?i care duc vie?i duble. Helen simte furia din spatele crimelor. Dar ceea ce nu poate ea s? prevad? este c?t de schimb?tor e criminalul - sau ce o a?teapt? la cap?tul cursei... ?Alert, tensionat, cu adev?rat impresionant!“ – Sun ?Arlidge creeaz? o poveste ce te captiveaz? ?i te ?nsp?im?nt? ?n acela?i timp.“ – Daily Mail ?Un thriller macabru pe care nu-l po?i l?sa din m?n?!“ – Woman and Home ?Deodat? capul i s-a dus pe spate. L-a s?getat o durere insuportabil? – era tras de p?r foarte str?ns, tras ?napoi cu for?a, tot ?napoi. Deja nu mai putea s? respire – o c?rp? ?i astupa gura ?i nasul. O duhoare ?n?ep?toare i-a inundat n?rile, iar reflexele i s-au declan?at prea t?rziu. Se lupta s? tr?iasc?, dar ??i pierdea deja cuno?tin?a. Apoi s-a f?cut ?ntuneric.“

De la autorul bestsellerurilor Ierusalim ?i ?ntr-o noapte de iarn?. O poveste zguduitoare despre pasiune ?i tr?dare, descoperit? ?n arhivele secrete KGB Iarna lui 1916: Sankt Petersburg. Rusia e ?n pragul revolu?iei. ?n fa?a Institutului Smoln?i pentru Fete din ?nalta Societate, Sa?enka, fiica de doar ?aisprezece ani a baronului Zeitlin, este a?teptat? de c?tre guvernanta sa, dar ?i de poli?ia secret? a ?arului... Frumoas? ?i aprig?, Sa?enka este captivat? de noua ideologie bol?evic? ?i intr? ?n jocul periculos al conspira?iei ?i seduc?iei. Dou?zeci de ani mai t?rziu, e c?s?torit? cu un membru de seam? al partidului comunist ?i are doi copii. ?ns? idila interzis? cu un scriitor are consecin?e devastatoare pentru familia sa. ?Aceast? saga surprinde at?t zbuciumul unei elite bol?evice c?zute ?n dizgra?ie, c?t ?i paradoxurile istoriei pe care avem impresia c? o cunoa?tem.“ – The Independent ?Cu frumuse?ea ireal?, cu distinc?ia care trece dincolo de avere sau clas? social? ?i cu idealurile sale sincere care au costat-o at?t de mult, Sa?enka reu?e?te s? ne cucereasc? definitiv.“ – The Spectator ?Montefiore se dovede?te a fi un povestitor inegalabil, cu un stil precis, care te marcheaz?.“ – Wall Street Journal ?Pe coridoarele acestei aripi a ?nchisorii era un du-te-vino continuu: b?rba?i ?i femei erau arunca?i ?n celulele lor, adu?i la interogatorii, trimi?i ?n lunga c?l?torie din exilul siberian. Unii pl?ngeau cu sughi?uri, al?ii dormeau; ?ntreg spectrul vie?ii era adunat aici. Jandarmul din spa?tele ghi?eului ??i tot ?ndrepta privirea c?tre Sa?enka, de parc? aceasta ar fi fost un p?un ?ntr-o cocin? de porci.“

Mai mult viu dec?t mort, comisarul San-Antonio asist? la propria-nmorm?ntare. Apoi, mai mult cu umor dec?t cu ?nd?rjire, b?ntuie Parisul ?n c?utarea celor care l-au ucis un pic, temporar. Semi-asasinii nu se las? u?or prin?i, p?n? c?nd fac gre?eala s-o supere pe mama semi-victimei. ?i gata, soarta lor e pecetluit?: nu te iei de mama lui San-Antonio ?i speri s? scapi basma curat?! E o b?tr?nic? prea simpatic?. San-Antonio e convins c? ea e mai ?nger dec?t dolofanii ?ia mici, picta?i cu aripioare prin biserici.Vremuri grele! Nimic nu mai e ce pare a fi: trafican?ii de droguri sunt patrio?i, spioanele sunt fiice care ?tiu de frica ta?ilor. Nevestele sunt un fel de amante costisitoare, iar culmea rafinamentului pervers ar fi s?-?i iei o amant? doar ca s? te ui?i la ea cum tricoteaz?, dup? ce ?i-a servit o sup?.San-Antonio e de savurat pe ?ndelete, o delicates? pentru adev?ra?ii degust?tori ai genului, cei care ?tiu c? un roman poli?ist te poate cuceri ?i prin umor, rafinamente de limbaj, inteligen?? ?i cultur?, nu doar prin suspans, urm?riri ?i ?mpu?c?turi, chiar dac? are – din bel?ug chiar – ?i aceste ingrediente.Mai multe detalii pe san-antonio.ro

Ce ai face dac? ai g?si o carte ce te-ar provoca la un joc de-a v-a?i ascunselea cu indicii? Ai accepta provocarea sau ai pune cartea ?napoi ?n raft? ? Lily a l?sat ?n raftul libr?riei preferate din New York un jurnal plin de provoc?ri, care a?teapt? s? fie g?sit de b?iatul potrivi. Acesta este Dash, un adolescent ?n v?rst? de 17 ani, pasionat de c?r?i ?i cu o repulsie nem?rginit? fa?? de tot ce ?nseamn? s?rb?toarea Cr?ciunului. El accept? regulile jocului fetei. Dar sunt ei f?cu?i unul pentru cel?lalt? De?i par a se potrivi perfect ?n ceea ce prive?te exprimarea ?n scris, ?nt?lnirile lor nu sunt lipsite de surprize ?i le pun ?n pericol rela?ia ?nc? dinainte ca aceasta s? se ?nfiripe. ? Rachel Cohn ?i David Levithan au scris o poveste de dragoste care ?i va face pe tineri s? scotoceasc? prin rafturile libr?riilor, c?ut?nd ?i t?njind dup? o iubire (?i un jurnal) care s? fie numai a lor. ? “Cititorii vor fi ?nc?nta?i de limbajul spumos ?i de r?sturn?rile amuzante de situa?ie.“ Publishers Weekly ? “Sim?eam nevoia s?-i absorb numele, ?n timp ce cl?titele absorbeau untul ?i siropul. Abia dac?-mi mai aminteam cum ar?ta; imaginea lui era ?nconjurat? de o p?cl? de culoarea ?ampaniei, dulceag? ?i difuz?, neclar?. ?mi aminteam c? era mai degrab? ?nalt, cu p?rul bine tuns ?i proasp?t piept?nat, c? purta blugi ?i o jachet? marin?reasc? de l?n?, posibil de epoc?, ?i c? mirosea a b?iat, dar la modul pl?cut, nu la cel sc?rbos. ?i mai avea ?i cei mai alba?tri ochi din lume, ?i gene lungi, negre, aproape ca ale unei fete.“

A?i auzit de statul Khalaab al Amouk? Fi?i pe pace, nici San Antonio nu auzise ?nainte de noua lui misiune. Cu at?t mai pu?in fidelul s?u Bérurier, totu?i un fin cunosc?tor al at?tor lucruri, precum soiurile franceze de br?nz? ?i deloc elegantele lovituri pugilistice, ?mp?r?ite cu m?rinimie, ?i unele, ?i celelalte, b??tina?ilor (khalaabagii, pe numele lor). Imaginea Enormit??ii-Sale Béru c?lare pe c?mil?, str?b?t?nd de?ertul, ?l va face de ru?ine pe Don Quijote. ?inta le este palatul emirului Obolan, care nu i ascunde numai pe cei doi agen?i francezi care trebuie elibera?i, ci ?i un a????tor harem, ?n care, dup? cum lesne pute?i b?nui, glorio?ii salvatori vor fi ispiti?i s? dea iama. Cum, vai, nu i pute?i urma ?n desf?t?rile sexuale, v? r?m?n, deloc de lep?dat, cele textuale.Mai multe detalii pe san-antonio.ro

Dac? ?nc? nu a?i aflat la ce folose?te o linie de metrou care nu duce nic?ieri, dac? sunte?i curio?i s? ?ti?i de ce unii oameni ??i devoreaz? soacrele ?n ziua nun?ii lor de argint ?i ?n ce const? deosebirea fundamental? dintre englezi ?i francezi, e timpul s? c?l?tori?i pe insula Miserupe din Arhipelagul Mitocanilor. ?mpreun? cu San-Antonio ?i Bérurier, afla?i de data asta ?n ?nalta societate a mini?trilor ?i a sini?trilor, a unui vraci ?i a unei regine de dimensiuni apocaliptice care-l face pe Enormul s? par? un b?rbat sub?ire. Iar dac? vi se pare c? intriga acestui roman e prea ingenioas?, r?sturn?rile de situa?ie prea nea?teptate, comisarul prea simpatic, iar limbajul lui Bérurier de un comic delirant, nu pute?i ?nvinui pe nimeni – doar ?ine?i ?n m?n? o carte de San-Antonio.Mai multe detalii pe san-antonio.ro

O t?n?r? care ??i pune prietenul s-o ?ncuie ?ntr-o cu?c? ?n propria ei buc?t?rie; un b?rbat locuind singur pe o planet? ?ndep?rtat? dintr-o galaxie necunosct?; un scriitor ?nc?run?it, ?ntr-un pat cu gratii, devenit piesa principal? a arhivei propriei sale opere postume; ?i mai e ?i Lilly, care, ?dup? o zi lung? ?i grea la birou, a constatat c? i-au crescut aripi pe omopla?i: ni?te excrescen?e de piele roz murdar, cu un aspect vulnerabil, care-i d?deau m?nc?rimi ca acelea ale ?n?ep?turilor de ??n?ar“. Sunt doar c?teva dintre personajele stranii ale acestui volum de proz? scurt? al t?n?rului scriitor austriac Clemens J. Setz. La apari?ie, Dragostea ?n vremea Copilului din Mahlstadt a fost o revela?ie pentru critic? ?i public deopotriv?, prin fine?ea ?i rafinamentul limbajului, prin iscusin?a cu care scriitorul ??i pune personajele s? se descurce ?n situa?ii bizare sau de-a dreptul grote?ti, prin inser?iile nea?teptate de fantastic ?i comic ?ntr-un cotidian marcat de banalitatea ?i stresul obliga?iilor sociale.

De la autorul bestsellerului Zi dup? zi. Pentru Rhiannon fiecare zi este la fel. S-a resemnat cu via?a ei, convins? fiind c? ?l merit? pe Justin, iubitul ei distant ?i temperamental. P?n? ?ntr-o diminea?? c?nd totul se schimb?. Pentru prima dat?, Justin pare s? o vad? cu adev?rat, s? fie ?mpreun? cu ea – ?i petrec o zi perfect? – o zi pe care Justin nu ?i-o mai aminte?te ?n diminea?a urm?toare. Trist? ?i confuz?, Rhiannon pune totul la ?ndoial?. Pe nea?teptate, un str?in ?i spune c? acel Justin cu care a petrecut o zi perfect? ?i care a f?cut-o s? se simt? special?... nu e deloc Justin. ?nc? o zi, cartea-pereche a bestsellerului New York Times Zi dup? zi, spune povestea din perspectiva lui Rhiannon, care ?ncearc? s? descopere adev?rul despre dragoste ?i felul cum acest adev?r te poate schimba pentru totdeauna. ?O poveste ce ne face s? p?trundem ad?nc ?n min?ile personajelor. De?i Levithan consider? c? ?nc? o zi e geam?nul romanului s?u precedent, Zi dup? zi, noua sa carte are o identitate separat?, bine definit? ?i poate fi citit? independent.“ – Booklist ?Nu simt nicio ?ntrebare – doar r?spunsuri. Nu simt fric?, ci ?mplinire. ?l s?rut ?i balansul nostru perfect continu?, r?sufl?rile noastre se fac una. ?nchid ochii ?i simt ap?sarea familiar? a buzelor lui, gustul familiar al gurii lui. ?nsa acum ceva e altfel. Nu doar ne s?rut?m cu trupurile noastre ?ntregi, ci ?i cu ceva mai mare dec?t trupurile, cu ceea ce suntem ?i cu ceea ce vom fi.“