The book's protagonist is an English scientist and gentleman inventor living in Richmond, Surrey in Victorian England, and identified by a narrator simply as the Time Traveller. The narrator recounts the Traveller's lecture to his weekly dinner guests that time is simply a fourth dimension, and his demonstration of a tabletop model machine for travelling through it. He reveals that he has built a machine capable of carrying a person, and returns at dinner the following week to recount a remarkable tale, becoming the new narrator.In the new narrative, the Time Traveller tests his device with a journey that takes him to A.D. 802,701, where he meets the Eloi, a society of small, elegant, childlike adults. They live in small communities within large and futuristic yet slowly deteriorating buildings, doing no work and having a frugivorous diet. His efforts to communicate with them are hampered by their lack of curiosity or discipline, and he speculates that they are a peaceful communist society, the result of humanity conquering nature with technology, and subsequently evolving to adapt to an environment in which strength and intellect are no longer advantageous to survival. Returning to the site where he arrived, the Time Traveller is shocked to find his time machine missing, and eventually works out that it has been dragged by some unknown party into a nearby structure with heavy doors, locked from the inside, which resembles a Sphinx. Later in the dark, he is approached menacingly by the Morlocks, ape-like troglodytes who live in darkness underground and surface only at night. Within their dwellings he discovers the machinery and industry that makes the above-ground paradise possible. He alters his theory, speculating that the human race has evolved into two species: the leisured classes have become the ineffectual Eloi, and the downtrodden working classes have become the brutish light-fearing Morlocks. Deducing that the Morlocks have taken his time machine, he explores the Morlock tunnels, learning that they feed on the Eloi. His revised analysis is that their relationship is not one of lords and servants but of livestock and ranchers. The Time Traveller theorizes that intelligence is the result of and response to danger; with no real challenges facing the Eloi, they have lost the spirit, intelligence, and physical fitness of humanity at its peak. Meanwhile, he saves an Eloi named Weena from drowning as none of the other Eloi take any notice of her plight, and they develop an innocently affectionate relationship over the course of several days. He takes Weena with him on an expedition to a distant structure that turns out to be the remains of a museum, where he finds a fresh supply of matches and fashions a crude weapon against Morlocks, whom he fears he must fight to get back his machine. He plans to take Weena back to his own time. Because the long and tiring journey back to Weena's home is too much for them, they stop in the forest, and they are then overcome by Morlocks in the night, and Weena faints. The Traveller escapes only when a small fire he had left behind them to distract the Morlocks catches up to them as a forest fire; Weena is presumably lost in the fire, as are the Morlocks. The Morlocks use the time machine as bait to ensnare the Traveller, not understanding that he will use it to escape. He travels further ahead to roughly 30 million years from his own time. There he sees some of the last living things on a dying Earth, menacing reddish crab-like creatures slowly wandering the blood-red beaches chasing butterflies in a world covered in simple lichenous vegetation. He continues to make short jumps through time, seeing Earth's rotation gradually cease and the sun grow larger, redder, and dimmer, and the world falling silent and freezing as the last degenerate living things die out.

Кра?на стр?мко летить у пр?рву: моторошна криза охоплю? вс? царини людського життя. Псевдовчен? наполегливо пропагують: мислення – це ?люз?я, пошук будь-якого сенсу – абсурд, ? зрештою уряд оголошу? моратор?й на розум. Талано- вит? п?дпри?мц? безсл?дно зникають, кидаючи сво? виробництво напризволяще або знищуючи його. Головн? геро? роману – Да?н? Та??арт ? Генк Р?арден – в?дчайдушно намагаються в?двернути катастрофу. Да?н? переконана, що в кра?н? з’явився та?м- ничий Руйн?вник, ц?ль якого – крах економ?ки ? тотальна деградац?я людей. Ж?нка не покида? над?? в?дтворити досконалий двигун, але перспективний молодий нау- ковець, який погодився допомогти ?й, в?дмовля?ться працювати на благо нев?глас?в. Да?н? не хоче в?дмовлятися в?д свого задуму, тож ?де на зустр?ч з? знев?реним до- сл?дником, а в дороз? знайомиться з волоцюгою. Свого часу в?н працював там, де й зародилося ?чисте зло?, яке зараз пожира? кра?ну… Друга частина роману м?стить блискуч? св?тоглядн? монологи, вкладен? в уста Франциско Д’Анкон?? та Генка Р?ардена.

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.

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.”

The stories were written when Irish nationalism was at its peak, and a search for a national identity and purpose was raging; at a crossroads of history and culture, Ireland was jolted by various converging ideas and influences. They centre on Joyce's idea of an epiphany: a moment where a character experiences self-understanding or illumination. Many of the characters in Dubliners later appear in minor roles in Joyce's novel Ulysses. The initial stories in the collection are narrated by child protagonists, and as the stories continue, they deal with the lives and concerns of progressively older people. This is in line with Joyce's tripartite division of the collection into childhood, adolescence and maturity. THERE was no hope for him this time: it was the third stroke. Night after night I had passed the house (it was vacation time) and studied the lighted square of window: and night after night I had found it lighted in the same way, faintly and evenly. If he was dead, I thought, I would see the reflection of candles on the darkened blind for I knew that two candles must be set at the head of a corpse. He had often said to me: "I am not long for this world," and I had thought his words idle. Now I knew they were true. Every night as I gazed up at the window I said softly to myself the word paralysis. It had always sounded strangely in my ears, like the word gnomon in the Euclid and the word simony in the Catechism. But now it sounded to me like the name of some maleficent and sinful being. It filled me with fear, and yet I longed to be nearer to it and to look upon its deadly work.Old Cotter was sitting at the fire, smoking, when I came downstairs to supper. While my aunt was ladling out my stirabout he said, as if returning to some former remark of his: "No, I wouldn't say he was exactly... but there was something queer... there was something uncanny about him. I'll tell you my opinion...." He began to puff at his pipe, no doubt arranging his opinion in his mind. Tiresome old fool! When we knew him first he used to be rather interesting, talking of faints and worms; but I soon grew tired of him and his endless stories about the distillery. "I have my own theory about it," he said. "I think it was one of those... peculiar cases.... But it's hard to say...." He began to puff again at his pipe without giving us his theory. My uncle saw me staring and said to me:"Well, so your old friend is gone, you'll be sorry to hear." "Who?" said I."Father Flynn.""Is he dead?" ? ABOUT AUTHOR: ? James Augustine Aloysius Joyce (1882 – 1941) was an Irish novelist and poet, considered to be one of the most influential writers in the modernist avant-garde of the early 20th century. Joyce is best known for Ulysses (1922), a landmark work in which the episodes of Homer's Odyssey are paralleled in an array of contrasting literary styles, perhaps most prominent among these the stream of consciousness technique he perfected. Other major works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939). His complete oeuvre also includes three books of poetry, a play, occasional journalism, and his published letters.

A kis szellem minden éjjel pontban éjfélkor f?lébred. Vígan járja Bagolyk? várának ?sszes termét, és meglátogatja ?reg barátját, Uhu bácsit. De k?zben arról ábrándozik, milyen jó lenne nappal látni a világot! Csupán egyetlenegyszer… Addig nem nyugszik, míg egy ver?fényes napon a kívánsága váratlanul nem teljesül. Ekkor izgalmas kalandok sora veszi kezdetét, és nemcsak a kis szellem számára… A Kolibri Klasszikusok sorozatban a Torzonborz-t?rténetek után egy újabb Otfried Preussler meseh?s, a kis szellem válhat generációk kedvencévé.

t lány, t nézpont, t knyv. Cherry trténete, a Cseresznyés ábránd az els. Cherry Costello élete hamarosan rkre megváltozik. Somersetbe kltzik az apukájával, ahol egy új anyuka és egy csomó vadiúj testvér vár rá. Rgtn az els napon megismeri Shay Fletchert, aki annyira szívdgleszt, hogy az már kzveszélyes. Csakhogy Shay foglalt: Cherry új mostohatestvérével, Honey-val jár. Cherry pontosan tudja, milyen kockázatos Shayjel barátkoznia – hiszen ezzel mindent tnkretehet. Csakhogy ez még nem jelenti azt, hogy távol is tudja tartani magát tle… Csajok és csokik. Egy knyvsorozat, melyben minden testvérnek megvan a maga trténete… Neked melyik lány lesz a kedvenced Talán a Cseresznyés ábránd fhse, Cherry Az a lány, akinek tejeskávé szín a bre, stétbarna szeme pedig mandulavágású. Akinek élénk a képzelete, szórakoztató a társaságában lenni, és aki mindig kiáll magáért. Cathy Cassidy nyolc-kilencéves korában írta meg els képesknyvét kisccsének, és azóta ontja magából a trténeteket. Magyarul elsként a Csajok és csokik-sorozata (a Cseresznyés ábránd az 1. ktet) jelenik meg, melynek a vagány Tanberry-nvérek a fhsei, de mellettük feltnik néhány szupermen srác is, valamint Cathy egyik legnagyobb szerelme, a csokoládé is fontos szerepet kap. Cathy Skóciában él a családjával. Az sszes munka kzül, amivel valaha megpróbálkozott, az írást szereti a legjobban – hiszen amikor ír, mást sem kell csinálnia, mint ébren álmodozni egész álló nap.

36 тижн?в у списку бестселер?в The New York Times! Евел?н пережива? глибоку особисту кризу. Вона знайомиться з? старенькою Н?нн?, яка, попри важку долю, не втрача? жаги до життя. Н?нн? розпов?да? Евел?н ?стор?? ?хнього м?стечка: про д?вчину, яка п?сля загибел? брата знаходить сили жити дал?; про розбите серце красун? Рут; про мандр?вного роб?тника, який закохався в Рут; про безроб?тних, яких у кафе ?Зупинка? годували безкоштовно... Ц? ?стор?? мають таку силу, що зм?нюють на краще життя тих, хто ?х чита?. 36 tizhn?v u spisku bestseler?v The New York Times! Evel?n perezhiva? gliboku osobistu krizu. Vona znajomit'sja z? staren'koju N?nn?, jaka, popri vazhku dolju, ne vtracha? zhagi do zhittja. N?nn? rozpov?da? Evel?n ?stor?? ?hn'ogo m?stechka: pro d?vchinu, jaka p?slja zagibel? brata znahodit' sili zhiti dal?; pro rozbite serce krasun? Rut; pro mandr?vnogo rob?tnika, jakij zakohavsja v Rut; pro bezrob?tnih, jakih u kafe ?Zupinka? goduvali bezkoshtovno... C? ?stor?? majut' taku silu, shho zm?njujut' na krashhe zhittja tih, hto ?h chita?.

Minden bonyodalom azzal kezd?dik, hogy Ríviai Geralt kardjainak rejtélyes módon lába kél. Ezt k?veti egy démonidéz? rejtélye, egy furcsa hajóút és egy meglehet?sen fordulatos királyi esküv?. A régi barát, K?k?rcsin szokás szerint most is Geralt ?segítségére siet”, akár akarja a vaják, akár nem. Felbukkan egy varázslón? is, aki megpróbálja irányítani Geraltot, szokás szerint. ?s ismét akadnak olyanok, akik a vaják útjába állnak, szokás szerint. Ez a k?tet Sapkowski utolsó regénye a Vaják-világban, és a sagához csak k?nny? szállal kapcsolódik, de a szerz? nem okoz csalódást: ismét egyszerre szembesülünk népek sorsával és az egyes ember drámájával, de mindezt ismét olyan gazdag képzeletvilággal ?tv?zve és olyan humorral tálalva, ami letehetetlenné teszi a k?tetet. Szokás szerint.

The Jungle Book (1894) is a collection of stories written by Rudyard Kipling.The tales in the book (and also those in The Second Jungle Book which followed in 1895, and which includes five further stories about Mowgli) are fables, using animals in an anthropomorphic manner to give moral lessons. The verses of The Law of the Jungle, for example, lay down rules for the safety of individuals, families and communities. Kipling put in them nearly everything he knew or "heard or dreamed about the Indian jungle."

Peter Pan, or The Boy Who Wouldn't Grow Up and Peter and Wendy are the stage play and novel (respectively) which tell the story of Peter Pan, a mischievous little boy who can fly, and his adventures on the island of Neverland with Wendy Darling and her brothers, the fairy Tinker Bell, the Lost Boys, the Indian princess Tiger Lily, and the pirate Captain Hook. The story was written by Scottish playwright and novelist J. M. Barrie, inspired by his friendship with the Llewelyn-Davies family.

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?.