Ap?rut ?n 1897 ?i tradus pentru prima dat? ?n limba rom?n?, romanul Zile ?i nop?i ??i are r?d?cinile ?n experien?a de soldat a lui Jarry ?nsu?i. Conflictul dintre o inteligen?? aleas? ?i abrutizanta disciplin? militar?, absurdul ?i grotescul caz?rmilor ?i al spitalelor militare se ?mbin? aici cu evocarea fratelui absent – un adev?rat dublu al eroului -, pasiunea pentru heraldic? sau deliciile unui dezm?? ha?i?in. Satira, de care nu scap? nici lumea militar?, nici cea intelectual-artistic?, se las? atenuat? de lirism ?i jocuri de limbaj. Iar ?ntr-unul dintre capitole ??i face apari?ia chiar ?i conceptul de patafizic?.

Iat?o pe fiica regelui troian Priam, vestita profet? Casandra, sosind ?n fa?a por?ilor cet??ii Micene ?n carul cu prizonieri al eroului grec Agamemnon. ?tie c? va fi ucis? ?nainte de asfin?itul soarelui ?i ??i rememoreaz? via?a, o existen?? excep?ional? pentru o femeie a acelor vremuri, ce culmineaz? ?n momente de o intensitate ?i un dramatism emo?ionant. Christa Wolf imagineaz? biografia fascinant? a unei figuri feminine at?t de controversate din mitologia antic?, reu?ind s? ne fac? s? o sim?im ca pe o contemporan? a noastr?.?

„Iat? o carte pe care s? o cite?ti încet ?i cu inima strâns?, o carte pe care s? o sim?i a?a cum sim?i ploaia b?tând darabana pe geamurile unui azil situat chiar aici ?i, în acela?i timp, la hotarele visului: acest t?râm atât de îndep?rtat ?i, în acela?i timp, atât de al nostru.  O zei?? stranie pare s? domine universul acestei opere singulare: boala, în multiplele ei variante, fizice ?i mentale, f?r? a uita c? fiecare boal? are o ie?ire, uneori spre lumina cea mai nea?teptat?, alteori spre cea mai nea?teptat? umbr?. Ne afl?m în fa?a unei c?r?i pline de delicate?e ?i de modera?ie, care??i trage vitalitatea din realism, din umanitate ?i, în acela?i timp, din delir, ?i care s?ar putea citi ca un roman polifonic, în?esat de voci care vorbesc în noapte.“ Jesús Ferrero (în Prefa??)

n Morile lui Quincas Berro Dágua i Btrnii marinari sau Cpitanul de curs lung, Jorge Amado ofer o adevrat mostr de magie literar, rescriind, dea lungul unor pagini memorabile prin dureroasele adevruri umane coninute, destine sau, alteori, pur i simplu frnturi de existen ntrun fel carel apropie de maetrii prozei latinoamericane de secol XX, dar i i fixeaz identitatea inconfundabil.

n secolul XXI, omenirea, devastat de cium, se afl n pragul extinciei. i, pentru c nu exist leac, evenimentele se precipit, iar protagonitii, n ncercarea de ai salva vieile, pleac n cutarea unui trm iluzoriu, a unui nou eden care s prezerve umanitatea. n final, rmas singur, naratorul triete cu sperana c undeva, ntrun col al planetei, exist mcar un supravieuitor i pornete n cutarea lui.

Volumul cuprinde prima pies? a lui Boris Vian tradus? ?n rom?ne?te, Ecarisajul pentru to?i, urmat? de seria de Cronici roman?ate ap?rut? ?n volumul de opere complete. Ecarisajul pentru to?i este una dintre cele mai cunoscute piese ale lui Vian, ?n care umorul negru, absurdul ?i jocurile de cuvinte amintesc teatrul lui Eugène Ionesco. C?t despre Cronicile roman?ate, acestea fac parte dintr?o categorie de texte aparte scrise de Vian ?i ap?rute ini?ial ?n publica?ii periodice precum s?pt?m?nalul La Rue: colorate, incisive, ciudate sau sobre, Cronicile sunt un dublu portret, al epocii lui Vian ?i al preocup?rilor autorului: via?a monden?, jazz?ul, automobilele, literatura, stilul de via?? american.

Sfâr?it de veac are un ritm bine marcat de scene în care conflictul e psihologic. Sunt scene de lupt?, de duplicitate ?i de strategie, conduse cu mân? sigur?, în care personajele î?i confrunt? interesele, dar ?i fi rea ascuns?. Maestrul de ceremonii este, fire?te, Urmatecu, plin de vitalitate, neobosit, viclean, calculat, altruist ?i crud totodat?, pe care doar lucrurile neclare, ciud??eniile, capriciile femeilor, nebunia ?i moartea îl tulbur?, sco?ându-l din apele în care se scald? de obicei. Chefurile uria?e pe care le trage dup? înmormânt?ri vin din nevoia de a se reechilibra psihic. Dac? boierul Barbu e un Tuzluc, iar Jurubi?a, o Kera Duduca, Urmatecu e un Dinu P?turic? infinit mai complicat ?i mai subtil, realizat la alte dimensiuni fizice ?i morale. Nu exist?, cum exist? de obicei în romanul de acest tip, personaje pozitive ori negative. Nici aplecarea spre caricatur? de la romancierii postbelici. Am putea spune chiar c? pân? ?i cei mai netrebnici sunt privi?i cu anume compasiune. Un element important este acela biografic, care atenueaz? eventualul spirit critic.

Vigyázat! Cselekményleírást tartalmaz. Szerelmek és félreértések klasszikus meséje a XVIII. századvégi Angliából. Az ?t Bennet n?vér élete a férjkeresés jegyében zajlik: anyjuk megszállottan próbálja biztosítani számukra a megnyugtató j?v?t valami pénzes – és lehet?leg rangos – férfiú mellett. Csakhogy a jó esz? és éles nyelv? Elizabeth szélesebb perspektívákban gondolkozik, és ebben apja is támogatja ?t. Amikor Mr. Bingley, a módos agglegény bek?lt?zik az egyik szomszédos birtokra, felbolydul a Bennet-ház élete. A férfi el?kel? londoni barátai és a vidékre vezényelt nyalka, ifjú katonatisztek k?zt bizonyára számos udvarlója akad majd a lányoknak. A legid?sebb lány, a der?s és gy?ny?r? Jane úgy t?nik, meghódítja Mr. Bingley szívét. Ami Lizzie-t illeti, ? megismerkedik a jókép?, és látszólag igencsak d?lyf?s Mr. Darcyval, és máris kezd?dik a nemek ádáz csatája. A helyzetet tovább bonyolítja, hogy Elizabeth nem várt házassági ajánlatot kap a Bennet-vagyont ?r?kl? unokatestvért?l, és amikor Mr. Bingely váratlanul Londonba távozik, magára hagyva a kétségbeesett Jane-t, Lizzie Mr. Darcyt teszi felel?ssé a szakításért. ?m egy Lydiával kapcsolatos családi válsághelyzet hamarosan ráébreszti h?sn?nket arra, hogy mindvégig balul ítélte meg ezt a büszke férfit… Eredeti hangú, máig modern, magával ragadó t?rténet, melyben magunkra ismerhetünk.

A few years ago, while visiting or, rather, rummaging about Notre-Dame, the author of this book found, in an obscure nook of one of the towers, the following word, engraved by hand upon the wall:— ? ? ? ? ? ? ? ANArKH. These Greek capitals, black with age, and quite deeply graven in the stone, with I know not what signs peculiar to Gothic caligraphy imprinted upon their forms and upon their attitudes, as though with the purpose of revealing that it had been a hand of the Middle Ages which had inscribed them there, and especially the fatal and melancholy meaning contained in them, struck the author deeply. He questioned himself; he sought to divine who could have been that soul in torment which had not been willing to quit this world without leaving this stigma of crime or unhappiness upon the brow of the ancient church. Afterwards, the wall was whitewashed or scraped down, I know not which, and the inscription disappeared. For it is thus that people have been in the habit of proceeding with the marvellous churches of the Middle Ages for the last two hundred years. Mutilations come to them from every quarter, from within as well as from without. The priest whitewashes them, the archdeacon scrapes them down; then the populace arrives and demolishes them. Thus, with the exception of the fragile memory which the author of this book here consecrates to it, there remains to-day nothing whatever of the mysterious word engraved within the gloomy tower of Notre-Dame,—nothing of the destiny which it so sadly summed up. The man who wrote that word upon the wall disappeared from the midst of the generations of man many centuries ago; the word, in its turn, has been effaced from the wall of the church; the church will, perhaps, itself soon disappear from the face of the earth. It is upon this word that this book is founded.

Janka a csinos, 31 éves pincérn? legh?bb vágya, hogy belépjen életébe a nagy szerelem. Amikor megismerkedik Dáviddal, a híres énekessel, úgy érzi, benne megtalálta azt, akit mindig is keresett. Kapcsolatuk mégsem alakul felh?tlenül, bármilyen szenvedélyesen szerelmes is a popsztárba. Ahogy egyre jobban megismeri Dávidot, kiderül a férfi s?tét oldala. Janka azonban nem tud t?le elszakadni... A regény?arra keresi a választ, hogy milyen egy bántalmazó férfi és egy bántalmazói kapcsolat. Hogyan lehet egy ilyen kapcsolaton túljutni és ?nmagunkra találni annak ellenére, hogy képtelennek érezzük magunkat az elszakadásra? Hogyan lehet egy fájdalmas kapcsolaton túl is újra boldognak lenni?

Az els? két történet a Világállamban játszódó disztópia. A  Haszontalan mágia f?szerepl?je a szürke kishivatalnokként él? Jim Scone: kezébe kerül egy ?srégi recept. A vegyület felszabadítja az ember mentális képességeit. Scone képes lett a múltba pillantani. Így kiderítette, hogy ki er?szakolta meg brutálisan a komputerosztály csinos, fiatal alkalmazottját, aki emiatt öngyilkos lett. Ám hiába a különleges képesség, a nyomozók ?t tartják tettesnek és elmegyógyintézetbe csukják.A K?folyam egyrészt a Spear ?rhajó parancsnokának, Estellnek és a különös planéta lakójának, Ellteának története, másrészt a Világállam nev? diktatúra utolsó éveir?l, a változásról szóló novella.A szürke ország cím? hosszabb elbeszélés átmenet a valós történelmi korrajz és egy fantázia szülötte jöv? között. A közelmúlt eseményei: a kilencvenes évek közepe, a f?h?s egy pályakezd? újságíró hölgy; a jöv?beni események legyenek meglepetés...

A Viszkis rabló visszatért. A legenda tovább él - igaz, már csak a képzeletben. Ambrus Attila els? regénye alighanem zavarba ejti az olvasót. Valóság és fantázia keveredik benne megannyi izgalommal, akcióval, váratlan fordulattal. A nyers, szókimondó stílusban megírt cselekményben megelevenednek bankrablások, a császári élethez tartozó hódítások, a szegény, kilátástalan gyerekkor emlékei, no meg a b?rt?nben átélt, kit?r?lhetetlen napok. A f?h?s valóságos haramiává válik, mert újra rabol, s?t gyilkol is, mik?zben szerelemre és talán normális életre vágyik. A Viszkis rabló visszatér, de most nem elégszik meg a kisebb zsákmánnyal. A Magyar Nemzeti Bank páncélautóját veszi célba: megtervezi, el?készíti és csatlósaival bele is vág az évtized balhéjába. Ambrus Attiláért egykor a fél ország rajongott, s mindenki azért szurkolt, hogy ne kerülj?n rend?rkézre. Az általa kreált f?szerepl? talán kevésbé lesz szimpatikus, mint a Viszkis a valóságban, de hatással lesz ránk, az egészen bizonyos. Szeretjük és utáljuk egyszerre. Ha elkezdjük olvasni a t?rténetét, már nem szabadulunk t?le. A K?nyvjelz? magazin 2015. decemberi számában megjelent cikk: Ha nem kerül?k b?rt?nbe, már nem élnék

Várostrom, varázslat, lovagi torna. Mindez Balatónia szomszédságában, a fajszok f?ldjén, ahol az udvaronccá cseperedett Rév Fül?p újra fontos szerepet kap, és azt is megtudja, mi a teend?, ha j?nnek a siófok. De hova lehetett Fajszf?ld uralkodója, Hatodik (Torkos) Hollád király, aki sz?rén-szálán elt?nt?

"Amerika z?r?s hely volt a hatvanas-hetvenes években: diáklázadások, hippik és polgárjogi mozgalmak, na meg persze szex, drog és rock&roll minden mennyiségben. Skip Gibbs és barátn?je, Robin Abbott kezdett?l fogva benne volt a legkeményebb balhékban, csak épp nem virággal harcoltak a rendszer ellen, hanem dinamittal. Nem csoda, hogy az FBI jó pár évre kivonta ?ket a forgalomból...Robin - akinek volt ideje t?prengeni a sitten - kiszabadulva végül arra a k?vetkeztetésre jut: nincs értelme a kapitalizmus ellen harcolni, elég megsarcolni azokat, akiknek amúgy is túl sok pénzük van. Választása a dúsgazdag Ricks testvérekre esik, els?sorban azért, mert úgy sejti, Woody és az ?ccse, Mark nyomták fel ?ket annak idején a sz?vetségieknél. Robin ?rd?gi tervet eszel ki, hogy elégtételt vegyen a b?rt?nben elvesztegetett évekért. Ha kell, akár dinamittal is.A páros csak egy valakivel nem számol: a volt bombaszakért? Chris Mankowskival, aki épp Woody Ricks után nyomoz a szexi Greta Wyatt meger?szakolása ügyében. Az id?zít? ketyeg, a kérdés már csak az, mikor robban a bomba!"

A young girl named Fanny Price comes to live with her wealthy uncle and aunt, Sir Thomas and Lady Bertram. Fanny's family is quite poor; her mother, unlike her sister Lady Bertram, married beneath her, and Fanny's father, a sailor, is disabled and drinks heavily. Fanny is abused by her other aunt, Mrs. Norris, a busybody who runs things at Mansfield Park, the Bertrams' estate. The Bertram daughters, Maria and Julia, are shallow, rather cruel girls, intent on marrying well and being fashionable. The elder son, Tom, is a roustabout and a drunk. Fanny finds solace only in the friendship of the younger son, Edmund, who is planning to be a clergyman. Fanny grows up shy and deferential, caught as she typically is between members of the Bertram family. Sir Thomas leaves Mansfield Park for Antigua, where he owns plantations. In his absence, two new figures arrive at Mansfield: Henry and Mary Crawford, the brother and sister of the local minister's wife. Henry and Mary are attractive and cheerful, and they soon become indispensable members of the Mansfield circle. Henry flirts extensively with Maria, who is engaged to marry the boring but wealthy Rushworth. He also flirts with Julia when it suits his purposes. At first, Mary is interested in Tom, the older son and heir, but she soon realizes that he is boring and not really interested in her. She finds herself increasingly attracted to Edmund, although the prospect of marrying a clergyman does not appeal to her, and she is often cruel to him on this account. In the meantime, Fanny has innocently fallen in love with Edmund, although she does not even admit this to herself. Yates, a visiting friend of Tom's, proposes that the group should put on a play. His idea is eagerly received by all except for Edmund and Fanny, who are horrified at the idea of acting. The play goes on anyways, however; Maria and Henry, as well as Mary and Edmund (who has been prevailed upon to take a role to avoid bringing in an outsider to play it), get to play some rather racy scenes with one another. When one of the women cannot make a rehearsal, Fanny is pressured to take a role. She is almost forced to give in when Sir Thomas makes a sudden entrance, having arrived from Antigua. Sir Thomas is unhappy about the play and quickly puts a stop to the improprieties. Since Henry has not declared his love, Maria is married to Rushworth. She and Julia leave Mansfield Park for London. Relationships between the Crawfords and the Bertrams intensify. Edmund nearly proposes to Mary several times, but her condescension and amorality always stop him at the last minute. He confides his feelings to Fanny, who is secretly upset by them. In the meantime, on a lark, Henry has decided to woo Fanny. He is surprised to find himself sincerely in love with her. Fanny has become indispensable as a companion to her aunt and uncle, and on the occasion of her brother William's visit, they give a ball in her honor. Some time after the ball, Henry helps William get a promotion in the Navy. Using this as leverage, he proposes to Fanny, who is mortified and refuses. He continues to pursue her. Her uncle is disappointed that she has refused such a wealthy man, and, as an indirect result, she is sent to stay with her parents in their filthy house. Meanwhile, Edmund has been ordained and continues to debate over his relationship with Mary, to Fanny's dismay. Henry comes to see Fanny at her parents' and renews his suit. He then leaves to take care of business on his estate. Fanny continues to receive letters from Mary encouraging her to take Henry's proposal. A series of events then happen in rapid succession: Tom Bertram falls dangerously ill as a result of his partying and nearly dies; Henry, who has gone not to his estate but to see friends, has run off with the married Maria; Julia, upset over her sister's rash act, elopes with Yates, Tom's friend. Julia and Yates are reconciled to the family. Edmund finally comes and marries Fanny

Mai mult dec?t psihoz? este un roman psihologic. Ac?iunea se desf??oar? pe mai multe planuri, plec?nd de la jurnalul eroinei principale, Ynonne Daphne, care, suferind de dou? boli psihice, ?ncearc? s? fac? fa?? neajunsurilor bolii. Fundalul c?r?ii este unul al spitalului, prezent?ndu-se realitatea dur? a bolii. ?n aceast? atmosfer? se desf??oar? ac?iunea real? care se suprapune cu lumile din mintea lui Yvonne. Faptul c? Yvonne cre?te prin spitale o determina s? vad? ?n medicii reali – p?rin?i, dezvolt?nd psihopatii ?i fantasme care o vor urm?ri ?i ?n timpul facult??ii. Traseul psihologic este bine g?ndit ?i analizat de autoare, pun?nd-o pe eroin?, succesiv, ?n mijlocul vie?ii reale c?reia trebuie s?-i fac? fa??. Yvonne este ?ns?, psihologic vorbind, un copil, iar reac?iile ei vor fi de fiecare dat? tulbur?toare, nea?teptate. Scenariul c?r?ii va fi ancorat prin diferite medii, prin spitale, prin universit??i, la conferin?e, printre scriitori, pentru c? Yvonne ajunge scriitoare. Planul real cu cel imaginar se ?mplete?te cu fine?e, aduc?ndu-se ?n planul ?nt?i o discu?ie imaginar? la care particip? principalii scriitori ai lumii, mas? la care va participa ?i Yvonne. Fragilitatea existen?ei umane o va determina pe Yvone s? comit? o tentativ? de suicid c?reia ?i supravie?uie?te. ?n final, cel care o va face s? ?n?eleag? c? ?n lume nimic nu conteaz? mai mult dec?t prietenia, prietenia adev?rat? dintre oameni, este medicul Hermann, pentru mintea lui Yvonne tata Hermann.

Florin Logreteanu propune noul su roman intitulat Casa cu iedera. Aciunea lui se desfoar pe fundalul evenimentelor care au premers conflictului balcanic dintre srbi i albanezi din ultimul deceniu al mileniului trecut. L-am citit n manuscris i sunt n msur s spun c e vorba de un excelent romn al psihozei colective, care lumineaz subsolurile contiinei umane.“ – Eugen Negrici

Ore de diminea?? ?ntr-o nou? edi?ie. F?r? ?ndoial? un eveniment. Este cartea care arunc? ?n aer bariera dintre pacostea proletcultist? ?i dreptul elementar de a g?ndi ?i a scrie liber. Cu discre?ie dar f?r? mil? prietenul meu Platon reu?e?te s? p?trund? natura uman? ?i s? simt? r?ul acolo unde nimeni n-ar fi crezut c? se poate ascunde. Ore de diminea?? este o carte despre timpul care i-a fost lui dat. Cartea asta vine din trecut dar apar?ine ?n aceea?i m?sur? prezentului ?i, poate, timpurilor care vor veni. O carte pentru cei ce nu scot din context prezentul pe care nu ei l-au ales. ?n aceia?i m?sur?, un text pentru cei (pu?ini?!) ?n stare s? priceap? c? a trimite ca pe o cer?etoare hoa?? istoria la tribunal este, dac? nu demagogie, atunci o prostie incurabil?. Citi?i Ore de diminea??. Scris? ?i tiparit? ?n anii '70. Este cartea unui autor de seam?. G. B?l?i???

Romanul Condamnat s? ucid? este o ?ncercare de a reda realit??ile ?epocii de aur“, dar ?i cele din perioada impunerii de c?tre ru?i a comunismului ?n Rom?nia. Personajul central, arhitectul Tudor Gur?u, s?tul de lipsa de perspectiv? a meseriei sale, ca proiectant de garduri de prefabricate, cote?e de porci ?i blocuri de garsoniere pentru nefamili?ti, realizeaz? c? locul s?u nu este ?ntr-un institut de proiect?ri f?r? perspective. Se ?ntreab? dac? nu a venit momentul s? fug? peste grani??, sper?nd c? ?n Apus ??i poate valorifica aptitudinile... Trebuie s? dispar? pentru a nu pl?ti cu via?a o crim? pe care n-a ?nf?ptuit-o. Fur? ma?ina celor veni?i la locuin?a lui s?-l aresteze ?i str?bate cu ea jum?tate de ?ar?, apoi cealalt? jum?tate cu bicicleta. Trece, ?n cele din urm?, Dun?rea ?n Iugoslavia.

Televiziunea, v?zut? din interior, a?a cum ar?ta ?nainte de 1989, merita atunci ca ?i acum porecla folosit? ca titlu al romanului, o fiin?? demn? de tot dispre?ul. Este un roman cu coloratur? istoric?, de?i ?n ansamblul s?u pare o fic?iune istoric? a unei genera?ii de naivi.

E la mijloc un mister negru. erpuitor. Cu femei puternice, regsindu-se n albia nopilor. Cu brbai pierdui n hiurile existenei. Cu adolesceni care asist gur-casc la felul n care morii dau buzna n existena de zi cu zi. Sunt pagini dense, pe mari poriuni memorabile, de un erotism subtil, nvalnic, mpuns de botul fraged al morii care-este-pretutindeni. Madeleine Davidsohn are lejeritatea i familiaritatea lucrurilor artate la lumina zilei de creatorii obiectelor artizanale, confecionate cu o art motenit din tat n fiu, ce-i transmit reciproc secretele meseriei, trucurile tiute exclusiv de membrii clanului de meseriai.“ – Aura Christi