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.

Kívánom, adjanak er?t ezek a k?ltemények sokaknak! Azokhoz szólok most, akiknek valamikor, valamije fájt már életében, és/vagy ismernek olyan embert, aki tudja, hogy a szó szoros értelmében mit jelent az a szó: jaj! Tetovált társaim! Ti egyt?l egyig tisztában vagytok ennek a fogalomnak a jelentésével, és azzal is, hogy ez a választott életérzés megéri, méghozzá busásan. Akiknek jelen pillanatban is fáj valami, azoknak pedig… Nekik drukkolok leginkább!

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.

Acestea-s cuvintele, Petra. Am aternut copertele peste ele, lsndu-le s se limpezeasc. Timpul trecea, cartea nu-mi mai ncpea n trup. ntr-o zi, mi plimbam ochii peste literele ei. Dup aceea, am rspuns ctorva e-mailuri. Printre tirile care nsoesc n mod obinuit o csu electronic, mi-a atras atenia una. Plasa pianjenului se lsa peste mine, dar cui s-i strig mirarea i bucuria mea Eram singur i ngheat, n biroul pustiu. Atunci, m-am repezit s-i atern aceste nimicuri despre Shaun Higgins, specialistul ce a reuit s rezolve misterul insulei-fantom din Pacific. Aprea pe mai toate hrile, dar nu a fost gsit de cercettorii care au plecat s o caute cu vreo lun n urm. Din 1876 s-a strecurat eroarea. Atunci, comandantul balenierei Velocity a raportat n jurnal o serie de stnci mari i nite insulie de nisip, marcnd poriunea de pmnt pe o hart. Informaiile lui au tot fost copiate i recopiate, postulnd drept insul un probabil i posibil recif. Cineva din lumea aceasta, cu un veac n urm, s-a mai gndit la Plasterca. i dai seama ce lucru minunat i s-ar putea ca lumea despre care am zis odat c nu am gsit-o, aceea ce spuneam c i se cuvine, alturi de aceast carte care abia mai ncape n colivie, s se afle undeva, pe-aproape.“ – Clin Torsan

1791 októberében Wolfgang Amadeus Mozart azt mondta a feleségének, hogy megmérgezték. Másfél hónap múlva már nem volt az él?k sorában. N?vére, a szintén zongoravirtuózként indult Nannerl sógorn?jét?l értesül a fájdalmas hírr?l, és nyomban Bécsbe indul, de nem csak a temetésre. Elt?kéli, hogy kideríti az igazságot, és megtudja, valóban gyilkosság áldozata lett-e Mozart, és vajon kinek állt útjában. Bécs veszélyes városnak bizonyul: Nannerl s?tét titkokkal, ?sszeesküvésekkel, a császári udvarban zajló intrikákkal szembesül, a szabadk?m?vesek rejtélyes ?sszej?vetelein találja magát, mik?zben életében el?sz?r átéli az igaz szerelmet. ?s mindennek k?zpontjában Mozart utolsó operája, A varázsfuvola áll. Az olvasó a korabeli Bécs arisztokrata szalonjainak és hangversenytermeinek nyüzsg? világát láthatja mintegy függ?ny m?gül, mik?zben fel-felcsendül Mozart halhatatlan zenéje, és fény derül a sz?rny? titokra.

Amikor Vicky Firenzébe érkezik, hogy olaszul tanuljon és megmerítkezzen az ottani kultúrában, nem számít arra, hogy eltalálja ?mor nyila. A szerelem a jókép? és sármos, ám kissé rusztikus modorú talján séf, Gianfranco személyében érkezik. Gianfranco éttermében Vicky megismerkedik a toszkán konyham?vészettel is. Hétvégén a szerelmespár autóba pattan és felfedezi Toszkána gy?ny?r? tájait és a hegyekben megbújó k?zépkori városkákat. A színes leírásokban b?velked? gasztromemoár becsempészi az olvasót Toszkána, Umbria, Elba és Perugia romantikus éttermeinek és bárjainak színfalai m?gé. Remek olasz receptek szakítják meg hébe-hóba a sz?veget, mely nincs híján humornak, szerelemnek és szerelmi csalódásnak. ?Toszkán mese szerelemr?l és ételekr?l” – az alcím magáért beszél, de mesénél t?bbet kapunk: az írón? ironikus és olykor lírai stílusa igazi olvasási élményt is nyújt.

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

Medicina modern? a f?cut progrese imense. Cu toate acestea, nu a reu?it s? ?nving? cancerul, boala nemiloas? care face milioane de victime ?n fiecare an, la nivel mondial. ?i totu?i, dr. Max Gerson (1881-1959) ne-a oferit o raz? de speran??, prin terapia alternativ? care ?i poart? numele. ?n 1958, el a fost primul medic din lume care a spus despre cancer c? ar fi cauzat de mai mul?i factori independen?i. Dintre cei 49 de astfel de factori identifica?i p?n? ?n prezent (deficien?ele de nutri?ie, radia?iile de diverse tipuri, ingerarea aditivilor alimentari, stresul cronic, consumul de tutun ?i de alcool etc.), ?n mod surprinz?tor, alimentele toxice fac cel mai mare r?u. Peste 70% dintre tumorile maligne sunt cauzate, ?ntr-un fel sau altul, de ceea ce m?nc?m. Tocmai de aceea, Terapia Gerson are la baz? o diet? care include fructe ?i legume proaspete, cultivate organic, ?i 13 pahare de sucuri proaspete pe zi, la intervale fixe. Dup? 70 de ani de la apari?ia terapiei, timp ?n care mii de pacien?i au fost trata?i cu succes, fiica dr. Gerson, Charlotte, ea ?ns??i terapeut ?n medicina alternativ?, ?mpreun? cu dr. Morton Walker ofer? ?i mai multe informa?ii despre efectele puternice de vindecare ale fructelor ?i legumelor organice. Afl?: cum s? ?nvingi cancerul schimb?nd chimia organismului;cum s? prepari sucuri prin tehnici speciale pentru a le maximiza puterea de vindecare;cum s? scapi de alergii, obezitate, hipertensiune, SIDA, lupus ?i alte boli;ce suplimente ?nt?resc sistemul imunitar. Terapia Gerson – cea mai bun? metod? pentru oricine a spus vreodat? ?Vreau s? m? fac bine. Ar?ta-mi cum“ A func?ionat ?i pentru al?ii, va func?iona ?i pentru tine! ?nvinge boala cu ajutorul Terapiei Gerson!

Scriitorul George Colpit a publicat pan? in prezent cinci romane, un volum de reportaje ?i eseuri publicistice, un volum de poezii ?i prezenta culegere de nuvele.Cartea de fa?? demonstreaz? c? deosebitul talent ale romancierului de a da via?? unor personaje vii, pregnante, cu o prezen?? aproape material?, palpabil?, ?n situa?ii cotidiene veridice, duce, ?i ?n cazul ?n care scrie proz? scurt?, la realizarea unor mini-capodopere literare, dovedind un talent deosebit.V? invit?m s? citi?i ?i celelalte opere ale acestui talentat scriitor: Judecata de pe urm?. Despre Opera?iunea Psi ?i Laboratorul Psihotronic. Roman; Nebunul. Roman; Dorina tranzi?iei. Roman erotic interzis minorilor; Legionarul communist. Roman; Partidele coliba?ului. O saga arge?ean?. Roman; Articole din pia?a politic?. Despre oportuni?tii de forma?ie intelectual?. Publicistic?; Oglinda retrovizoare. Poezii

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.?

Follis ?t kontinensen átível?, a legádázabb drogbárókról és terrorista hálózatokról szóló visszaemlékezése olyan, mint egy krimi. Mégis, minden szava igaz, minden t?rténetét dokumentálták. A narkoterrorizmus és a terrorista szervezetek együttm?k?désér?l szóló, els? és egyetlen bennfentes elbeszélés, A drog árnyékában mérf?ldk?nek számít, ami oldalról oldalra le fogja ny?g?zni. Egy számos kitüntetést magáénak mondható DEA-ügyn?k visszaemlékezése hihetetlen beépített ügyn?ki karrierjére, felfedve a kábítószer-csempészet és a terrorizmus ijeszt? ?sszefonódásait. Pontosan mi az a beépített munka? Rend?ri szemsz?gb?l a beépülés a terhel? vallomások kicsalásának s?tét m?vészete. Személyes és pszichológiai szempontból: elnyerni valaki bizalmát – azután manipulálni ezt a bizalmat. Egyszer?en fogalmazva: sakkjátszma a rosszal. Rávenni, hogy úgy lépjen, ahogy te szeretnéd – de anélkül, hogy ? tudna err?l.Edward Follis t?kélyre fejlesz-tette ezt a sakkjátszmát –? A drog árnyékában – a DEA k?telékében t?lt?tt huszonhét éve alatt. Kokaint vásárolt egy piros Corvette-et hajtva, t?bb millió dolláros üzletekr?l tárgyalt sugárhajtású magángépek fedélzetén, és színlelt kapcsolatokat alakított ki olyan emberekkel, akik nemcsak nemzetk?zi drogkeresked?k, de bizonyos esetekben az al-Kaida, a Hezbollah, a Ha-mász, a Shan United Army vagy a mexikói kartellsz?vetség magas rangú tagjai voltak.

Avei probleme cu drogurile Citii aceast carte i vei avea motivaia de a scpa de ele. Cunoatei pe cineva care are probleme cu drogurile Facei-i cadou aceast carte i mai mult ca sigur c i vei salva viaa. Dorii s-i ferii pe copiii, fraii, veriorii, nepoii, vecinii, prietenii dumneavoastr de droguri Cumprai pentru ei aceast carte. Aceasta e o carte unic n Romnia! Autoarea crii a fost dependent de droguri timp de 5 ani. Cnd a publicat cartea Goana dup iluzii, trecuser 5 ani de cnd se salvase din agonia dependenei. Ct de jos poi s ajungi odat intrat n lumea drogurilor Ct suferin nduri Exist scpare O poveste adevrat, impresionant, emoionant, povestea Georgianei Drgan.“ – Vasile Poenaru Cartea Georgianei A. Drgan este o autobiografie scris n termenii suferinei, dezndejdii, regretelor i viciilor, dar care n final prinde conturul unei lecii de via al crei lait-motiv este ideea c orice problem are o rezolvare atunci cnd exist voin i speran.“ – Horia Laureniu Tiseanu, primar, Municipiului Cmpina De multe ori am auzit zicala viaa bate filmul, dar prin prisma experienei mele de via, mi-a fost greu s cred. Cartea Georgianei ns m-a convins. Felul n care descrie ea suferinele diverse prin care a trecut de-a lungul vieii este att de real, nct te face s simi c eti acolo i c ar trebui s intervii cumva. Iar uneori chiar s uii c e viaa real i s preferi s crezi c e doar un film urt. Pe de alt parte, este o poveste a speranei, a credinei c nu exist o groap prea mare din care Dumnezeu s nu te poat scoate. Dup tot ce vei citi n paginile ce urmeaz, faptul c Georgiana a ajuns n punctul n care a scris aceast carte, este n sine un miracol.“ – Violeta Frgu,psiholog n adicii, Asociaia Preventis, Cluj

avagy a szeretet, a megbocsátás és a szabadság ereje T?rténet egy anyáról, akinek szívéhez k?zelebb állt egyik fia, mint a másik, és b?ntudata halála után sem hagyta nyugodni. T?rténet egy fiúról, akit édesanyja nem akart a világra hozni, akinek a magány volt a legh?ségesebb társa, s akinek szíve k?vé dermedt a háború borzalmaiban. T?rténet egy lányról, aki tudta, mekkora er?vel bír a szeretet, és tudta, hogyan kell megszelídíteni, újrahangolni egy elgy?t?rt szívet. T?rténet egy n?r?l, aki háta m?g?tt hagyta a nyugati világot, hogy megtalálja, ami a legfontosabb az életben: ?nmagát. Az egymásba fonódó t?rténetekb?l egyetlen regény kerekedik, mely izgalmas emberi sorsokról mesél, mik?zben bemutatja Burma babonákkal, ugyanakkor b?lcsességgel átsz?tt kultúráját, és felnyitja szemünket egy olyan világra, melyben a szeretet, a megbocsátás és a szabadság jelentik az igazi hatalmat.

Demersul este unul curajos. n ara cu cei mai muli experi i cea mai puin expertiz, ca s citez o coleg de-a mea, cineva are curajul s scrie. Minunat. i-a asumat curajul de a fi criticat. i asta pentru a fi de folos, n definitiv. i este. Cartea de fa este un bun ndrumar pentru cineva care se gndete s fie copywriter sau care a apucat-o deja pe acest drum i nu s-a umplut nc de sine. Pentru oricine consider c mai are de nvat.“ – Felix Ttaru, Global VP. International Advertising AssociationPrimul manual romnesc de copywriting. O lectur obligatorie pentru cei care vor s intre n publicitate.“ – Marius Cristea, IQadsD-mi banii ti este un ghid pe care vor trebui s-l poarte n buzunar, de acum ncolo, deopotriv cei care i doresc o carier n meseria de copywriter, ct i cei responsabili de comunicarea mrcilor.“ – Iulian Toma, AdPlayersGabriel Brnescu este un copywriter veteran, trecut prin multe i uns cu toate alifiile. Dar dincolo de tezaurul experienei, cartea dezvluie o nelegere profund att a psihologiei consumatorului, ct i a imperativelor de business ale advertiserului.“ – Conf. univ. dr. Dan Petre, SNSPA

1588-ban vagyunk. A spanyol Armada megtámadni készül Angliát, a nemrégiben megkoronázott Erzsébet királyn? maga mellé veszi kegyencét, Robert Dudleyt, gyerekkori szerelmét, akit?l gyermeke fogan. A trón?r?k?s, Arthur Dudley, egy viharos éjszakán, titokban j?n a világra, majd egy vadászmajorban nevelkedik, anélkül, hogy sejtelme lenne arról, kicsoda is ? valójában. Nevel?apja csak halálos ágyánál árulja el igazi származását. Arthur Dudley harcol a holland-spanyol háborúban, megismeri az igaz szerelem boldogságát és szenvedéseit, a halálát várja a spanyol inkvizíció b?rt?nében, míg végül sikerül megmenekülnie és eljutnia gyerekkori példaképéhez, Robin Dudleyhoz és imádott királyn?jéhez, I. Erzsébethez, akiknek be kell bizonyítania, hogy a vérszerinti fiuk. A t?rténészeket régóta foglalkoztatja az a kérdés, hogy vajon I. Erzsébet és Robert Dudley hosszú éveken át tartó szerelmi kapcsolatából született-e gyermek. Bizonyos források emlegetnek egy Arthur Dudley nev? fiatalembert, aki csak feln?tt korában bukkant fel az angol királyi udvarban.

O s m tii de undeva e ca o matrioc din ppui de sticl, cu care umbli c-un fel de team, s nu le scapi i s se strice, dar apas fr fric, intr, trage, privete-le, studiaz-le, citete – au trecut prin multe, au rezistat n lumea real i au s reziste i-n varianta lor hrtioas. (…) Dup ce-o s citeti cartea ei de debut, o s exclami precum o tenismen care tocmai a ctigat un turneu foarte important – WOW! – i de aici ncolo o s tii exact de unde o cunoti.“ – Mihail Vakulovski Scrisul acestei femei frumoase din toate unghiurile de vedere i de simire nu se savureaz. Se muc, se mestec, se-nghite drag. E dulce i te ustur. Incantaie amanic este aceasta, nu scriitur. Vrjitorie curat creia n-ai cu ce s vrei s i te sustragi. Curgi cu ea, te-amesteci i te umpli de bun mireasm. Pentru c ea e bun i se d. Pentru c ea e att de bun nct te restituie ie-i. Cuvinte-flori-de-cmp care nu se adun-n mnuchiuri, ci se rsfir-n… poeme. L-am auzit pe Iulian Tnase zicnd c-aa se cheam povetile-poeme. ndat m-am gndit la Petronela, c-o tiu de undeva, din miezul nestricat al lumii, din timpurile-n care nu i se despriser apele i nici vntoasele n asta i cealalt. Pe cnd aveam noi ochi muli de heruvimi i aripi ase de serafimi.“ – Ana Barton Scrie cu pasiune, tie s rite, s-i transforme experiena de via n poeme. Este recognoscibil i nu plictisete. Petronela Rotar are toate ansele unei traiectorii literare memorabile.“ – Alexandru Petria

Az iráni írón? els? regénye máris 14 nyelven jelent meg világszerte. A t?rténet az iszlám forradalom utáni Iránban játszódik, ahol egy n? csak fejkend?ben léphet ki az utcára, és b?nnek számít, ha valaki amerikai zenét hallgat. Egy kis iráni faluban nevelkedik a kis Szába és ikertestvére, Mahtab. Szába élete egy csapásra megváltozik, amikor anyja és testvére számára felfoghatatlanul elt?nnek az életéb?l. A kislány meg van gy?z?dve róla, hogy Amerikába emigráltak nélküle.

A velencei bába népszer? szerz?je új k?nyvében a 16. századi Konstantinápolyba repíti az olvasót. Hanna és Izsák sok-sok akadályt küzdenek le, hogy új életet kezdjenek az oszmán birodalomban. Izsák selyemkészítésbe kezd, Hanna pedig, aki hamar elnyeri a f?város legjobb bábája elismerést, a szultán fény?z? háremében kap megbízatást. Egy éjszaka Hannát a szultán palotájába hívatják. Ekkor találkozik el?sz?r a gy?ny?r? Leával, akit elraboltak, hogy a szultán ágyasa legyen. ?m a lány súlyos titkot cipel magával. Ha fény derül rá, Leára sz?rny? sors vár. Hanna mindent elk?vet, hogy segítsen a lánynak, ám ezzel nem csak a saját, de a családja életét is kockára teszi. Mindennek tetejébe házukba egy elb?v?l? idegen n? állít be váratlanul, és kis híján romba d?nti Hanna családi boldogságát. Nem kevesebbet akar, mint a férjét és a szemük fényét, a kis Matteót.

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.

"Imádsz írni? Szeretnéd, ha olvasnák is? Még jobb lenne, ha megvennék, amit írsz?Gondolj csak bele, rajtad kívül még milliónyian akarnak írók lenni, s még t?bben blogszerz?k, cikkírók. ?riási a kínálat, mennyi az esély, hogy téged észrevesznek? ?s ha észrevesznek, mennyien fognak olvasni? S, ha olvasnak elegen, hogyan éred el, hogy vegyenek is t?led? S, ha még ezt el is éred, tudod, honnan veszed mindehhez az id?t? Ha elgondolkodtál ezeken, akkor máris tudod, milyen értékes, ha valaki helyetted már elgondolkodott ezeken a kérdéseken, megkereste a megoldásokat, és számodra id?t, fáradtságot spórolva a ?kezedbe adja”." Van egy bizonyos pszichológiai folyamat, amin az olvasó átmegy,amikor megismeri az írásaidat. Ha ennek ismeretében és figyelembevételével építed fel a kommunikációdat, az nagyon jól fog m?k?dni. Biztosan azt szeretnéd, ha egyre t?bb olvasód és/vagy vev?d lenne. Ha alkalmazod a k?nyvben bemutatott lépéseket, az olvasókat k?nnyen eléred, majd lépésr?l-lépésre végigviszed azon a folyamaton, amely érdekl?d?b?l visszatér? olvasót és lelkes vásárlót alakít. Ez a világ egyik legcsodálatosabb folyamata: Te egyre lelkesebben írsz és az olvasók egyre jobban várják, az új munkáidat. Mindezt úgy, hogy nem nyomulsz, hanem ellenkez?leg, olyan szimpatikusan csinálod, hogy ?r?m?t okoz újra és újra visszatérni, olvasni és megvásárolni a m?veidet.