This book is a guide for trans women who need help in their first steps to becoming who they are, as well as experienced trans women who wouldn't mind some more advice dealing with everyday issues they might face. The Road to becoming a Woman has never been easy. Even though society has changed over the years, humanity still has a long way to go... Some countries are more accepting, while others are not. This book highlights most of my experience as a transitioning woman living in Greece. A country that does not legally accept transgenders or support LGBT rights for that matter. My advice will help you avoid a lot of mistakes I’ve made in the past and hopefully have an easier time becoming who you are with less heartache. Being who you are is difficult but not impossible. Just stay true to yourself and remember... This is YOUR LIFE!

Edited, translated, and introduced by Anatoly Kudryavitsky, this bilingual anthology presents Russian short poems of the last half-century. It showcases thirty poets from Russia, and displays a variety of works by authors who all come from different backgrounds. Some of them are well-known not only locally but also internationally due to festival appearances and translations into European languages; among them are Gennady Aigi, Gennady Alexeyev, Vladimir Aristov, Sergey Biryukov, Konstantin Kedrov, Igor Kholin, Viktor Krivulin, Vsevolod Nekrasov, Genrikh Sapgir, and Sergey Stratanovsky. The next Russian poetic generation also features prominently in the collection. Such poets as Tatyana Grauz, Dmitri Grigoriev, Alexander Makarov-Krotkov, Yuri Milorava, Asya Shneiderman and Alina Vitukhnovskaya are the ones Russians like to read today. This anthology shows Russia looking back at itself, and reveals the post-World-War Russian reality from the perspective of some of the best Russian creative minds. Here we find a poetry of dissent and of quiet observation, of fierce emotions, and of deep inner thoughts.

Tales from the Riverside tells true and unique stories about one man’s struggle with alligators, snakes, killer bees, and hordes of nasty critters on a daily basis in his swamp. Experience the danger without the need for professional medical services. Life in a swamp is not for everyone.

Dvestotu godi?njicu Njego?evog ro?enja 2013. Knji?evna radionica Ra?i? obele?ila je objavljivanjem elektronske knjige pod naslovom Dela Njego?eva. Ova knjiga sadr?i obiman izbor Njego?evih najva?nijih dela: Gorski Vijenac, Lu?a mikrokozma, La?ni car ??epan Mali, Slobodijada, Glas kamen?taka, Pustinjak cetinski, Kula ?uri?i?a -- ?ardak Aleksi?a, Prozni zapisi, No? skuplja vijeka, te Izabrana pisma.

A book of love poems.? I Have Loved You Through the yearsI have loved youSince the painting of the skyEmerald, redStratus cloudsThe horse's maneCreated for you on that beautiful day Let the scroll of the heavens unwrapShowing an approbation for you and I;Let not the rays of the sun obstruct our viewWhen it is displayed Then, I will know the time has comeFor us to marry

Che cos'è che lo rende un uomo di super successo? Che cosa gli ha permesso di trasformare un'idea in una mega-compagnia che ha cambiato il mondo?? Che cosa, in lui, puoi rivedere in te, e cosa ti manca? Che cosa potresti imparare da lui?Leggi, e scoprilo. Il bisogno di capire coloro che ci circondano e ce l'hanno fatta in modi che superano la nostra immaginazione è insito in tutti noi. Questo desiderio innato è guidato dal nostro bisogno profondo e fondamentale di trovare modi migliori che ci permettano di raggiungere i nostri obiettivi, comprendere i nostri sogni e superare le sfide che ci si presentano. Questo libro parla degli eventi di fondo nella vita di Jeff Bezos e dei modi in cui hanno influenzato la sua vita, del modo in cui ha reagito ad essi e li ha usati a suo vantaggio. Il libro non pretende di conoscere le fibre di cui è composto il suo cuore - nessun uomo può conoscerle. Ma quello che fa è mettere insieme eventi e vedere le ombre che proiettano. Tutto ciò affinché tu possa trovare dentro di te gli elementi che potrebbero essere il seme del tuo successo, della tua realizzazione e grandezza. La storia di Bezos traccia un percorso attraverso la sua vita da giovane e osserva le sue azioni e conquiste, decifrando l'esistenza del suo più grande successo - Amazon - in un modo che riflette il suo carattere, il suo intelletto e la sua educazione. La sua storia è diversa da quella di altre persone di successo nella storia. Il suo marchio di etica del lavoro è familiare ma differente. Non aspettare un altro minuto! Scorri verso l'alto e clicca il pulsante

Editorul, criticul ?i istoricul literar clujean Irina Petra? propune lectorilor un studiu despre locurile favorite din literatura rom?n? ?i cea universal?, paginile de teorie literar? oferind nu pu?ine repere asupra predilec?iilor clasicilor autohtoni de la Eminescu ?i Creang? p?n? la Norman Manea ?i Marta Petreu. Cartea se adreseaz? elevilor, studen?ilor, precum ?i publicului larg de cititori.

Lidia Lazu semneaz? o poezie delicat-confesiv?, parcelat? pe momente distincte, cu o structur? de jurnal. De?i termenul structur? e oarecum inadecvat acestei materii de fr?gezimi ce se transcriu ca atare, f?r? grija unei osaturi, a unui tipar ce i-ar st?njeni fluiditatea, evanescent?. Fiin?a respir? neconstr?ns? de nimic, supus? doar clipei, ?nc?nta?iei tranzitoriului. A?tept?rile sale sunt naiv-fabuloase, ?n continuitatea unei copil?rii care nu s-a epuizat, care-?i tr?ie?te intens uimirile, dezvolt?ndu-le fin imaginativ... O atare autoscopie fantezista este rodul unei virtuozit??i a simplit??ii. Coeziunea textului se produce ?n jurul acestei neputin?e de a accepta ordinea pragmatic?, meschin?ria, ?n numele unei candori funciare. La polul opus criticismului luciferic, poeta se d?ruie lumii nu doar prin contempla?ie, ci ?i printr-un soi de automatism existen?ial, l?s?ndu-se ?n voia lui, sublim lipsit? de voin??. Ceea ce e o moral? a extazului. (Gheorghe Grigurcu)

Cartea e ca o pies? de teatru alc?tuit? din personaje, parantezele autorului, dialoguri, secven?e, scene, acte, cu leg?tura necesar?, intre acestea. ?n treac?t fie spus, critica poate s? ?ntre?in? longevitatea operei, dac? are destul? vigoare ?i dac? opera e de calitate. Sunt vorbe optimiste la vremea Internetului care, deocamdat?, nu de?ine puterea controlului critic ?i nici nu se ?ntrev?d ?anse de aceast? natur?. Tocmai de aceea pericolul dispari?iei c?rt?ii de h?rtie pare anun?area unui cataclism. Noi mai credem ?n ceva. R?m?ne hot?r?t c? interpretarea critic?, pentru a fi c?t mai aproape de text, trebuie s? se asocieze cu "partea estetic?" a demersului, care e scriitura, citatul, descrierea ?i altele. O "conversa?ie", pe c?t posibil neretoric?.

gata! Mito? Micleu?anu (n. 1972), pictor, scriitor, muzician. Cofondator al proiectului ?Planeta Moldova“.

O radiografie hermeneutic? a unor c?r?i-eveniment ce au v?zut lumina tiparului ?n perioada postdecembrist?, accentul fiind pus pe autorii interzi?i sub dictatur?, precum ?i pe c?r?ile poe?ilor ce devin, f?r? voia lor, o rara avis ?n societatea de tranzi?ie. Cartea se adreseaz? elevilor, studen?ilor, precum ?i publicului larg de cititori.

Sonetul contondentCelor doi / poe?i de mare soi...(Istrate ?i Murgeanu)Visam c? Marea-?i p?r?sea ghioculCu-al s?u tumult de valuri euxine?i, h?t-departe-n zonele alpine,Ca-n Cretaceu, ??i reg?sise locul...Priveam de-acuma fascinat la joculDe valuri ?n?esate de jivineDin vremuri disp?rute, care-n fine,??i ?ncercau, o dat?-n plus, norocul.Sim?eam o dulce binecuv?ntareC?-n groapa euxinic? ad?nc?O Mare Neagr? nu exist? ?nc?,Nici Casa Scriitorilor la mare;Nici doi poe?i cu barb?, bur?i ?i plete,S?-n?ire contondentele sonete.

Ninge ?n martieNinge ?ntr-un hornDin care iese fumNinge tot mai densCople?itor?i ?ntoarce fumul din drum?l preseaz? ?n horn ca-ntr-un teasc?l ?ndeas? la loc ?n c?rbuniAstup? flac?raRea?az? focul ?nMiezul ?nsu?i al P?m?ntului.

Adrian Punescu scrie proz cu degetele arse de miracolul poeziei, i de aici succesul tulburtor, care, n loc s mntuie, nspimnt, oblig i rtcete. Poet al fluenelor de liliac n grle de piatr rar, al brumelor de bronz, al cderii n rnile dorului i n hohote de chihlimbar, grav despicat de neiertare i de rzvrtire, Adrian Punescu intr n hotarele prozei prin vijelia reportajului. (...) Puin i pas dac lumea l aplaud sau l njur, el vrea s rstoarne i s cldeasc, i n-are timp s cpieze stnd ntr-un picior, viaa e scurt i, dac nu vrea s se ndrepte prin cntec (i nu vrea), trebuie rezidit din mers i nvat s cnte. Reportajul lui Punescu e, nainte de toate, unul de atitudine, adevrul sare din pagin ca miezul dintr-o ceap zdrobit cu pumnul (...), fulgerul, aparent liric i aparent hrnit de curcubeie, e un arc al ndoielii, un crlig veninos umblnd prin crpturile pmntului, strigtul doare, suspinul are ghimpi n cretet, gerul frige, apsarea nghea.Durabila for a reporterului Adrian Punescu vine de acolo c el n-are chef, n nici o pagin, s fie ru de but n apte linguri, ci numai fluviu azvrlindu-se n mare, cu toate aluviunile i rzboaiele sufletului.“

Michael Faraday (1791 –1867) was an English scientist who contributed to the fields of electromagnetism and electrochemistry. His main discoveries include those of electromagnetic induction, diamagnetism and electrolysis. Although Faraday received little formal education, he was one of the most influential scientists in history. It was by his research on the magnetic field around a conductor carrying a direct current that Faraday established the basis for the concept of the electromagnetic field in physics. Faraday also established that magnetism could affect rays of light and that there was an underlying relationship between the two phenomena. He similarly discovered the principle of electromagnetic induction, diamagnetism, and the laws of electrolysis. His inventions of electromagnetic rotary devices formed the foundation of electric motor technology, and it was largely due to his efforts that electricity became practical for use in technology. As a chemist, Faraday discovered benzene, investigated the clathrate hydrate of chlorine, invented an early form of the Bunsen burner and the system ofoxidation numbers, and popularised terminology such as anode, cathode, electrode, and ion. Faraday ultimately became the first and foremost Fullerian Professor of Chemistry at the Royal Institution of Great Britain, a life-time position.. Faraday was an excellent experimentalist who conveyed his ideas in clear and simple language; his mathematical abilities, however, did not extend as far as trigonometry or any but the simplest algebra. James Clerk Maxwell took the work of Faraday and others, and summarized it in a set of equations that is accepted as the basis of all modern theories of electromagnetic phenomena. On Faraday's uses of the lines of force, Maxwell wrote that they show Faraday "to have been in reality a mathematician of a very high order – one from whom the mathematicians of the future may derive valuable and fertile methods." The SI unit of capacitance is named in his honour: the farad. Albert Einstein kept a picture of Faraday on his study wall, alongside pictures of Isaac Newton and James Clerk Maxwell. Physicist Ernest Rutherford stated; "When we consider the magnitude and extent of his discoveries and their influence on the progress of science and of industry, there is no honour too great to pay to the memory of Faraday, one of the greatest scientific discoverers of all time". ABOUT AUTHOR: John Tyndall (1820 – 1893) was a prominent 19th-century Irish physicist. His initial scientific fame arose in the 1850s from his study of diamagnetism. Later he made discoveries in the realms of infrared radiation and the physical properties of air. Tyndall also published more than a dozen science books which brought state-of-the-art 19th century experimental physics to a wide audience. From 1853 to 1887 he was professor of physics at the Royal Institution of Great Britain in London. Tyndall was born in Leighlinbridge, County Carlow, Ireland. His father was a local police constable, descended from Gloucestershire emigrants who settled in southeast Ireland around 1670. Tyndall attended the local schools in County Carlow until his late teens, and was probably an assistant teacher near the end of his time there. Subjects learned at school notably included technical drawing and mathematics with some applications of those subjects to land surveying. He was hired as a draftsman by the Ordnance Survey of Ireland in his late teens in 1839, and moved to work for the Ordnance Survey for Great Britain in 1842. In the decade of the 1840s, a railroad-building boom was in progress, and Tyndall's land surveying experience was valuable and in demand by the railway companies. Between 1844 and 1847, he was lucratively employed in railway construction planning. In 1847 Tyndall opted to become a mathematics and surveying teacher at a boarding school (Queenwood College) in Hampshire. Recalling this decision later, he wrote: "the desire to grow intellectually did not forsake me; and, when railway work slackened, I accepted in 1847 a post as master in Queenwood College." Another recently arrived young teacher at Queenwood was Edward Frankland, who had previously worked as a chemical laboratory assistant for the British Geological Survey. Frankland and Tyndall became good friends. On the strength of Frankland's prior knowledge, they decided to go to Germany to further their education in science. Among other things, Frankland knew that certain German universities were ahead of any in Britain in expe-rimental chemistry and physics. (British universities were still focused on classics and mathematics and not laboratory science.)The pair moved to Germany in summer 1848 and enrolled at the University of Marburg, where Robert Bunsen was an influential teacher. Tyndall studied under Bunsen for two years.

ONE of the best things to be said of the stories in this volume is that, although they are not biographical, they are about real persons who actually lived and performed their parts in the great drama of the world's history. Some of these persons were more famous than others, yet all have left enduring "footprints on the sands of time" and their names will not cease to be remembered. ??In each of the stories there is a basis of truth and an ethical lesson which cannot fail to have a wholesome influence; and each possesses elements of interest which, it is believed, will go far towards proving the fallibility of the doctrine that children find delight only in tales of the imaginative and unreal. The fact that there are a few more than fifty famous people mentioned in the volume may be credited to the author's wish to give good measure.??SAVING THE BIRDS?ONE day in spring four men were riding on horseback along a country road. These men were lawyers, and they were going to the next town to attend court.?There had been a rain, and the ground was very soft. Water was dripping from the trees, and the grass was wet.?The four lawyers rode along, one behind another; for the pathway was narrow, and the mud on each side of it was deep. They rode slowly, and talked and laughed and were very jolly.?As they were passing through a grove of small trees, they heard a great fluttering over their heads and a feeble chirping in the grass by the roadside.? "Stith! stith! stith!" came from the leafy branches above them.?"Cheep! cheep! cheep!" came from the wet grass.?"What is the matter here?" asked the first lawyer, whose name was Speed.?"Oh, it's only some old robins!" said the second lawyer, whose name was Hardin. "The storm has blown two of the little ones out of the nest. They are too young to fly, and the mother bird is making a great fuss about it."?"What a pity! They'll die down there in the grass," said the third lawyer, whose name I forget.?"Oh, well! They're nothing but birds," said Mr. Hardin. "Why should we bother?"? "Yes, why should we?" said Mr. Speed.?The three men, as they passed, looked down and saw the little birds fluttering in the cold, wet grass. They saw the mother robin flying about, and crying to her mate.?Then they rode on, talking and laughing as before. In a few minutes they had forgotten about the birds.?But the fourth lawyer, whose name was Abraham Lincoln, stopped. He got down from his horse and very gently took the little ones up in his big warm hands.

When George Washington was a boy there was no United States. The land was here, just as it is now, stretching from the Atlantic Ocean to the Pacific; but nearly all of it was wild and unknown.??Between the Atlantic Ocean and the Allegheny Mo-untains there were thirteen colonies, or great settlements. The most of the people who lived in these colonies were English people, or the children of English people; and so the King of England made their laws and appointed their governors.??The newest of the colonies was Georgia, which was settled the year after George Washington was born.?The oldest colony was Virginia, which had been settled one hundred and twenty-five years. It was also the richest colony, and more people were living in it than in any other.??There were only two or three towns in Virginia at that time, and they were quite small.?Most of the people lived on farms or on big plantations, where they raised whatever they needed to eat. They also raised tobacco, which they sent to England to be sold.??The farms, or plantations, were often far apart, with stretches of thick woods between them. Nearly every one was close to a river, or some other large body of water; for there are many rivers in Virginia..

Romanul e captivant, bine scris, n ciuda unor efuziuni retorice prea lungi pe alocuri, care puteau fi scurtate. Un text elaborat de ctre un crturar, cu lecturi din Schopenhauer, Nietzsche, Jung sau Dostoievski fcute n profunzime, temeinic. n consecin, e un roman n care simbolurile apar la tot pasul, incifrate n text, n tehnica unui modernism hermeneutic care nu poate fi scos din ecuaie (…). Strict tehnic, ne aflm n faa unui Bildungsroman construit pe un scenariu clasic, de iniiere: tnrul Matei (toate numele sunt luate din Biblie…) interiorizeaz sfietor, dramatic moartea prematur a tatlui su, David, pierdut ntr-un accident de main pe Valea Oltului, se afl n conflict deschis cu mama sa, Riri, femeie pragmatic, dar intrat n faza unui deficit de cldura uman, mascat prin nervozitate, i i fixeaz ntreaga afeciune pe fiina compensativ a bunicului, Grig, mort i el spre sfritul romanului, i pe aceea a profesorului universitar Semion Ruda, stilat, elevat, aristorcatic, un concitadin de ocazie i tat-surogat, cruia, n cele din urm, protagonistul romanului i datoreaz relansarea intelectuala – viitor student n filosofie – i formarea literar, ca romancier, talentul compensativ al scrisului descoperindu-i-l oarecum fr premeditare sau ndemnuri din afar, ca pe o efervescen intern a propriei sale fiine. (tefan Borbély)Viaa cotidian este transferat n interioritate, iar tensiunile generatoare de suspans sunt direcionate ctre aceeai nevoie urgent de a deveni. Eroii Aurei Christi sunt fpturi aflate ntre lumi, ntre vrste, ntre maluri. (Irina Ciobotaru)Intenia vdit a autoarei este aceea de a explora personajele pn n adncul firii lor, astfel nct nu aciunea s stea n prim-plan, ci caracterele. (Bogdan Mihai Dasclu)

Aceasta nu este o arc? a salv?rii, a speran?ei, a regener?rii suflete?ti, nici locul ?n care personaje-kamikaze arunc? ?n jur ?n timpul sacrificiului lor, bun?tate, generozitate, bl?nde?e, ?n?elepciune, cump?tare. E o arc? simbolic?. Fictiv?, sau e chiar lumea noastr? condamnat? s? pluteasc? ?n deriv? pe un ocean sub care p?nde?te un tzunami apocaliptic? Da, ?ntr-adev?r, Breban nu neglijeaz? nici o specie, sunt toate conservate aici, e destul s? ?nl?turi dificila, fragila ?i totu?i rezistenta perdea ?esut? din mii de pagini de carte, ca s? descoperi o umanitate crud?, pe care mul?i dintre noi, dintre cititori sau autori avem tendin?a de a o evita, tendin?a de a o machia, de a-i face opera?ii estetice… Arca are capaciatatea de a re?nvia din cenu?a ?i de a ne propune o c?l?torie imaginar? spre o alt? dimensiune, ?ncerc?nd s?-i salveze deopotriv? pe credincio?i ?i pe atei, pe puternici ?i pe cei slabi, pe victime ?i pe c?l?i, pe mae?tri ?i pe discipoli, pe slugi ?i pe st?p?ni. Tu alegi de care parte vrei s? te afli, ?n afara arcei, pe arc? sau ?n structura ei intim? fragil? ?i totu?i rezistent?, capabil? s? te duc? spre cele mai insolite teritorii care ?nc? nu au fost inventate ?i pe care doar acul busolei lui Breban le indic? ?i le plaseaz? pe o hart? altfel inaccesibil?.

Mai ales inteligena speculativ i iueala fixrii prioritilor n cmpul de idei au facut din Rzvan Voncu un critic de ntmpinare imposibil de ignorat n peisajul literar romnesc.“ (Eugen Negrici)O panoram literar a ultimului deceniu. Istorie literar, evenimente editoriale. Cri de excepie i autori de excepie. Istoria ultimului deceniu de literatur romn semnat de Rzvan Voncu ofer un peisaj exact, descris n cunotin de cauz.

George Gissing est un auteur anglais estimé, dont les livres ont cependant été peu traduits et, souvent, relativement peu vendus, y compris dans sa contrée d'origine. Son ?uvre, comme sa biographie, est restée marginale, comme la plupart des écrivains, dont il a régulièrement décrit l'existence dans ses romans. Pourtant, il entretenait et dans une certaine mesure, en tant que sujet d'études, de recherche, entretient toujours des liens privilégiés avec la France, où il a passé les dernières années de sa vie. Revitrans fait revivre par la traduction en langue fran?aise des auteurs oubliés ou en marge, dont l'oeuvre ne trouve pas sa place dans l'édition classique. Cette brève nouvelle de Gissing, qu'on peut interpréter comme une forme de danse macabre, est sa première expérience, dont les suites dépendront des capacités du traducteur et des éventuelles réactions des lecteurs.