Судьба была удивительно щедра к двадцативосьмилетнему Фрэнсису, маркизу Уимбортону: красота, располагающие манеры, наследство, титул... Но, попав в сложную финансовую ситуацию, он находит единственный выход - жениться на богатой девушке. Его кандидатура - прекрасная леди Лексия Дрейтон. Их первая встреча будет весьма странной. А через несколько дней Френсис пригласит семью Дрейтон на ужин… Лексия и Фрэнк станут хорошими друзьями, а через некоторое время между ними вспыхнет страсть и настоящая любовь. Но, отправившись в романтическое плавание, девушка встретит молодого человека и тоже откроет ему свое сердце… Кого же выберет Лексия? С кем пойдет по жизни? Sud'ba byla udivitel'no shhedra k dvadcativos'miletnemu Frjensisu, markizu Uimbortonu: krasota, raspolagajushhie manery, nasledstvo, titul... No, popav v slozhnuju finansovuju situaciju, on nahodit edinstvennyj vyhod - zhenit'sja na bogatoj devushke. Ego kandidatura - prekrasnaja ledi Leksija Drejton. Ih pervaja vstrecha budet ves'ma strannoj. A cherez neskol'ko dnej Frensis priglasit sem'ju Drejton na uzhin… Leksija i Frjenk stanut horoshimi druz'jami, a cherez nekotoroe vremja mezhdu nimi vspyhnet strast' i nastojashhaja ljubov'. No, otpravivshis' v romanticheskoe plavanie, devushka vstretit molodogo cheloveka i tozhe otkroet emu svoe serdce… Kogo zhe vyberet Leksija? S kem pojdet po zhizni?

A kalózkirály siet?s vázlat egy jobb sorsra érdemes romantikus h?stípusról és esztelen kalandokban eltékozolt életér?l. Jókai még ebben a magasabb igény nélkül odavetett munkában is megajándékozza az olvasót a k?lt?iség egy pillanatával, egy balladás dallal, amely beépül a cselekménybe, szimbolikusan jellemzi a h?s?k alapviszonyait, és a népiesség árnyalatával élénkíti a vadromantikus képsorozatot.

Egy nem mindennapi gyerekkori barátság lélegzetelállító t?rténete, amely kiállja az id? próbáját. Gustav Perle egy svájci kisvárosban n? fel, ahol a II. világháború sz?rny?ségeib?l csak halk visszhang jut el. Egyedüli gyerekként nevelkedik imádott édesanyjával, Emilie-vel, aki meglehet?en mogorván bánik vele. ?sszebarátkozik egy vele egykorú tehetséges és jó esz? zsidó fiúval Anton Zweibellel, az ígéretes zongoristapalántával.A regény Gustav családjának t?rténetét k?veti nyomon, feltárja az anya antiszemitizmusának gy?kereit, amelynek kihatása lesz fia és legkedvesebb barátjának életére is. Visszatekintés a háborús évekre és egy lelkiismereti ügy kellemetlen k?vetkezményeire, és el?re nézés két életútra, két karrierre; egy szállodatulajdonoséra és egy zongoram?vészére.A Gustav-szonáta a barátságról szól: a szenvedélyes szeretetr?l, az eltávolodásról és a küzdelemr?l. Er?teljes és mélyen megindító m? az egyik legnagyobb kortárs regényíró tollából.?A szeretet és irigység mesteri elbeszélése.” – The Guardian“Egy t?kéletes regény az élet t?kéletlenségér?l” – The Observer“Tremain egy géniusz.” – The Times"Végletes és fájdalmas szépség. Briliáns regény; Tremain a legnagyobb brit írók egyike.” -Salman RushdieRose Tremain 1943-ban született Londonban. Regényei és novellái világszerte 27 országban jelentek meg, számtalan díjat nyertek, beleértve a Sunday Express ?v K?nyve Díját a Restoration-nel (a regényt Booker-díjra is jel?lték). A Sacred Country-val Franciaországban elnyerte a ?Prix Femina Etranger”-díjat, a Music and Silence-szel a Whitbread ?v K?nyve díjat, és a Road Home-mal 2008-ban a regényeknek járó Orange-díjat. 1995-ben a Restoration-b?l Változások kora címmel filmet forgattak, és 2009-ben színpadra is vitték. Legújabb regénye a sokat dicsért Gustav-szonáta, amiben Rose ?páratlan tehetsége csúcsára érkezett” (Observer).Rose Tremain korábbi regénye Színarany címmel jelent meg magyarul a Park Kiadó gondozásában.

The third novel, The Vicomte de Bragelonne (serialized October, 1847—January, 1850), has enjoyed a strange history in its English translation. It has been split into three, four, or five volumes at various points in its history. The five-volume edition generally does not give titles to the smaller portions, but the others do. In the three-volume edition, the novels are entitled The Vicomte de Bragelonne, Louise de la Valliere, and The Man in the Iron Mask. For the purposes of this etext, I have chosen to split the novel as the four-volume edition does, with these titles: The Vicomte de Bragelonne, Ten Years Later, Louise de la Valliere, and The Man in the Iron Mask. In the first three etexts: The Vicomte de Bragelonne (Etext 2609): It is the year 1660, and D'Artagnan, after thirty-five years of loyal service, has become disgusted with serving King Louis XIV while the real power resides with the Cardinal Mazarin, and has tendered his resignation. He embarks on his own project, that of restoring Charles II to the throne of England, and, with the help of Athos, succeeds, earning himself quite a fortune in the process. D'Artagnan returns to Paris to live the life of a rich citizen, and Athos, after negotiating the marriage of Philip, the king's brother, to Princess Henrietta of England, likewise retires to his own estate, La Fere. Meanwhile, Mazarin has finally died, and left Louis to assume the reigns of power, with the assistance of M. Colbert, formerly Mazarin's trusted clerk. Colbert has an intense hatred for M. Fouquet, the king's superintendent of finances, and has resolved to use any means necessary to bring about his fall. With the new rank of intendant bestowed on him by Louis, Colbert succeeds in having two of Fouquet's loyal friends tried and executed. He then brings to the king's attention that Fouquet is fortifying the island of Belle-Ile-en-Mer, and could possibly be planning to use it as a base for some military operation against the king. Louis calls D'Artagnan out of retirement and sends him to investigate the island, promising him a tremendous salary and his long-promised promotion to captain of the musketeers upon his return. At Belle-Isle, D'Artagnan discovers that the engineer of the fortifications is, in fact, Porthos, now the Baron du Vallon, and that's not all. The blueprints for the island, although in Porthos's handwriting, show evidence of another script that has been erased, that of Aramis. D'Artagnan later discovers that Aramis has become the bishop of Vannes, which is, coincidentally, a parish belonging to M. Fouquet. Suspecting that D'Artagnan has arrived on the king's behalf to investigate, Aramis tricks D'Artagnan into wandering around Vannes in search of Porthos, and sends Porthos on an heroic ride back to Paris to warn Fouquet of the danger. Fouquet rushes to the king, and gives him Belle-Isle as a present, thus allaying any suspicion, and at the same time humiliating Colbert, just minutes before the usher announces someone else seeking an audience with the king. Ten Years Later (Etext 2681): As 1661 approaches, Princess Henrietta of England arrives for her marriage, and throws the court of France into complete disorder. The jealousy of the Duke of Buckingham, who is in love with her, nearly occasions a war on the streets of Le Havre, thankfully prevented by Raoul's timely and tactful intervention. After the marriage, though, Monsieur Philip becomes horribly jealous of Buckingham, and has him exiled. Before leaving, however, the duke fights a duel with M. de Wardes at Calais. De Wardes is a malicious and spiteful man, the sworn enemy of D'Artagnan, and, by the same token, that of Athos, Aramis, Porthos, and Raoul as well. Both men are seriously wounded, and the duke is taken back to England to recover. Raoul's friend, the Comte de Guiche, is the next to succumb to Henrietta's charms, and Monsieur obtains his exile as well, though De Guiche soon effects a reconciliation.

A Szvetséges sidk óta kztünk jár és építi birodalmát. Nem egy embert kell legyznünk. Hanem egy legendát.” A mindig harcra kész Lyrna királynnek Alltor véres ostroma után ssze kell gyjtenie csapatait, hogy visszafoglalja a fvárost a volári megszállóktól, és kivívja az Egységes Királyság függetlenségét. Céljai érdekében kénytelen a Hetedik Renddel szvetkezni: olyan férfiakkal és nkkel, akiknek szrny ereje a Stétség rémiszt hatalmától ered. Vaelin Al Sorna ismét a legfbb hadúr szerepében találja magát, és felismeri, hogy csak a voláriak titokzatos Szvetségesének leleplezésével fordíthatja meg a háború menetét. Ehhez pedig mélyen be kell hatolnia a jégpáncélba zárt északi fldekre, hogy rátaláljon valakire, akit szinte lehetetlen legyzni, hiszen halhatatlan. Ráadásul mindezt immár a vér énekének segédlete nélkül, amely baljósan hallgat… Ryan mindent hoz,ami csak jó a fantasyben: stét trténet, si mágia, kegyetlen sszeesküvések, kérdéses hség és vér. Patakokban.” – Publishers Weekly

Пошаговые рекомендации и иллюстрации Варианты стрижек и причесок в разных стилях Идеи для всех возрастов С этим пособием вы без труда научитесь стричь, окрашивать волосы и делать прически в домашних условиях! Узнайте, как подбирать стрижку с учетом особенностей формы лица, структуры, типа волос и их длины. Освойте тонкости создания женских повседневных и вечерних причесок. Женские стрижки: классическое каре, лесенка, авангард, асимметрия, французская и др. Мужские стрижки: полубокс, молодежная, удлиненная, спортивная и др. Стрижки для мальчиков: гарсон, стиляга и др. Для девочек: Ассоль, воздушная и др. Уход за волосами Подбор парикмахерских инструментов Методы и правила стрижки Мелирование, колорирование и окрашивание: блики, брондирование, омбре, растяжка, фламбояж, трафаретное окрашивание, шатуш и др. Poshagovye rekomendacii i illjustracii Varianty strizhek i prichesok v raznyh stiljah Idei dlja vseh vozrastov S jetim posobiem vy bez truda nauchites' strich', okrashivat' volosy i delat' pricheski v domashnih uslovijah! Uznajte, kak podbirat' strizhku s uchetom osobennostej formy lica, struktury, tipa volos i ih dliny. Osvojte tonkosti sozdanija zhenskih povsednevnyh i vechernih prichesok. Zhenskie strizhki: klassicheskoe kare, lesenka, avangard, asimmetrija, francuzskaja i dr. Muzhskie strizhki: poluboks, molodezhnaja, udlinennaja, sportivnaja i dr. Strizhki dlja mal'chikov: garson, stiljaga i dr. Dlja devochek: Assol', vozdushnaja i dr. Uhod za volosami Podbor parikmaherskih instrumentov Metody i pravila strizhki Melirovanie, kolorirovanie i okrashivanie: bliki, brondirovanie, ombre, rastjazhka, flambojazh, trafaretnoe okrashivanie, shatush i dr.

A Fokvárosba érkez? Bettire és Benre óriási meglepetés vár. A repül?téren limuzin vár rájuk, és magánrepül? repíti ?ket újabb mérhetetlen gazdagság felé. ?gy t?nik jó ?tlet tovább játszani a milliomost. Vagy talán mégsem? Egy elhibázott éjszaka, és másnapra Bettinek nyoma vész. Ben kénytelen egy afrikai nyomozó oldalán az elt?nt szerelme nyomába eredni.Az elhunyt Kállay Edvárd múltjából újabb rejtélyek kerülnek a felszínre, amely súlyos teherként nyomják Ben vállát. A hasonlóság akár az életébe is kerülhet.Vajon milyen titkok rejt?znek annak a férfinak a múltjában, akinek Ben átvette a szerepét? Megszabadulhat Ben Edvárd múltjától, vagy ?r?kre kísérteni fogja? ?

This book is called The White Spark as the white spark or vacuum cell in Nature IS THE RIGHT HAND OF GOD—it is a ubiquitous principle of the universe and is the cause and parent of electricity, combustion, radium, snow-flakes, flowers, trees, leaves, crystallization, wireless telegraphy, animal forms and EVEN LIFE ITSELF. This book is the key to every department of human endeavor, as it enunciates the basic principle and THE PRIME MOVER of the universe.?It tells the road to health, the cause and cure of disease, the truth about the germ humbug and drug treatments, serums and antitoxins. It shows why luminosity is produced on the flesh of various organisms, why a slice of pollock when first iced, then heated to 100 degrees and then thrust into a temperature of 50 degrees becomes luminous. It shows the farmer that he can become a magician of agriculture—tells that the nitrogen of the air is only a dust of quartz rocks, like the invisible moisture of the air is "a dust of water"—that the nodules on the roots of the clover and legumes do not abstract nitrogen from the air, for if they did nature would have placed these bacteriological growths on the vine and not the root, the scientists have the cart before the horse in this case and the nodular cells form the proteids from sand or silica, this book tells how it is done. It tells what a trance is and how the soul can leave the body temporarily. How JESUS CHRIST is carrying out the biblical prophesy by TELEPATHY. Gives the truths about the ideal society, alcohol, drunkenness, causes of crime, longevity and law.

Leonardo's views of aesthetic are all important in his philosophy of life and art. The worker's thoughts on his craft are always of interest. They are doubly so when there is in them no trace of literary self-consciousness to blemish their expression. He recorded these thoughts at the instant of their birth, for a constant habit of observation and analysis had early developed with him into a second nature. His ideas were penned in the same fragmentary way as they presented themselves to his mind, perhaps with no intention of publishing them to the world. But his ideal of art depended intimately, none the less, on the system he had thrown out seemingly in so haphazard a manner. The long obscurity of the Dark Ages lifted over Italy, awakening to a national though a divided consciousness. Already two distinct tendencies were apparent. The practical and rational, on the one hand, was soon to be outwardly reflected in the burgher-life of Florence and the Lombard cities, while at Rome it had even then created the civil organization of the curia. The novella was its literary triumph. In art it expressed itself simply, directly and with vigour. Opposed to this was the other great undercurrent in Italian life, mystical, religious and speculative, which had run through the nation from the earliest times, and received fresh volume from mediaeval Christianity, encouraging ecstatic mysticism to drive to frenzy the population of its mountain cities. Umbrian painting is inspired by it, and the glowing words of Jacopone da Todi expressed in poetry the same religious fervour which the life of Florence and Perugia bore witness to in action. Italy developed out of the relation and conflict of these two forces the rational with the mystical. Their later union in the greater men was to form the art temperament of the Renaissance. The practical side gave it the firm foundation of rationalism and reality on which it rested; the mystical guided its endeavour to picture the unreal in terms of ideal beauty.The first offspring of this union was Leonardo. Since the decay of ancient art no painter had been able to fully express the human form, for imperfect mastery of technique still proved the barrier. Leonardo was the first completely to disengage his personality from its constraint, and make line express thought as none before him could do. Nor was this his only triumph, but rather the foundation on which further achievement rested. Remarkable as a thinker alone, he preferred to enlist thought in the service of art, and make art the handmaid of beauty. Leonardo saw the world not as it is, but as he himself was. He viewed it through the atmosphere of beauty which filled his mind, and tinged its shadows with the mystery of his nature. From his earliest years, the elements of greatness were present in Leonardo. But the maturity of his genius came unaffected from without. He barely noticed the great forces of the age which in life he encountered. After the first promise of his boyhood in the Tuscan hills, his youth at Florence had been spent under Verrocchio as a master, in company with those whose names were later to brighten the pages of Italian art. At one time he contemplated entering the service of an Oriental prince. Instead, he entered that of Caesar Borgia, as military engineer, and the greatest painter of the age became inspector of a despot's strongholds. But his restless nature did not leave him long at this. Returning to Florence he competed with Michelangelo; yet the service of even his native city could not retain him. His fame had attracted the attention of a new patron of the arts, prince of the state which had conquered his first master. In this his last venture, he forsook Italy, only to die three years later at Amboise, in the castle of the French king.

"Where ocean bathes earth's footstool these sea-bowersBedeck its solid wavelets: wise was heWho blended shore with deep, with seaweed flowers,And Naiads' rivulets with Nereids' sea." Strictly speaking the peninsula on which the city stands is of the form of a trapezium. It juts out into the sea, beating back as it were the fierce waves of the Bosphorus, and forcing them to turn aside from their straight course and widen into the Sea of Marmora, which the ancients called the Propontis, narrowing again as it forces its way between the near banks of the Hellespont, which rise abrupt and arid from the European side, and slope gently away in Asia to the foot of Mount Ida. Northwards there is the little bay of the Golden Horn, an arm as it were of the Bosphorus, into which run the streams which the Turks call the Sweet Waters of Europe. The mouth of the harbour is no more than five hundred yards across. The Greeks of the Empire spanned it by a chain, supported here and there on wooden piles, fragments of which still remain in the Armoury that was once the church of S. Irene. Within is safe anchorage in one of the finest harbours of the world. South of the Golden Horn, on the narrow tongue of land—narrow it seems as seen from the hills of the northern shore—is the city of Constantine and his successors in empire, seated, like the old Rome, on seven hills, and surrounded on three sides by sea, on the fourth by the still splendid, though shattered, medi?val walls. Northwards are the two towns, now linked together, of Pera and Galata, that look back only to the trading settlements of the Middle Ages.The single spot united, as Gibbon puts it, the prospects of beauty, of safety, and of wealth: and in a masterly description that great historian has collected the features which made the position, "formed by Nature for the centre and capital of a great monarchy," attractive to the first colonists, and evident to Constantine as the centre where he could best combine and command the power of the Eastern half of his mighty Empire. Byzantium Before Constantine.It is impossible to approach Constantinople without seeing the beauty and the wonder of its site. Whether you pass rapidly down the Bosphorus, between banks crowned with towers and houses and mosques, that stretch away hither and thither to distant hills, now bleak, now crowned with dark cypress groves; or up from the Sea of Marmora, watching the dome of S. Sophia that glitters above the closely packed houses, till you turn the point which brings you to the Golden Horn, crowded with shipping and bright with the flags of many nations; or even if you come overland by the sandy wastes along the shore, looking across the deep blue of the sea to the islands and the snow-crowned mountains of Asia, till you break through the crumbling wall within sight of the Golden Gate, and find yourself at a step deep in the relics of the middle ages; you cannot fail to wonder at the splendour of the view which meets your eyes. Sea, sunlight, the quaint houses that stand close upon the water's edge, the white palaces, the crowded quays, and the crowning glory of the Eastern domes and the medi?val walls—these are the elements that combine to impress, and the impression is never lost. Often as you may see again the approach to the imperial city, its splendour and dignity and the exquisite beauty of colour and light will exert their old charm, and as you put foot in the New Rome you will feel all the glamour of the days that are gone by.

A színészb?l lett detektív, Anthony Noir levelet kap Kaliforniából, melyben egy id?s h?lgy arra kéri, nyomozzon egy réges-régi ügyben. 1929 szilveszter éjszakáján az egyik híres hollywoodi filmsztár autóbalesetben elhunyt. A rejtélyes megbízó állítja, valójában kitervelt gyilkosság t?rtént. Anthony Noir a nem szokványos eset minden fellelhet? részletét megismeri, de nagy utazást kell megtennie, míg a filmcsillag titkára fényt derít…

To Rosamund, chief among those for whom these tales are told, The Book of Dragons is dedicated in the confident hope that she, one of these days, will dedicate a book of her very own making to the one who now bids eight dreadful dragons crouch in all humbleness at those little brown feet. ? To Rosamund, chief among those for whom these tales are told, The Book of Dragons is dedicated in the confident hope that she, one of these days, will dedicate a book of her very own making to the one who now bids eight dreadful dragons crouch in all humbleness at those little brown feet. The Book of Beasts: He happened to be building a Palace when the news came, and he left all the bricks kicking about the floor for Nurse to clear up—but then the news was rather remarkable news. You see, there was a knock at the front door and voices talking downstairs, and Lionel thought it was the man come to see about the gas, which had not been allowed to be lighted since the day when Lionel made a swing by tying his skipping rope to the gas bracket. And then, quite suddenly, Nurse came in and said, "Master Lionel, dear, they've come to fetch you to go and be King." Then she made haste to change his smock and to wash his face and hands and brush his hair, and all the time she was doing it Lionel kept wriggling and fidgeting and saying, "Oh, don't, Nurse," and, "I'm sure my ears are quite clean," or, "Never mind my hair, it's all right," and, "That'll do." "You're going on as if you was going to be an eel instead of a King," said Nurse. The minute Nurse let go for a moment Lionel bolted off without waiting for his clean handkerchief, and in the drawing room there were two very grave-looking gentlemen in red robes with fur, and gold coronets with velvet sticking up out of the middle like the cream in the very expensive jam tarts. They bowed low to Lionel, and the gravest one said: "Sire, your great-great-great-great-great-grandfather, the King of this country, is dead, and now you have got to come and be King." "Yes, please, sir," said Lionel, "when does it begin?" "You will be crowned this afternoon," said the grave gentleman who was not quite so grave-looking as the other. "Would you like me to bring Nurse, or what time would you like me to be fetched, and hadn't I better put on my velvet suit with the lace collar?" said Lionel, who had often been out to tea. "Your Nurse will be removed to the Palace later. No, never mind about changing your suit; the Royal robes will cover all that up." The grave gentlemen led the way to a coach with eight white horses, which was drawn up in front of the house where Lionel lived. It was No. 7, on the left-hand side of the street as you go up. Lionel ran upstairs at the last minute, and he kissed Nurse and said: "Thank you for washing me. I wish I'd let you do the other ear. No—there's no time now. Give me the hanky. Good-bye, Nurse."

ROMANCE and the HISTORY of walled cities are inseparable. Who has not felt this to be so at the sight of hoary ruins lichen-clad and ivy-mantled, that proudly rear their battered crests despite the ravages of time and man’s destructive instincts. It is within walled cities that the life of civilized man began: the walls guarded him against barbarian foes, behind their shelter he found the security necessary to his cultural development, in their defence he showed his finest qualities. And such a city—and such a history is that of Ancient Byzantium, the City of Constantine, the Castle of C?sar. What wonder then that man should endeavour to express by pen and pencil his sense of the greatness and beauty, the Romance of a Walled City such as Constantinople. The more so that a movement is on foot to remove these ancient landmarks of the history of Europe and Asia. True there are other works on this same subject, works by men deeply learned in the history of this fair city, works that bid fair to outlive the city walls if the fell intent of destroying them is carried into execution, and from these men and their works I derived inspiration and information, and so wish to chronicle my gratitude to them—Sir Edwin Pears and Professor van Millingen of Robert College, Constantinople. There are many others too in Constantinople to whom my thanks are due—His Majesty’s Vice-Consul, my host, his colleagues, now my friends, and many others too numerous to mention. They all have helped me in this work, and I am grateful for the opportunity offered me of here recording my thankfulness for their kind offices.B. Granville Baker.

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)

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Zsófi tizenhét éves és RHCP rajongói blogot ír, ezért nem is kérdés, hogy az idei Bábelfesztre egész hetes bérletet vesz, hiszen az utolsó nap sztárfellép?je a Red Hot Chili Peppers. Zsófinak ez lesz élete els? fesztiválja, amelyen barátaival, Napsival, Abdullal, Hipóval és Szaszával együtt vesznek részt. Ez pedig azt is jelenti, hogy t?bbnapos, ismeretlen olaszok utáni hajtóvadászat, az orvosi sátorban t?lt?tt hosszú órák és a VIP-szekcióba való kétségbeesett bejutási kísérletek is várnak rájuk. A folyamatos bulizás, sátorozás, a koncertek és a legelképeszt?bb k?z?s élmények felejthetetlenné teszik ezt a hét napot, s?t, talán az egész nyarat. "Nagyon ?rül?k, hogy Laurának sikerült megjeleníteni és t?kéletesen visszaadni a fesztiválok hangulatát, és kifejezetten tetszik a humora. Gratulálok!" (Gerendai Károly, a Sziget Fesztivál alapítója)

The girl had been an orphan from childhood, and Rowland Trowbridge had been almost as a father to her. Avice loved him and watched over him as a daughter; at least, that had been the case until lately. A few weeks since, Mr. Trowbridge had succumbed to the rather florid charms of Mrs. Black, his housekeeper, and told Avice he would marry her in a month. Though greatly surprised and not greatly pleased, Avice had accepted the situation and treated the housekeeper with the same pleasant courtesy she had always shown her. The two “got along” as the phrase is, though their natures were not in many ways congenial. Avice remained at the window till she saw at last Leslie Hoyt’s tall form approaching. She ran to open the door herself. “Oh, Judge Hoyt,” she cried, “Uncle hasn’t come yet! There must be something wrong! What can we do” THE MARK OF CAINBY CAROLYN WELLS AUTHOR OF “A CHAIN OF EVIDENCE,” “THE GOLD BAG,” “THE WHITE ALLEY,” ETC.WITH A FRONTISPIECE IN COLOR BY GAYLE HOSKINS

"Nyikorgó vasas szekerek: nehéz ládákat szállitanak a katonai szertárba. – Rakjátok le, – mondja a gyár f?igazgatója. Hosszúra n?tt úr, mint fák k?zt a jegenye. A fekete vidraprémes bunda szinte reverendának látszik rajta. Cilindert visel. A bundája gallérját felhajtotta, hogy kilépett az autójából, – csak épp az orrahegye látszik ki, meg a bajusza. Trencséniesen nyírott a bajusza, – azaz hát ango?losan. – Rakjátok le, – mondja, – és srófoljátok le ennek a fels? ládának a tetejét. Az ?sz els? dere fehérlett aznap a szertári udvar gyepén. A katonák keze v?r?s volt a hidegt?l. Az akácfákon már tél-túl lógott egy-egy sárga levél. Az udvar bels? sz?gletén, az iroda el?tt mintha ázott feketés rongyok éktelenkednének a lugason, z?ldesen feketés rongyok. K?zül?k néhány bibircsós futót?k sárgállott el?. Az ügyeletes kapitány némán váltott üdv?zlést a gyárossal. Mogorva volt és szintelen arcu, mintha valamiképpen rokona volna a bibircsós futót?knek. – Ennek a fels? ládának a tetejét, – mutatta a gyár igazgatója. – Valamennyiét, – harsogta a kapitány." (részlet)

Pulitzer-díj, 2017! Nemzeti K?nyvdíj (USA), 2016! ,,Az ?v K?nyve", Amazon.com, 2016! The New York Times-bestseller, 2016! ,,Az ?v K?nyve", The New York Times, 2016! Cora rabszolga egy georgiai ültetvényen, az élete maga a pokol - a k?rnyezetében talán senki sem szenved annyira, mint ?. Anyja magára hagyta a fiatal lányt, ráadásul barátai sincsenek, hiszen a rabszolgákat nem csupán az ültetvényesek sanyargatják, hanem ?k maguk is gy?trik a társaikat, kegyetlenül, brutálisan. Cora úgy látja, nincs más lehet?sége, mint a sz?kés. Amikor el?sz?r hall a f?ld alatti vasútról, a rabszolgák északra menekítésével foglalkozó, titkos szervezetr?l, elhatározza, hogy bármi t?rténjék is, útnak indul. Nem is sejti, milyen hosszú és gy?trelmes út vár rá... Colson Whitehead fordulatos, megindító regénye, A f?ld alatti vasút (The Underground Railroad) az 1800-as évek Amerikájába repíti az olvasót, ahol rabszolgatartók és abolicionisták feszülnek egymásnak szóval és tettel, s ahol a sz?k?tt rabszolgák és segít?ik büntetése kínhalál - a feketék élete ugyanis sokak szemében nem annyira értékes, mint fehér embertársaiké. A k?tet az elmúlt év talán legnagyobb irodalmi szenzációja és egyik leghangosabb k?nyvsikere. A hírek szerint a t?rténetb?l az Oscar-díjas Holdfény cím? film rendez?je, Barry Jenkins készül sorozatot forgatni.

The Trial (German: Der Process) is a novel by Franz Kafka about a character named Josef K., who awakens one morning and, for reasons never revealed, is arrested and prosecuted for an unspecified crime. According to Kafka's friend Max Brod, the author never finished the novel and wrote in his will that it was to be destroyed. After his death, Brod went against Kafka's wishes and edited The Trial into what he felt was a coherent novel and had it published in 1925.

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