Book 2 of the Forest People Series – The Choosing Camryn Painter’s powers come at a steep price. It’s one thing to master her chameleon abilities in the ancient forest world she now calls home, but another to use her abilities wisely. With the life or death of an entire civilization in her hands, Camryn must bond with a thunder dragon and join a battle she has little chance of winning… unless she can face down her own inner demons without destroying those she loves.

One day – actor-turned-detective – Anthony Noir receives a letter from California, in which an old lady asks his help in the investigation of a long-ago case. On New Year’s Eve 1929 a famous Hollywood actress died in a car accident. The mysterious client implies it was – in fact – a deliberate murder. Anthony discovers all the possible details of the extraordinary assignment, even so he has to embark on an extensive journey to the past before he can unveil the secret of the movie star…

The Sweetwater Canyon romantic women’s fiction boxset contains the first three books in the series: Undertones, Healing Notes, and Heart Strings. Join the all women Americana band as they travel on the road, enhance their careers, and try to find balance between their music, their home, and their hearts desire. Undertones – Michele’s Story Balancing a career and a relationship is never easy, and it’s even harder when you are on the road and everyone wants a piece of you. As a music major who sacrificed everything to become master of the upright bass, the last thing Michele Scott thought she’d be doing is touring with an Americana and Bluegrass band. But to tell the truth, she loves it. Not so much David Blackstone. Even though he’s irresistible, the thought of balancing her career, life on the road, and a long-distance relationship isn’t for her. Her music gives her life, yet her heart yearns for something more. A girl just can’t have it all… or can she? Trusting David is a risk that may give her everything she wants or it will close her heart forever. Healing Notes – Rachel’s Story Forgiving yourself is the first step, but helping others forgive may be just too hard. Each note Rachel Cullen plays on her violin comes straight from the heart. But life isn’t easy. A Scottish immigrant to America, she embraced the Celtic and Bluegrass communities. Unfortunately, divorce, rape and distrust leave her emotionally crippled. Can Noel Karshaw, an English teacher and poet with a young daughter, be the key to help her reconcile who she is, what she wants, and how to get there? It takes both music and words to make a love song. With Noel by her side, Rachel has a chance to be part of the family she’s always wanted—a chance to make love strong. Heart Strings – Sarah’s Story Faith is easy…living is hard. Sarah Cosgrave picked up the guitar at age sixteen as a way to escape her life with an alcoholic father. Sweetwater Canyon gave her a career and the best of friends. Now, called to her dying father’s bedside, Sarah is forced to leave her band–the one thing that saved her. With her music career on hold and her past threatening to silence her, Sarah must make choices she swore she’d never have to face again. Her faith in her path is true; but can she have faith in Tom Pawlak, the man who once betrayed her, in order to find the peace she desperately needs?

– Van valami, amiért még mindig haragszol az elmúlt évekbl – néztem a szemébe, amikor megálltunk a kapunkban. – Nem. Nincs – szólt szintén, némi tprengés után. – Neked – Azt hiszem, nincs – ismertem be, és komolyan is gondoltam. – Viszont – tettem hozzá, amolyan "azért ne nyugodj meg" pillantással – nehogy azt hidd, hogy Benot nem jelentett nekem sokat. – Gondolom. De a te kitalált barátodat Jérome-nak hívták – emlékeztetett mosolyogva. – Részletkérdés – nevettem el magam, aztán a vállába fúrva az arcom, szorosan átleltem. – rülk, hogy az elmúlt négy évem minden egyes napja rólad szólt – suttogtam alig hallhatóan. Cortez kissé eltolt magától, hogy a szemembe tudjon nézni, majd hosszasan megcsókolt, engem pedig elnttt a forróság a hajnali hvsben. Azt hiszem, ezt végleg megbeszéltük.”

– Itt Zachary Horner beszél! Miben segíthetek? – Jó estét kívánunk Zachary James Horner! A Brit Szerencsejáték Sz?vetség ?r?mmel értesíti ?nt, hogy megnyerte a British Bonus f?nyereményét, azaz nyolcvan?tmillió fontot. – A rohadt élet! – d?bbent meg a fiatalember a hír hallatán, majd felülve az ágyán, nagy ?r?mmel folytatta – Ez most azt jelenti, hogy eltalálták mind a négy számot, amit megjátszottam? – Igen, tisztelt uram! Ez a legmagasabb ?sszeg, amit ember eddig valaha nyert. Nyereményét bármikor átveheti a londoni k?zpontunkban is személyesen, de akár bankszámlára is elutalhatjuk ?nnek.

The Divine Comedy describes Dante's journey through Hell (Inferno), Purgatory (Purgatorio), and Paradise (Paradiso), guided first by the Roman poet Virgil and then by Beatrice, the subject of his love and of another of his works, La Vita Nuova. While the vision of Hell, the Inferno, is vivid for modern readers, the theological niceties presented in the other books require a certain amount of patience and knowledge to appreciate. Purgatorio, the most lyrical and human of the three, also has the most poets in it; Paradiso, the most heavily theological, has the most beautiful and ecstatic mystic passages in which Dante tries to describe what he confesses he is unable to convey (e.g., when Dante looks into the face of God: "all'alta fantasia qui mancò possa" — "at this high moment, ability failed my capacity to describe," Paradiso, XXXIII, 142). His glory, by whose might all things are mov'd,Pierces the universe, and in one partSheds more resplendence, elsewhere less. In heav'n,That largeliest of his light partakes, was I,Witness of things, which to relate againSurpasseth power of him who comes from thence;For that, so near approaching its desireOur intellect is to such depth absorb'd,That memory cannot follow. Nathless all,That in my thoughts I of that sacred realmCould store, shall now be matter of my song. Benign Apollo! this last labour aid,And make me such a vessel of thy worth,As thy own laurel claims of me belov'd.Thus far hath one of steep Parnassus' browsSuffic'd me; henceforth there is need of bothFor my remaining enterprise Do thouEnter into my bosom, and there breatheSo, as when Marsyas by thy hand was dragg'dForth from his limbs unsheath'd. O power divine!If thou to me of shine impart so much,That of that happy realm the shadow'd formTrac'd in my thoughts I may set forth to view,Thou shalt behold me of thy favour'd treeCome to the foot, and crown myself with leaves;For to that honour thou, and my high themeWill fit me. If but seldom, mighty Sire!To grace his triumph gathers thence a wreathCaesar or bard (more shame for human willsDeprav'd) joy to the Delphic god must springFrom the Pierian foliage, when one breastIs with such thirst inspir'd. From a small sparkGreat flame hath risen: after me perchanceOthers with better voice may pray, and gainFrom the Cirrhaean city answer kind. About Dante: Durante degli Alighieri, simply referred to as Dante (1265–1321), was a major Italian poet of the Middle Ages. His Divine Comedy, originally called La Comedia and later called Divina by Boccaccio, is widely considered the greatest literary work composed in the Italian language and a masterpiece of world literature. In Italy he is known as il Sommo Poeta ("the Supreme Poet") or just il Poeta. He, Petrarch and Boccaccio are also known as "the three fountains" or "the three crowns". Dante is also called the "Father of the Italian language".

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.”

In creating psychoanalysis, a clinical method for treating psychopathology through dialogue between a patient and a psychoanalyst, Freud developed therapeutic techniques such as the use of free association (in which patients report their thoughts without reservation and in whichever order they spontaneously occur) and discovered transference (the process in which patients displace on to their analysts feelings derived from their childhood attachments), establishing its central role in the analytic process. Freud’s redefinition of sexuality to include its infantile forms led him to formulate the Oedipus complex as the central tenet of psychoanalytical theory. His analysis of his own and his patients' dreams as wish-fulfillments provided him with models for the clinical analysis of symptom formation and the mechanisms of repression as well as for elaboration of his theory of the unconscious as an agency disruptive of conscious states of mind. Freud postulated the existence of libido, an energy with which mental processes and structures are invested and which generates erotic attachments, and a death drive, the source of repetition, hate, aggression and neurotic guilt. In his later work Freud drew on psychoanalytic theory to develop a wide-ranging interpretation and critique of religion and culture. Psychoanalysis remains influential within psychotherapy, within some areas of psychiatry, and across the humanities. As such it continues to generate extensive and highly contested debate with regard to its therapeutic efficacy, its scientific status and as to whether it advances or is detrimental to the feminist cause. Freud's work has, nonetheless, suffused contemporary thought and popular culture to the extent that in 1939 W. H. Auden wrote, in a poem dedicated to him: "to us he is no more a person / now but a whole climate of opinion / under whom we conduct our different lives". About Author: Sigmund Freud (Born Sigismund Schlomo Freud; 6 May 1856 – 23 September 1939) was an Austrian neurologist who became known as the founding father of psychoanalysis. Freud qualified as a doctor of medicine at the University of Vienna in 1881, and then carried out research into cerebral palsy, aphasia and microscopic neuroanatomy at the Vienna General Hospital. He was appointed a university lecturer in neuropathology in 1885 and became a professor in 1902.

Sosem értetted a szakk?nyveket az autizmusról? Itt az alkalom, hogy olvasmányos és humoros formában megismerd a legfontosabb tudnivalókat a gyanújelekt?l a diagnózison át, a terápiáig. K?zérthet?, szakkifejezés mentes k?nyv szül?knek, nagyszül?knek és laikusoknak. Mit nevezünk autizmusnak és mi okozza? Mi az a BNO szám? Milyen terápiák vannak és melyik jó a gyerekemnek? Kérdések a diagnózis után? Családom nem fogadja el az autista gyerekemet, mit tehetek? Milyen támogatásokat kérhetek, és hol intézzem? Mi lesz vele ha én már nem leszek? ?s még számtalan más kérdés...

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.

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.

This story belongs to the year 1837, and was regarded by the generations of that and a succeeding time as the most miraculous of all the recorded deliverances from death at sea. It may be told thus: Mr. Montagu Vanderholt sat at breakfast with his daughter Violet one morning in September. Vanderholt's house was one of a fine terrace close to Hyde Park. He was a rich man, a retired Cape merchant, and his life had been as chequered as Trelawney's, with nothing of romance and nothing of imagination in it. He was the son of honest parents, of Dutch extraction, and had run away to sea when about twelve years old. Nothing under the serious heavens was harsher, more charged with misery, suffering, dirt, and wretchedness, than seafaring in the days when young Vanderholt, with an idiot's cunning, fled to it from his father's comfortable little home. He got a ship, was three years absent, and on his return found both his father and mother dead. He went again to sea, and, fortunately for him, was shipwrecked in the neighbourhood of Simon's Bay. The survivors made their way to Cape Town, and presently young Vanderholt got a job, and afterwards a position. He then became a master, until, after some eight or ten years of heroic perseverance, attended by much good luck, behold Mr. Vanderholt full-blown into a colonial merchant prince. How much he was worth when he made up his mind to settle in England, after the death of his wife, and when he had disposed of his affairs so as to leave himself as free a man as ever he had been when he was a common Jack Swab, really signifies nothing. It is certain he had plenty, and plenty is enough, even for a merchant prince of Dutch extraction. Besides Violet, he had two sons, who will not make an appearance on this little brief stage. They are dismissed, therefore, with this brief reference—that both were in the army, and both, at the time of this tale, in India. Violet was Vanderholt's only daughter, and he loved her exceedingly. She was not beautiful, but she was fair to see, with a pretty figure, and an arch, gay smile. You saw the Dutch blood in her eyes, as you saw it in her father's, whose orbs of vision, indeed, were ridiculously small—scarcely visible in their bed of socket and lash. An English mother had come to Violet's help in this matter. Taking her from top to toe, with her surprising quantity of brown hair, soft complexion, good mouth, teeth, and figure, Violet Vanderholt was undoubtedly a fine girl. THE LAST ENTRY "OPINIONS OF THE PRESS ON THE LAST ENTRY": '"The Last Entry" is a rattling good salt-water yarn, told in the author's usual breezy, exhilarating style.'-”Daily Mail. 'In this new novel Mr. Russell has cleverly thrown its events into the year 1837, and there are one or two ingenious passages which add to the Diamond Jubilee interest which that date suggests.... "The Last Entry" is as certain of general popularity as any of Mr. Russell's former tales of the marvels of the sea.'-”Glasgow Herald. 'We do not think it possible for anyone to dip into this novel without desiring to finish it, and it adds another to the long list of successes of our best sea author.'-”Librarian. 'In addition to mutiny and murder, "The Last Entry" contains many of those good things which have made Mr. Russell's pages a joy to so many lovers of the sea during the last twenty years.... "The Last Entry" is a welcome addition to Mr. Clark Russell's library.'-”Speaker. 'The writer is as realistic and picturesque as usual in his vivid descriptions of the stagnant life on board the homeward-bound Indiaman.'-”Times. 'It is full of pleasant vigour.... As is always the case in Mr. Clark Russell's books, the elements are treated with the pen of an artist.'-”Standard. 'We expected plenty of go, of fresh and vigorous description of sea-faring life, coupled with a story which would not be wanting in interest. All this we have here.'”-Tablet.

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?.

In the far future domed city of Dickens, no mercy is given. So when Eleanora Bryce finds her husband dead at his own hand, she finds herself trapped between the truth and his mountain of debt. Eleanora faces debtor’s prison — or worse — unless she can find a way out of Dickens. But can she return to the city which ruined her husband and murdered her son? A 6,000 word short story.

Míg Tompa Andrea el?z? k?nyve, A hóhér háza egy magányos leány huszadik századvégi bildungsromanja, addig az új regény egy magányos férfi és egy magányos leány kül?n?s kett?sét rajzolja meg száz évvel kés?bb. Felváltva beszélnek hozzánk: a Brassó k?zeli aljegyz? fia és az enyedi zsidó keresked? lánya. Lehetne e k?nyv romantikus példázat, de nem az. H?seink els? találkozásának emlékét kiradírozza az ?sszeomlás, az új id?számításban mellékesen, véletlenszer?en sodródnak megint egymás mellé. Az igazi nagy, szenvedélyes találkozás a tudásra és hasznos m?k?désre szomjas lelkeké Kolozsvárral, a polgári Erdély kultúrájával, szellemi potenciáljával, a fejl?dés igézetével.

Végre egy férfi szemsz?géb?l is láthatjuk, milyen bonyolult (és csodálatos) párkapcsolatban élni! Norman humora Nick Hornby-éval vetekszik, elképeszt?en k?nnyed stílusban ír a harminc?t éves f?h?sér?l, aki felett ?sszecsapnak a hullámok: a szuper házassága meginogni látszik, de még a reklámsz?vegírói munkája is veszélybe kerül. Tom Violet írói álmokat kerget, de sajnos szinte mindenki az apjához, a t?bbsz?r?s irodalmi díjas, tehetséges íróhoz hasonlítja, akiért bomlanak a n?k, és aki mindig, minden helyzetben feltalálja magát. Tomnak nemcsak magában és maga k?rül kell rendet raknia, de még a család kajla fül?, krónikus szorongással küzd? kutyáját is istápolnia kell... Ez a Fej?s ?va k?nyvtára els? ?pasisan csajos”, imádnivalóan humoros regénye, amely egy férfi szemsz?géb?l mutatja be a párkapcsolat nehézségeit és szépségeit. ?Minden sora leny?g?z?tt. Egy érzékeny szerz? finom humorral megírt t?rténete, ami nemcsak a férfiakról, hanem rólunk, n?kr?l is szól. Egy regény a reményr?l, szerelemr?l, h?ségr?l, családról és a boldogságról...” – Fej?s ?va

Rejt? Jen? 1941 táján írhatta életm?vének eme kevéssé ismert darabját. Az Afrikában játszódó kisregény f?h?se egy orvos-kalandor: az abszurdba hajló alaphelyzet, illetve Morbicer és a bennszül?ttek kulturális kül?nbségei számos komikus helyzetet eredményeznek. Az elbeszélés azonban jóval mélyebb üzenetet is hordoz: a humoron túl a hagyományos életrend és a modern civilizáció ütk?zésének tragédiájáról is szól. Mindez nem meglep?, hisz a II. világháború idején Rejt? maga is megtapasztalhatta a 20. század technikai fejl?désének zsákutcáit, a szilárdnak hitt értékek amortizálódását, a morális értékek morzsálódását (fegyverkezés, az államhatalom túlburjánzása, jogfosztottság stb.). A nyersanyag-lel?helyeket hajszoló, szerelmi csalódásában verg?d?, a bennszül?ttek szemében mitikus lénnyé váló Morbicer azonban gyógyít is - teszi ezt annak dacára, hogy nem jár érte k?sz?net. Figuráját Rejt? részben Albert Schweitzerr?l mintázta: a világhír? orvos és humanista afrikai kórházépítésér?l és gyógyító tevékenységér?l szóló k?nyve magyarul is olvasható volt, Rejt? innét vette az alap?tletet. A kisregény 75 évig lappangott az író szétzilált hagyatékában: annak idején vélhet?en az elbeszélésb?l kiolvasható háborúellenesség miatt nem jelenhetett meg. Kül?nleges annyiban is, hogy számos, egymástól markánsan eltér? változatban maradt f?nn, miáltal szinte egyedülálló módon nyílik rálátás a rejt?i sz?vegalakítás dzsungelkonyhájára, az általa teremtett figurák alakulására. A kisregény most el?sz?r jelenik meg ?nálló k?tetben - ráadásul r?gt?n 3 változatban! - Konzílium j?n. Nekünk kell megállapítani, hogy mi baja van a f?n?knek. - De uram, akkor csak róla állapítsuk meg a betegség okát. Rólam az egész világ tudja, hogy még sohasem loptam. - Bejártam az egész világot, és mindenütt tisztában vannak azzal, hogy te vagy a legnagyobb tolvaj. - Uram, te nemcsak rossz szív? vagy, hanem okos is, de most megtévesztett az egész világ. Kül?nben sem értem, hogy egy konzíliumon miért kell az én betegségeimr?l beszélni, hála Balongának, nem fáj semmim, tehát nem fontos, hogy loptam-e. Ha reméljük, r?videsen meghalsz, ezt a konzílium nev? gyógyítást én nem fogom csinálni. - Te is orvos vagy, tehát tudnod kell szintén, hogy vannak ragályos betegségek, ami azt jelenti, hogyha az egyik ember lop, akkor a másiknak sokszor olyan lesz a gyomra, mint a nadrág. - Vagy a b?r lábszárvéd?. Ezzel tisztában vagyok. De itt senki se beteg, csak a f?n?k. - Mi, orvosok tudjuk jól, hiszen magunk k?z?tt vagyunk, T?kász: hogy vannak úgynevezett bacilusgazdák, ez annyit jelent, hogy valaki lop, nem lesz semmi baja, és egy másiknak a k?zelében olyan lesz a gyomra, mint a b?r lábszárvéd?. Ezért te mint a t?rzs varázslója elmondod, hogy kit?l és mit loptatok, addig nem tudom meggyógyítani a f?n?k?t, mert gondolhatod, hogy más betegség lesz, ha valaki egy négert?l ellopja a halászózsákját, vagy egy misszionáriustól a hosszú cs?vet, amin keresztül befolynak a távoli fák és hegyek, egészen az ember szemébe. Vagy más betegsége lesz valakinek, akit megrúgok, mert elvitte házam el?l a f?lf?z?tt szárított húst...

POW Escape and Evasion covers everything you need to know about making a successful return to friendly territory. Beginning from the point where a combatant finds himself or herself trapped in enemy territory, the book offers useful tips and solid advice on how to evade capture and, if that fails, how to escape. Key topics include the will to survive; handling stress in captivity; escape techniques; survival in a variety of environments, including urban, rural, jungle and desert; how to forage for food; tracking and how to cover your tracks; navigation, with or without a map; and seeking recovery by friendly forces. The book also includes a number of real life accounts of POW escape from World War II (including The Great Escape story and Colditz), the Vietnam War (Dieter Dengler, with others, escaping from Laos), the Balkans, Iraq (Thomas Hamill in 2004) and Afghanistan. With more than 120 black-&-white artworks and with easy-to-follow text, POW Escape and Evasion is for anyone who wants to know how to survive in the most stressful of circumstances and emerge a winner. Presented in a handy, pocket-size format, this is a book you could take with you into the field. And it could save your life.

Have you pictured yourself spinning the decks and mixing records? Do you want to create new sounds but are unsure where to start? From hip-hop to trance, DJing for Beginners tells you everything you need to know about the equipment and the techniques behind mixing records and sounds in rap, dance, reggae and other styles. If you’re undecided whether you want to work with vinyl or be a digital DJ, the book shows you the advantages and disadvantages of each. In addition, becoming a DJ involves a great deal of equipment and can be costly, but the book advises on where savings can be made, such as which pieces are best bought second hand and which pieces you won’t need until you’re a lot more advanced. From matching the tempo and keys of songs to scratching, blending intros and outros, drags and looping, the book guides you through the essential steps to becoming a DJ. Each chapter also includes a special feature about a major DJ, from Grandmaster Flash in the 1980s to Paul Oakenfield in the 1990s to deadmau5 and Nina Kraviz today. With clear diagrams, photographs and instructions, DJing for Beginners is the ideal book for the first-time DJ.

Egy lány. Egy fiú. ?s egy hazugság, ami mindent megváltoztat. Laurának mindene megvan. Sikeres karrier, hosszú, boldog házasság egy gazdag férfival, és huszonéves fia, a kedves, jókép? és tehetséges Daniel. ?mde Daniel találkozik Cherryvel. A lány fiatal, gy?ny?r? és okos, de lehet?ségei k?zel sem érnek fel azzal, amit barátjának tud adni a családja. ?gy aztán mindennél jobban vágyik arra, hogy új családja befogadja. De Laura gyanút fog - úgy érzi, Cherry nem az, akinek látszik. ?s milyen igaza van... Michelle Frances bemutatkozó thrillere napok alatt az Amazon No1 bestsellere lett, a kritikák pedig, mint a thriller m?faj j?v?beli klasszikusáról beszélnek az írón?r?l.

Neked talán sikerül, mert fiatal vagy, én nem fogok visszatérni.” Marceline Loridan-Ivens édesapjának szavai ezek, amelyeket 1944 tavaszán a franciaországi Drancyban mondott az akkor 16 éves lányának, mieltt az auschwitzi, illetve a birkenaui haláltáborba deportálták volna ket. A férfinak igaza lett, lányát pedig azóta is kísértik ezek a szavak. Soha nem tudta feldolgozni, ami trtént, így most megírta, egyszeren, szikár stílusban annak az embernek, akit a világon a legjobban szeretett: haláltáborban meggyilkolt édesapjának. Loridan-Ivens gynyr vallomása az elmúlt évek egyik legnagyobb irodalmi sikere volt. Loridan-Ivens az apa-lánya kapcsolat legmélyére hatol. Precíz, visszafogott mesterm…” - Financial Times Mély, megragadó, és mégis knnyed. Mintha minden egyes mondat az emberi szenvedés és túlélés gondolatát sugározná.” - Sunday Times Hátborzongató és gynyr knyv.” - Independent Az egyik legremekebb, legknyrtelenebb knyv, amit valaha írtak.” - Guardian