1893, London. Amikor Cora Seaborne és Francis nev? fia megérkezik Essexbe, ott az a szóbeszéd járja, hogy az egykor a lápvidéken garázdálkodó s emberéleteket k?vetel? mitikus sz?rny, az essexi Kígyó újra felt?nt Aldwinter egyházk?zségének partjainál. Lelkes természetbúvárként Corát t?zbe hozza a hír, hisz talán egy eleddig ismeretlen állatfaj példányáról van szó. A lény nyomait k?vetve ismerkedik meg Aldwinter papjával, William Ransome-mal, akivel ellentmondásos érzelmeket táplálnak egymás iránt, míg végül a legváratlanabb módon alakítják át a másik életét. Az essexi kígyó cím? k?nyvet számos irodalmi díjra jel?lték, megjelenése óta t?bb mint egy éve az eladási listák elején szerepel a k?nyv az Egyesült Királyságban. Az ?v K?nyve - The WaterstonesBritish Book Award gy?zteseThe Sunday Times Bestseller Mint els?számú bestsellert és a 2016-os Waterstones Book of the Yeart Az essexi kígyót további nyolc díjra jel?lték, k?ztük a 2017-es Costa K?nyvdíjra és a 2017-es Bailey’s Women’s Prize for Fictionre. Sarah m?veit tizenegy nyelvre fordítják le, a Guardiannek és a The Financial Timesnak ír recenziókat. Kend?zetlenségében magával ragadó regény, melyben vágy és hit gabalyodik egymásba a lápon, de az igazi csoda a barátság. Sarah Perrynek megvan az a rendkívüli adottsága, hogy elk?vesse a prózával az elképzelhetetlent - más szóval olyan író, aki érti az életet. (Jessie Burton, a Babaház úrn?je és a Múzsa cím? k?nyv szerz?je) Az essexi kígyó élvezetes olvasmány: egy rendkívül tehetséges szerz? intelligens, magával ragadó munkája. (Sarah Waters, A szobalány cím? k?nyv szerz?je ) Ett?l a k?nyvt?l vágyat kapunk rá, hogy jobb emberré váljunk. (Justine Jordan, The Guardian)

A Buenos Aires-i h?ségben olvad a jégpáncél, amelybe évekkel ezel?tt zártam magam szégyenemben, amiért már nem vagyok fiatal… ?jjel-nappal tangózom! A testemen rég nem látott izmok rajzolódnak ki újra, az arcomról elt?nik a keménység, amellyel egész életemben azt üzentem a világnak, hogy er?s vagyok. Ha egyszer?bben akarnám kifejezni, amit érzek, azt mondanám: itt boldog vagyok! Megengedem magamnak, amit azel?tt soha: k?vetem a férfit, megadóan és feltétel nélkül. Táncolok, érzek, azaz élek! Pár hét alatt fokozatosan hántotta le rólam a rétegeket ez a város. Eleinte csak a h?ség: levettem zárt, hosszú ujjú ruhámat, és felvettem egy ujjatlan, mélyen dekoltáltat. Majd j?tt a meglepetés, hogy tetszem – így, ahogy vagyok! Bátran érezhetem magam megint szépnek, amir?l otthon már leszoktam. Túl az ?tvenen, ujjatlan ruhában, szarkalábakkal a szemem alatt. Ezen a helyen N? vagyok a férfiak szemének tükrében. Buenos Airesben az élet újra felkért egy táncra… ?desanyám k?nyvtáros volt egy vidéki kisvárosban, és iskola után sokat vártam rá a munkahelyén. Egyszer elhatároztam, hogy a teljes gyerekk?nyvtárat végigolvasom, válogatás nélkül. A pár év alatt aztán alaposan ?sszen?ttünk, a k?nyvek és én. Talán nem véletlen, hogy végül magam is az írást választottam hivatásul. 2011-ben végigjártam az El Caminót, ami új fejezetet nyitott az életemben. Egy másik, boldogabb élet kapuja tárult ki el?ttem, amely tele van csodával. Igaz t?rténeteimmel szeretném másoknak is megmutatni, hogy igenis lehet ezt másképpen is…

Rachel Jenner csak egy pillanatra engedett, csak egy pillanatra fordult el, és ennyi elég volt, hogy nyolc éves fia, Ben elt?nj?n. Vajon mi t?rténhetett azon a szürke, es?s délutánon ott az erd?ben, ahova csak a szokásos kutyasétáltatásra mentek. Végzetes hibát vétett Rachel? Vagy bárkivel megeshetett volna? Az anya legrettenetesebb rémálmát éli át, és még a k?zvélemény is ellene fordul. Nem bízhat meg sem a volt férjében, sem a n?vérében, sem a barátn?jében. Egyedül maradt. Nincs kivel megossza gondolatait, kétségeit, egyre er?s?d? félelmét, vajon hol lehet Ben, mi lehet vele, egyáltalán él-e még. A rend?rség nyomoz, de ott is emberek dolgoznak… Az óra pedig ketyeg… Ebben a regényben semmi és senki nem az, mint aminek hiszed. Akaratlanul is elgondolkodsz: talán te sem? Szívbemarkoló, letehetetlenül izgalmas regény, téged sem hagy majd nyugodni a gondolat, mi lett a kisfiúval. Fej?s ?va

"Negyvenkilenc voltam, amikor megszületett az els? és nyilvánvalóan egyetlen gyermekem, Linda.? Bár k?rnyezetem felkészített rá, hogy szinte minden ismer?snek, s?t idegennek is lesz valamilyen reakciója a hírrel kapcsolatban, talán még engem is meglepett, hogy milyen mennyiségben kaptam hideget-meleget. Ez a k?nyv az én verzióm, de nemcsak a saját sztorimat mesélem el benne, hanem hiszek abban, hogy segíteni tudok másoknak is a gondolataimmal.? Ha nem is tudom megoldani, hogy mindenki, aki szeretne, anyává válhasson, de bízom benne, az olvasóim céljainak eléréséhez kell? inspirációt nyújthatok." ?va ?szintén a kései teherbe esésr?l, gyermekvárásról, az els? hónapokról együtt.? Fej?s ?va új k?nyve egy személyes, naplószer? írás élete legutóbbi igen fontos eseményér?l, gyermeke születésér?l. ?szinte és humoros vallomások, t?rténetek gyerekvárásról, nevelésr?l, a mindennapokról. Egyfajta reflexió a sokakat foglalkoztató témára: a negyven f?l?tti gyerekvállalásra.? Tabukra fittyet hányó írás, amely minden gyereket tervez? vagy éppen már nevel? n?nek ajánlott olvasmány, kortól függetlenül, hogy mindenki számára egyértelm? legyen: Nem vagy egyedül, egy cip?ben járunk ;-)

SZENDI G?BOR új k?tetében az egyéni és a párkapcsolati problémákat elemzi. Részletesen szól az akarat szerepének túlértékelésér?l, gondolkodásunk paradoxonairól, a szokások kialakulásáról és elhagyásának módjairól, valamint mindennek fényében a kapcsolati konfliktusokról és lehetséges, ?másodfokú” megoldásaikról. Szendi az evolúciós gondolkodás mellett ezúttal a modern viselkedésterápiás szemléletet hívja segítségül, és állítja: cselekedeteinket folyamatosan általunk nem ismert és nem is megismerhet? tényez?k – rejtett tanulás, genetikailag ?r?k?lt vonások, nem érzékelhet? ingerek, hamis emlékek, ?nigazoló értelmezések, téves észlelések stb. – irányítják. Vagyis a problémákat maga az ember teremti, az emberi gondolkodás hozza létre azáltal, hogy értelmezi ?nmagát, sorsát, k?rnyezetét. A szerz? szerint az emberi problémák lényege, hogy korlátozott információk alapján akarunk sokkal szélesebb alapokon nyugvó jelenségeket értelmezni. Ilyenkor általában túl nagy jelent?séget tulajdonítunk az okoknak, és a magyarázatokhoz az emberi tudatból és emlékezésb?l nyert információk rendszerint kevésnek bizonyulnak. Szendi Gábor gyakorlati tanácsokban b?velked? k?nyvében ugyanakkor rámutat: ha nem az okokat akarjuk tisztázni, hanem a megoldást keressük, sokkal hatékonyabban kezelhetjük egyéni és társas problémáinkat is.

Szívszaggató t?rténet a minden akadályt leküzd? szerelemr?l, és a legnehezebb d?ntésr?l, amit életünkben hozhatunk. "Lucy, minden házasság tánchoz hasonló: id?nként bonyolult, máskor csodás, ám az id? túlnyomó részében igencsak eseménytelen. Mickey-vel viszont lesznek id?k, amikor üvegszilánkokon táncoltok majd. Fájni fog. Két lehet?séged van: vagy elmenekülsz ez el?l a fájdalom el?l, vagy szorosan ?sszekapaszkodtok, és együtt táncoltok át a k?vetkez? biztos helyre." Lucy Houstonnak és Mickey Chandlernek nem lett volna szabad egymásba szeretniük, még kevésbé ?sszeházasodniuk. Mindkettejüket hibás génekkel sújtotta ugyanis a sors: a férfi bipoláris személyiségzavarral küzd, a n? családjában a mellrák szedi áldozatait. ?m amikor Lucy huszonnegyedik születésnapján útjaik ?sszetalálkoznak, fellángol a szikra, és t?bbé le sem tagadhatják az egymás iránti vonzalmukat. Elt?kélten és megfontoltan küzdenek azért, hogy a kapcsolatuk m?k?dhessen, ezért írásba foglalják ígéreteiket. Mickey szedi a gyógyszereit. Lucy nem hibáztatja azért, ami felett nincs hatalma. A férfi ?szinteséget fogad. A n? türelmet. Mint bármely házasságban, nekik is vannak jó, rossz és néha nagyon rossz napjaik. Annak érdekében, hogy megbirkózhassanak az egyedülálló kihívásokkal, szívszaggató d?ntést hoznak: nem vállalnak gyermeket. Amikor azonban Lucy megjelenik egy rutin orvosi vizsgálaton, olyan meglepetés éri, ami mindent megváltoztat. Mindent. Egy pillanat alatt értelmüket vesztik a szabályok, és ?k ketten kénytelenek újradefiniálni a szerelem valódi lényegét. A K?nyvjelz? magazin 2015. szeptemberi számában megjelent cikk: Harc a szerelemért

Aki a s?tétség éveit elfelejti, nem érdemli meg azt a napot, amely ma rásüt. Egy fájón búgó hang valahonnan az ?gb?l. A szívre helyezett parázs perg? hamuja. Akinek lábánál a tenger álmodott. Diz?z és nemzeti intézmény: Karády Katalin. Olyan gyémántragyogású csillag volt, amit itthon és a halált süv?lt? orosz hómez?n ugyanúgy látni lehetett. Mert a legszebb csók volt, amit meg nem adott az élet. ?gve dobták el, mert mindig izzott valami jéghideg forrósággal. Nem volt jó színészn?, csupán elhitet? színészn? volt. Sz?gletes mozgású, tündéri trampli. Mégis talán maga Ady Endre is beleszeretett volna. Dalaival az emberek szívét csókolta meg, hogy tovább tudjanak dobogni... A háta volt zseniális, ahogy elmenni tudott. Elvitte vállán az id?t, a filmjeit, a legendáját... Az ítéletet, a rá mért titokzatos büntetést kutatta, a Labirintus bejáratát. A b?n?s n?, aki elkárhozni nem tud, s ezért a férfiak végzetévé lesz. De ez a végzet mindig k?z?s. Elment, elrohant, mert elégett a szíve. Játszott a t?rténelemmel, játszott és énekelt. Majd odahagyott huszonvalahány filmet, sikert, álmokat, s egy elveszített háborút. ?tkelt az óceánon, hogy kalaposn? legyen. Ne kérdezd, ki voltam, / A csókodat én akartam, / ha majd egyszer megsokalltad, / azt mondom agy?!" Lehullott a parázs a hamvadó cigarettavégr?l. Végigszívták. ? vissza sem nézett, és nem mondhatta senki, hogy AGY?. (Mihalicza Tamás, 1990)

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 Odyssey (Greek:Odysseia) is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to the Iliad, the other work ascribed to Homer. The poem is fundamental to the modern Western canon, and is the second oldest extant work of Western literature, the Iliad being the oldest. It is believed to have been composed near the end of the 8th century BC, somewhere in Ionia, the Greek coastal region of Anatolia. The poem mainly centers on the Greek hero Odysseus (known as Ulysses in Roman myths) and his journey home after the fall of Troy. It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors, the Mnesteres or Proci, who compete for Penelope's hand in marriage. It continues to be read in the Homeric Greek and translated into modern languages around the world. Many scholars believe that the original poem was composed in an oral tradition by an aoidos (epic poet/singer), perhaps a rhapsode (professional performer), and was more likely intended to be heard than read. The details of the ancient oral performance, and the story's conversion to a written work inspire continual debate among scholars. The Odyssey was written in a poetic dialect of Greek—a literary amalgam of Aeolic Greek, Ionic Greek, and other Ancient Greek dialects—and comprises 12,110 lines of dactylic hexameter. Among the most noteworthy elements of the text are its non-linear plot, and the influence on events of choices made by women and serfs, besides the actions of fighting men. In the English language as well as many others, the word odyssey has come to refer to an epic voyage. The Odyssey has a lost sequel, the Telegony, which was not written by Homer. It was usually attributed in Antiquity to Cinaethon of Sparta, but in one source was said to have been stolen from Musaeus by Eugamon or Eugammon of Cyrene (see Cyclic poets). ABOUT AUTHOR: Homeros, In the Western classical tradition, Homer (Ancient Greek: Homeros) is the author of the Iliad and the Odyssey, and is revered as the greatest of ancient Greek epic poets. These epics lie at the beginning of the Western canon of literature, and have had an enormous influence on the history of literature. When he lived is unknown. Herodotus estimates that Homer lived 400 years before his own time, which would place him at around 850 BC, while other ancient sources claim that he lived much nearer to the supposed time of the Trojan War, in the early 12th century BC. Most modern researchers place Homer in the 7th or 8th centuries BC. The formative influence of the Homeric epics in shaping Greek culture was widely recognized, and Homer was described as the teacher of Greece. Homer's works, which are about fifty percent speeches, provided models in persuasive speaking and writing that were emulated throughout the ancient and medieval Greek worlds. Fragments of Homer account for nearly half of all identifiable Greek literary papyrus finds. PeriodFor modern scholars "the date of Homer" refers not to an individual, but to the period when the epics were created. The consensus is that "the Iliad and the Odyssey date from around the 8th century BC, the Iliad being composed before the Odyssey, perhaps by some decades," i.e. earlier than Hesiod, the Iliad being the oldest work of Western literature. Over the past few decades, some scholars have argued for a 7th-century BC date. Oliver Taplin believes that the conclusion of modern researchers is that Homer dates to between 750 to 650 BC. Some of those who argue that the Homeric poems developed gradually over a long period of time give an even later date for the composition of the poems; according to Gregory Nagy for example, they only became fixed texts in the 6th century BC. The question of the historicity of Homer the individual is known as the "Homeric question"; there is no reliable biographical information handed down from classical antiquity. The poems are generally seen as the culmination of many generations of oral story-telling, in a tradition with a well-developed formulaic system of poetic composition. Some scholars, such as Martin West, claim that "Homer" is "not the name of a historical poet, but a fictitious or constructed name."

As in the case of "The Bases of Design," to which this is intended to form a companion volume, the substance of the following chapters on Line and Form originally formed a series of lectures delivered to the students of the Manchester Municipal School of Art. There is no pretension to an exhaustive treatment of a subject it would be difficult enough to exhaust, and it is dealt with in a way intended to bear rather upon the practical work of an art school, and to be suggestive and helpful to those face to face with the current problems of drawing and design. These have been approached from a personal point of view, as the results of conclusions arrived at in the course of a busy working life which has left but few intervals for the elaboration of theories apart from practice, and such as they are, these papers are now offered to the wider circle of students and workers in the arts of design as from one of themselves. They were illustrated largely by means of rough sketching in line before my student audience, as well as by photographs and drawings. The rough diagrams have been re-drawn, and the other illustrations reproduced, so that both line and tone blocks are used, uniformity being sacrificed to fidelity.? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?WALTER CRANE. Outline, one might say, is the Alpha and Omega of Art. It is the earliest mode of expression among primitive peoples, as it is with the individual child, and it has been cultivated for its power of characterization and expression, and as an ultimate test of draughtsmanship, by the most accomplished artists of all time. The old fanciful story of its origin in the work of a lover who traced in charcoal the boundary of the shadow of the head of his sweetheart as cast upon the wall by the sun, and thus obtained the first profile portrait, is probably more true in substance than in fact, but it certainly illustrates the function of outline as the definition of the boundaries of form.Silhouette As children we probably perceive forms in nature defined as flat shapes of colour relieved upon other colours, or flat fields of light on dark, as a white horse is defined upon the green grass of a field, or a black figure upon a background of snow.Definition of BoundariesTo define the boundaries of such forms becomes the main object in early attempts at artistic expression. The attention is caught by the edges—the shape of the silhouette which remains the paramount means of distinction of form when details and secondary characteristics are lost; as the outlines of mountains remain, or are even more clearly seen, when distance subdues the details of their structure, and evening mists throw them into flat planes one behind the other, and leave nothing but the delicate lines of their edges to tell their character. We feel the beauty and simplicity of such effects in nature. We feel that the mind, through the eye resting upon these quiet planes and delicate lines, receives a sense of repose and poetic suggestion which is lost in the bright noontide, with all its wealth of glittering detail, sharp cut in light and shade. There is no doubt that this typical power of outline and the value of simplicity of mass were perceived by the ancients, notably the Ancient Egyptians and the Greeks, who both, in their own ways, in their art show a wonderful power of characterization by means of line and mass, and a delicate sense of the ornamental value and quality of line. Formation of LettersRegarding line—the use of outline from the point of view of its value as a means of definition of form and fact—its power is really only limited by the power of draughtsmanship at the command of the artist. From the archaic potters' primitive figures or the rudimentary attempts of children at human or animal forms up to the most refined outlines of a Greek vase-painter, or say the artist of the Dream of Poliphilus, the difference is one of degree.

High into air are the great New York buildings lifted by a ray whose source no telescope can find.It seemed only fitting and proper that the greatest of all leaps into space should start from Roosevelt Field, where so many great flights had begun and ended. Fliers whose names had rung—for a space—around the world, had landed here and been received by New York with all the pomp of visiting kings. Fliers had departed here for the lands of kings, to be received by them when their journeys were ended. Of course Lucian Jeter and Tema Eyer were disappointed that Franz Kress had beaten them out in the race to be first into the stratosphere above fifty-five thousand feet. There was a chance that Kress would fail, when it would be the turn of Jeter and Eyer. They didn't wish for his failure, of course. They were sports-men as well as scientists; but they were just human enough to anticipate the plaudits of the world which would be showered without stint upon the fliers who succeeded. The warship simply vanished into the night sky. "At least, Tema," said Jeter quietly, "we can look his ship over and see if there is anything about it that will suggest something to us. Of course, whether he succeeds or fails, we shall make the attempt as soon as we are ready.""Indeed, yes," replied Eyer. "For no man will ever fly so high that another may not fly even higher. Once planes are constructed of unlimited flying radius ... well, the universe is large and there should be no end of space fights for a long time."

Macbeth (full title The Tragedy of Macbeth) is a tragedy written by William Shakespeare, and is considered one of his darkest and most powerful works. Set in Scotland, the play dramatizes the corrosive psychological and political effects produced when evil is chosen as a way to fulfil the ambition for power. The play is believed to have been written between 1599 and 1606, and is most commonly dated 1606. The earliest account of a performance of what was probably Shakespeare's play is the Summer of 1606, when Simon Forman recorded seeing such a play at the Globe Theatre. Macbeth is Shakespeare's shortest tragedy, and tells the story of a brave Scottish general named Macbeth who receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders King Duncan and takes the throne for himself. He is then wracked with guilt and paranoia, and he soon becomes a tyrannical ruler as he is forced to commit more and more murders to protect himself from enmity and suspicion. The bloodbath and consequent civil war swiftly take Macbeth and Lady Macbeth into the realms of arrogance, madness, and death. The play opens amidst thunder and lightning, and the Three Witches decide that their next meeting shall be with Macbeth. In the following scene, a wounded sergeant reports to King Duncan of Scotland that his generals—Macbeth, who is the Thane of Glamis, and Banquo—have just defeated the allied forces of Norway and Ireland, who were led by the traitorous Macdonwald and the Thane of Cawdor. Macbeth, the King's kinsman, is praised for his bravery and fighting prowess.In the following scene, Macbeth and Banquo discuss the weather and their victory. As they wander onto a heath, the Three Witches enter and greet them with prophecies. Though Banquo challenges them first, they address Macbeth, hailing him as "Thane of Glamis," "Thane of Cawdor," and that he shall "be King hereafter." Macbeth appears to be stunned to silence. When Banquo asks of his own fortunes, the witches inform him that he will father a line of kings, though he himself will not be one. While the two men wonder at these pronouncements, the witches vanish, and another thane, Ross, arrives and informs Macbeth of his newly bestowed title: Thane of Cawdor, as the previous Thane of Cawdor shall be put to death for his traitorous activities. The first prophecy is thus fulfilled, and Macbeth immediately begins to harbour ambitions of becoming king.King Duncan welcomes and praises Macbeth and Banquo, and declares that he will spend the night at Macbeth's castle at Inverness; he also names his son Malcolm as his heir. Macbeth sends a message ahead to his wife, Lady Macbeth, telling her about the witches' prophecies. Lady Macbeth suffers none of her husband's uncertainty, and wishes him to murder Duncan in order to obtain kingship. When Macbeth arrives at Inverness, she overrides all of her husband's objections by challenging his manhood, and successfully persuades him to kill the king that very night. He and Lady Macbeth plan to get Duncan's two chamberlains drunk so that they will black out; the next morning they will blame the chamberlains for the murder. They will be defenseless, as they will remember nothing.While Duncan is asleep, Macbeth stabs him, despite his doubts and a number of supernatural portents, including a hallucination of a bloody dagger. He is so shaken that Lady Macbeth has to take charge. In accordance with her plan, she frames Duncan's sleeping servants for the murder by placing bloody daggers on them. Early the next morning, Lennox, a Scottish nobleman, and Macduff, the loyal Thane of Fife, arrive. A porter opens the gate and Macbeth leads them to the king's chamber, where Macduff discovers Duncan's body. ABOUT AUTHOR: William Shakespeare ( 1564 (baptised) – 1616) was an English poet, playwright and actor, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon". His extant works, including some collaborations, consist of about 38 plays, 154 sonnets, two long narrative poems, and a few other verses, the authorship of some of which is uncertain. His plays have been translated into every major living language and are performed more often than those of any other playwright. Shakespeare was born and brought up in Stratford-upon-Avon. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part-owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613 at age 49, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his physic

Лето – прекрасное время для приготовления салатов! Вам понадобятся всего 5 ингредиентов и 5 минут! Для каждого салата приведено 5 вариантов. Заменив один ингредиент, вы получите новые необычные вкусы. Вы удивитесь, сколько новых салатов можно сделать из привычных овощей, сыра, мяса, рыбы! Каждый салат описан пошагово, готовые блюда показаны на фото. Воспользуйтесь рецептами из книги и приготовьте ?Цезарь? или ?Нисуаз?, салат с копченой курицей и черносливом или крабовый, шопский или азиатский салат. Leto – prekrasnoe vremja dlja prigotovlenija salatov! Vam ponadobjatsja vsego 5 ingredientov i 5 minut! Dlja kazhdogo salata privedeno 5 variantov. Zameniv odin ingredient, vy poluchite novye neobychnye vkusy. Vy udivites', skol'ko novyh salatov mozhno sdelat' iz privychnyh ovoshhej, syra, mjasa, ryby! Kazhdyj salat opisan poshagovo, gotovye bljuda pokazany na foto. Vospol'zujtes' receptami iz knigi i prigotov'te ?Cezar'? ili ?Nisuaz?, salat s kopchenoj kuricej i chernoslivom ili krabovyj, shopskij ili aziatskij salat.

Underground* *The author of the diary and the diary itself are, of course, imaginary. Nevertheless it is clear that such persons as the writer of these notes not only may, but positively must, exist in our society, when we consider the circumstances in the midst of which our society is formed. I have tried to expose to the view of the public more distinctly than is commonly done, one of the characters of the recent past. He is one of the representatives of a generation still living. In this fragment, entitled "Underground," this person introduces himself and his views, and, as it were, tries to explain the causes owing to which he has made his appearance and was bound to make his appearance in our midst. In the second fragment there are added the actual notes of this person concerning certain events in his life.--AUTHOR'S NOTE. II am a sick man.... I am a spiteful man. I am an unattractive man. I believe my liver is diseased. However, I know nothing at all about my disease, and do not know for certain what ails me. I don't consult a doctor for it, and never have, though I have a respect for medicine and doctors. Besides, I am extremely superstitious, sufficiently so to respect medicine, anyway (I am well-educated enough not to be superstitious, but I am superstitious). No, I refuse to consult a doctor from spite. That you probably will not understand. Well, I understand it, though. Of course, I can't explain who it is precisely that I am mortifying in this case by my spite: I am perfectly well aware that I cannot "pay out" the doctors by not consulting them; I know better than anyone that by all this I am only injuring myself and no one else. But still, if I don't consult a doctor it is from spite. My liver is bad, well--let it get worse! I have been going on like that for a long time--twenty years. Now I am forty. I used to be in the government service, but am no longer. I was a spiteful official. I was rude and took pleasure in being so. I did not take bribes, you see, so I was bound to find a recompense in that, at least. (A poor jest, but I will not scratch it out. I wrote it thinking it would sound very witty; but now that I have seen myself that I only wanted to show off in a despicable way, I will not scratch it out on purpose!) When petitioners used to come for information to the table at which I sat, I used to grind my teeth at them, and felt intense enjoyment when I succeeded in making anybody unhappy. I almost did succeed. For the most part they were all timid people--of course, they were petitioners. But of the uppish ones there was one officer in particular I could not endure. He simply would not be humble, and clanked his sword in a disgusting way. I carried on a feud with him for eighteen months over that sword. At last I got the better of him. He left off clanking it. That happened in my youth, though. But do you know, gentlemen, what was the chief point about my spite? Why, the whole point, the real sting of it lay in the fact that continually, even in the moment of the acutest spleen, I was inwardly conscious with shame that I was not only not a spiteful but not even an embittered man, that I was simply scaring sparrows at random and amusing myself by it. I might foam at the mouth, but bring me a doll to play with, give me a cup of tea with sugar in it, and maybe I should be appeased. I might even be genuinely touched, though probably I should grind my teeth at myself afterwards and lie awake at night with shame for months after. That was my way.

THE ARABIAN NIGHTS “THE ORIENT MAGIC” The Talking Bird, The Singing Tree, and the Golden WaterThe Story of the Fisherman and the GenieThe History of the Young King of the Black IslesThe Story of Gulnare of the SeaThe Story of Aladdin; Or, the Wonderful LampThe Story of Prince AgibThe Story of the City of BrassThe Story of Ali Baba and the Forty ThievesThe History of Codadad and His BrothersThe Story of Sinbad the Voyager The Talking Bird:It will be sufficient to break off a branch and carry it to plant in your gardenThe Fisherman and the GenieThe smoke ascended to the clouds, and extending itself along the sea and upon the shore formed a great mist The Young King of the Black IslesWhen he came to this part of his narrative the young king could not restrain his tearsGulnare of the SeaAnd she proceeded to burn perfume and repeat spells until the sea foamed and was agitatedAladdinAt the same time the earth, trembling, opened just before the magician, and uncovered a stone, laid horizontally, with a brass ring fixed into the middlePrince AgibAnd when the boat came to me I found in it a man of brass, with a tablet of lead upon his breast, engraven with names and talismans Prince AgibAt the approach of evening I opened the first closet and, entering it, found a mansion like paradiseThe City of BrassAnd when they had ascended that mountain they saw a city than which eyes had not beheld any greaterThe Story of Ali Baba and the Forty ThievesCassim ... was so alarmed at the danger he was in that the more he endeavoured to remember the word Sesame the more his memory was confoundedThe History of Codadad and His BrothersAs it drew near we saw ten or twelve armed pirates appear on the deckSecond Voyage of SinbadThe spot where she left me was encompassed on all sides by mountains that seemed to reach above the clouds, and so steep that there was no possibility of getting out of the valleyThird Voyage of SinbadHaving finished his repast, he returned to his porch, where he lay and fell asleep, snoring louder than thunder.. Little excuse is needed, perhaps, for any fresh selection from the famous "Tales of a Thousand and One Nights," provided it be representative enough, and worthy enough, to enlist a new army of youthful readers. Of the two hundred and sixty-four bewildering, unparalleled stories, the true lover can hardly spare one, yet there must always be favourites, even among these. We have chosen some of the most delightful, in our opinion; some, too, that chanced to appeal particularly to the genius of the artist. If, enticed by our choice and the beauty of the pictures, we manage to attract a few thousand more true lovers to the fountain-book, we shall have served our humble turn. The only real danger lies in neglecting it, in rearing a child who does not know it and has never fallen under its spell. You remember Maimoune, in the story of Prince Camaralzaman, and what she said to Danhasch, the genie who had just arrived from the farthest limits of China? "Be sure thou tellest me nothing but what is true or I shall clip thy wings!" This is what the modern child sometimes says to the genies of literature, and his own wings are too often clipped in consequence."The Empire of the Fairies is no more. Reason has banished them from ev'ry shore;Steam has outstripped their dragons and their cars,Gas has eclipsed their glow-worms and their stars."?douard Laboulaye says in his introduction to Nouveaux Contes Bleus: "Mothers who love your children, do not set them too soon to the study of history; let them dream while they are young.

In offering this study to a public accustomed only to the unquestioning acceptance of the home as something perfect, holy, quite above discussion, a word of explanation is needed. First, let it be clearly and definitely stated, the purpose of this book is to maintain and improve the home. Criticism there is, deep and thorough; but not with the intention of robbing us of one essential element of home life—rather of saving us from conditions not only unessential, but gravely detrimental to home life. Every human being should have a home; the single person his or her home; and the family their home. The home should offer to the individual rest, peace, quiet, comfort, health, and that degree of personal expression requisite; and these conditions should be maintained by the best methods of the time. The home should be to the child a place of happiness and true development; to the adult a place of happiness and that beautiful reinforcement of the spirit needed by the world's workers. We are here to perform our best service to society, and to find our best individual growth and expression; a right home is essential to both these uses. The place of childhood's glowing memories, of youth's ideals, of the calm satisfaction of mature life, of peaceful shelter for the aged; this is not attacked, this we shall not lose, but gain more universally. What is here asserted is that our real home life is clogged and injured by a number of conditions which are not necessary, which are directly inimical to the home; and that we shall do well to lay these aside. As to the element of sanctity—that which is really sacred can bear examination, no darkened room is needed for real miracles; mystery and shadow belong to jugglers, not to the truth. The home is a human institution. All human institutions are open to improvement. This specially dear and ancient one, however, we have successfully kept shut, and so it has not improved as have some others.

An afternoon of a cold winter’s day, when the sun shone forth with chilly brightness, after a long storm, two children asked leave of their mother to run out and play in the new-fallen snow. The elder child was a little girl, whom, because she was of a tender and modest disposition, and was thought to be very beautiful, her parents, and other people who were familiar with her, used to call Violet. But her brother was known by the style and title of Peony, on account of the ruddiness of his broad and round little phiz, which made everybody think of sunshine and great scarlet flowers. The father of these two children, a certain Mr. Lindsey, it is important to say, was an excellent, but exceedingly matter-of-fact sort of man, a dealer in hardware, and was sturdily accustomed to take what is called the common-sense view of all matters that came under his consideration. With a heart about as tender as other people’s, he had a head as hard and impenetrable, and therefore, perhaps, as empty, as one of the iron pots which it was a part of his business to sell. The mother’s character, on the other hand, had a strain of poetry in it, a trait of unworldly beauty—a delicate and dewy flower, as it were, that had survived out of her imaginative youth, and still kept itself alive amid the dusty realities of matrimony and motherhood. So, Violet and Peony, as I began with saying, besought their mother to let them run out and play in the new snow; for, though it had looked so dreary and dismal, drifting downward out of the gray sky, it had a very cheerful aspect, now that the sun was shining on it. The children dwelt in a city, and had no wider play-place than a little garden before the house, divided by a white fence from the street, and with a pear-tree and two or three plum-trees overshadowing it, and some rose-bushes just in front of the parlor windows. The trees and shrubs, however, were now leafless, and their twigs were enveloped in the light snow, which thus made a kind of wintry foliage, with here and there a pendent icicle for the fruit. “Yes, Violet,—yes, my little Peony,” said their kind mother; “you may go out and play in the new snow.”

Holmes decodes a warning from Porlock, an informant against arch-criminal Moriarty, for "Douglas" resident five years at "Birlstone". Scotland Yard's MacDonald asks them to investigate a corpse with the same look and circle-in-triangle brand on the forearm as Birlstone owner Douglas. The head was blown off by an American-style sawed-off shotgun. Apparently, an intruder dropped a card with VV341, and left across a shallow moat. Watson observes the bereaved English wife and best male friend in unusually good spirits. When Holmes pretends the moat will be drained, the conspirators retrieve a missing dumb-bell weighting down the visitor's clothes beneath the water. Douglas comes from hiding, to explain he killed the assassin Baldwin in self-defence; the plan was to save him from more attacks by criminal survivors of Vermissa Valley. He hands Dr. Watson the following account. Young McMurdo gains reputation as tough counterfeiter, Freemen Lodge member fleeing murder charges in Chicago. In the Vermissa coal mine area, McGinty rules Scowrers branded by a circle in square, the local Lodge 341 who extort, murder, and exchange vicious deeds with nearby Lodges. Pretty Ettie prefers McMurdo to nasty Baldwin, and wants to flee, but will wait some months. When word comes that Pinkerton sent Edwards, McMurdo gathers ringleaders in one room, and springs his trap on them, surrounded by the law. Although the worst were hanged, after ten years, villains were freed, and chased McMurdo-Edwards-Douglas, despite changes of name, location, and wife. He married Ettie, then she died in California, where he made a fortune. The Valley of Fear, notable for Professor Moriarty's involvement, is set before "The Final Problem", the short story in which Moriarty was introduced. This introduces a logical difficulty, as in "The Final Problem" Dr. Watson has never heard of Moriarty, whereas by the end of The Valley Of Fear he is, or should be, familiar with his name and character. The "Moriarty" element in the story is tied into the fate of the informer in the story. It ties the Molly Maguire background to another event of that period: the murder of James Carey, an informer who was shot on board a ship off the coast of Natal, South Africa in 1883 by Patrick O'Donnell, an Irish republican who had relatives in the Mollies and briefly visited the Pennsylvania coal mining district, supposedly looking for the suspected informer among them.

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

THE earliest record we have of the employment of an infernal machine at all resembling the torpedo of the present day, was in 1585 at the siege of Antwerp. Here by means of certain small vessels, drifted down the stream, in each of which was placed a magazine of gunpowder, to be fired either by a trigger, or a combination of levers and clockwork, an Italian engineer, Lambelli, succeeded in demolishing a bridge that the enemy had formed over the Scheldt. So successful was this first attempt, and so tremendous was the effect produced on the spectators, by the explosion of one of these torpedoes, that further investigation of this new mode of Naval warfare was at once instituted.But it was not until some two hundred years after that any real progress was effected, though numerous attempts were made during this period, to destroy vessels by means of sub-marine infernal machines.It was owing to the fact, that the condition which is now considered as essential in torpedo warfare, viz., that the charge must be submerged, was then entirely ignored, that so long a standstill occurred in this new art of making war. Captain Bushnell, the Inventor of Torpedoes.—To Captain David Bushnell, of Connecticut, in 1775, is most certainly due the credit of inventing torpedoes, or as he termed them submarine magazines. For he first proved practically that a charge of gunpowder could be fired under water, which is incontestably the essence of submarine warfare. Submarine Boat.—To Captain Bushnell is also due the credit of first devizing a submarine boat for the purpose of conveying his magazines to the bottom of hostile ships and there exploding them.Drifting Torpedoes.—Another plan of his for destroying vessels, was that of connecting two of his infernal machines together by means of a line, and throwing them into the water, allowing the current to carry them across the bows of the attacked ship. Mode of Ignition.—The ignition of his magazines was generally effected by means of clockwork, which, when set in motion, would run for some time before exploding the machines, thus enabling the operators to get clear of the explosion.Captain Bushnell's few attempts to destroy our ships off the American coast in 1776 and 1777, with his submarine boat, and his drifting torpedoes were all attended with failure, a result generally experienced, where new inventions are for the first time subjected to the test of actual service. Robert Fulton.—Robert Fulton, an American, following in his footsteps, some twenty years after, revived the subject of submarine warfare, which during that interval seems to have been entirely forgotten. A resident in France, in 1797, he is found during that year making various experiments on the Seine with a machine which he had constructed, and by which he designed "to impart to carcasses of gunpowder a progressive motion under water, to a certain point, and there explode them."[A] Fulton's Failures.—Though these first essays of his resulted in failure, Fulton thoroughly believed in the efficacy of his schemes, and we find him, during that and succeeding years, vainly importunating the French and Dutch Governments, to grant him aid and support in carrying out experiments with his new inventions, whereby he might perfect them, and thus ensure to whichever government acceded to his views, the total destruction of their enemy's fleets. Bonaparte aids Fulton.—Though holding out such favourable terms, it was not until 1800, when Bonaparte became First Consul, that Fulton's solicitations were successful, and that money was granted him to carry out a series of experiments. In the following year (1801), under Bonaparte's immediate patronage, Fulton carried out various and numerous experiments in the harbour of Brest, principally with a submarine boat devised by him (named the Nautilus), subsequently to his invention of submarine carcasses as a means of approaching a ship and fixing one of his infernal machines beneath her..

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.