The Red Badge of Courage follows events of the American Civil War, and life of a young private of the Union Army, Henry Fleming, who flees from the field of battle. Overcome with shame, he longs for a wound, a red badge of courage, to counteract his cowardice. When his regiment once again faces the enemy, Henry acts as standard-bearer.

Three visitors find shelter from a blizzard at Pat Scully's hotel: a nervous New Yorker known as the Swede, a rambunctious Westerner named Bill, and a reserved Easterner called Mr. Blanc. The Swede becomes increasingly drunk, defensive, and reckless. He is later murdered at the bar.

Kidnapped is a historical adventure novel set around 18th-century Scottish events, notably the Appin Murder, which occurred near Ballachulish in the aftermath of the Jacobite Rising. Many of the characters, and one of the principals, Alan Breck Stewart, were real people.

We follow Professor Challenger to a South American plateau in the Amazon basin where dinosaurs and other extinct creatures still survive. A legendary work of science fiction which sparked the Lost World genre.

Four Faultless Felons includes The Moderate Murderer, The Honest Quack, The Ecstatic Thief, and The Loyal Traitor. Chesterton's protagonist's faultless crimes include: murder, fraud, theft, and treason. They are motivated by good intentions of course, by altruism and virtues.

The story tells of a prince who wants to marry a princess, but is having difficulty finding a suitable wife. One stormy night a young woman drenched with rain seeks shelter in the prince's castle. She claims to be a princess, so the prince's mother decides to test their unexpected guest by placing a pea in the bed she is offered for the night. The Princess and The Pea is one of the twenty stories featured in this timeless collection of fairy tales by Hans Christian Andersen.

In one of those beautiful valleys, through which the Thames not yet polluted by the tide, the scouring of cities, or even the minor defilement of the sandy streams of Surrey rolls a clear flood through flowery meadows, under the shade of old beech woods, and the smooth mossy greensward of the chalk hills which pour into it their tributary rivulets, as pure and pellucid as the fountain of Bandusium, or the wells of Scamander, by which the wives and daughters of the Trojans washed their splendid garments in the days of peace, before the coming of the Greeks...

The Archdeacon, although allowing that Grace is a lady, doesn't think her of high enough rank or wealth for his widowed son; his position is strengthened by the Reverend Mr Crawley's apparent crime. Almost broken by poverty and trouble, the Reverend Mr Crawley hardly knows himself if he is guilty or not; fortunately, the mystery is resolved just as Major Grantly's determination and Grace Crawley's own merit force the Archdeacon to overcome his prejudice against her as a daughter-in-law.

The aim of this book is to assist towards the removal of nervous irritants, which are not only the cause of much physical disease, but materially interfere with the best possibilities of usefulness and pleasure in everyday life.

It was approaching nightfall. The sexton, Savely Gykin, was lying in his huge bed in the hut adjoining the church. He was not asleep, though it was his habit to go to sleep at the same time as the hens. His coarse red hair peeped from under one end of the greasy patchwork quilt, made up of coloured rags, while his big unwashed feet stuck out from the other. He was listening. His hut adjoined the wall that encircled the church and the solitary window in it looked out upon the open country. And out there a regular battle was going on. It was hard to say who was being wiped off the face of the earth, and for the sake of whose destruction nature was being churned up into such a ferment; but, judging from the unceasing malignant roar, someone was getting it very hot.

O edi?ie aniversar?, dedicat? unuia dintre cei mai mari creatori europeni, realizat? cu participarea unor importante personalit??i ale culturii rom?ne (Nicolae Balota, Eugen Simion, Nicolae Manolescu etc.); edi?ie special? ce con?ine o bogat? iconografie. Textele sunt menite s? omagieze o legend? vie a literaturii rom?ne – ctitor, al?turi de Liviu Rebreanu ?i Hortensia Papadat-Bengescu, al romanului modern.

Lidia Lazu a scris aceste poeme. i pe urm a uitat c le-a scris. Le-a gsit pe marginea unei ferestre, ciugulite de psrile cerului, cu frumuseea pierdut pentru totdeauna – c toate lucrurile sortite s ntrein miracolul existenei. Acesta este mitul n jurul cruia ar putea s se consolideze o ntreag oper poetic. Eu cred c nici unul dintre poeii romni nu a reuit s construiasc o asemenea imagine, care ntr-adevr s ne reprezinte ntr-un asemenea chip i ntr-o asemenea msur. Lidia Lazu scrie din preaplinul firii sale. (...) Ea face parte dintre acei oameni care nu scriu din pricina slbiciunilor lor, ci din pricina prea multelor daruri cu care a fost nzestrat de Dumnezeu.“ – Mircea Ciobanu

Sub limita de detec?ieVorbi?i ?n ?oapt?Ceva se petreceSub pragul vostru auditiv.A?a cum silabele gurii taleSunt sorbite de timpanele ei, tot astfelAcolo, ?n ad?nc,Picur? ceva –P?m?ntului ?i scap? lacrimiPe care le-nghit r?d?cinile;Acolo, ?n ?naltSe spulbera ceva –V?zduhului ?i scap? lacrimiPe care le-nghit ?ngerii.E un plan?et f?r? istovAl lucrurilor, fertil –Doar c? se petreceSub limita de detec?ie.

"I am a human being; I am a woman; I am a black woman; I am an African. Once I was free; then I was captured and became a slave; but inside me, here and here, I am still a free woman."During a period of four hundred years, European slave traders ferried some 12 million enslaved Africans across the Atlantic. In the Americas, teaching a slave to read and write was a criminal offense. When the last slaves gained their freedom in Brazil, barely a thousand of them were literate. Hardly any stories of the enslaved and transported Africans have survived.This novel is an attempt to recreate just one of those stories, one story of a possible 12 million or more.Lawrence Hill created another in The Book of Negroes (Someone Knows my Name in the U.S.) and, more recently, Yaa Gyasi has done the same in Homegoing. Ama occupies center stage throughout this novel. As the story opens, she is sixteen. Distant drums announce the death of her grandfather. Her family departs to attend the funeral, leaving her alone to tend her ailing baby brother. It is 1775. Asante has conquered its northern neighbor and exacted an annual tribute of 500 slaves. The ruler of Dagbon dispatches a raiding party into the lands of the neighboring Bekpokpam. They capture Ama. That night, her lover, Itsho, leads an attack on the raiders’ camp. The rescue bid fails. Sent to collect water from a stream, Ama comes across Itsho’s mangled corpse. For the rest of her life she will call upon his spirit in time of need. In Kumase, the Asante capital, Ama is given as a gift to the Queen-mother. When the adolescent monarch, Osei Kwame, conceives a passion for her, the regents dispatch her to the coast for sale to the Dutch at Elmina Castle. There the governor, Pieter de Bruyn, selects her as his concubine, dressing her in the elegant clothes of his late Dutch wife and instructing the obese chaplain to teach her to read and write English. De Bruyn plans to marry Ama and take her with him to Europe. He makes a last trip to the Dutch coastal outstations and returns infected with yellow fever. On his death, his successor rapes Ama and sends her back to the female dungeon. Traumatized, her mind goes blank. She comes to her senses in the canoe which takes her and other women out to the slave ship, The Love of Liberty. Before the ship leaves the coast of Africa, Ama instigates a slave rebellion. It fails and a brutal whipping leaves her blind in one eye. The ship is becalmed in mid-Atlantic. Then a fierce storm cripples it and drives it into the port of Salvador, capital of Brazil. Ama finds herself working in the fields and the mill on a sugar estate. She is absorbed into slave society and begins to adapt, learning Portuguese. Years pass. Ama is now totally blind. Clutching the cloth which is her only material link with Africa, she reminisces, dozes, falls asleep. A short epilogue brings the story up to date. The consequences of the slave trade and slavery are still with us. Brazilians of African descent remain entrenched in the lower reaches of society, enmeshed in poverty. “This is story telling on a grand scale,” writes Tony Sim?es da Silva. “In Ama, Herbstein creates a work of literature that celebrates the resilience of human beings while denouncing the inscrutable nature of their cruelty. By focusing on the brutalization of Ama's body, and on the psychological scars of her experiences, Herbstein dramatizes the collective trauma of slavery through the story of a single African woman. Ama echoes the views of writers, historians and philosophers of the African diaspora who have argued that the phenomenon of slavery is inextricable from the deepest foundations of contemporary western civilization.” Ama, a Story of the Atlantic Slave Trade, won the 2002 Commonwealth Writers Prize for the Best First Book.

The Portuguese visual artist Paula Rego has inspired this trilogy of plays. Her paintings Crivelli’s Garden, The Prey and Breaking China became the catalyst for writing by theatre maker Fiona Graham. Commissioned by Theatre Centre and Komedia, these three new plays were developed for specific audiences through a series of artist/audience residencies and collaborations. These works have toured Britain and been re-staged in Portugal and Singapore. Crivellis’s Garden was created for a 16+ audience and explores rites of passage as two young women decide whether they should stay or leave their fishing village to go to university in Portugal. Between Friends is for 7 -11 year olds and examines the politics of friendship between three young people when they are shipwrecked and abandoned in a lighthouse. Breaking China is for 4-8 year olds and shows the importance of creative play and storytelling when making sense of change and adversity. About the authorDR FIONA GRAHAMFiona teaches dramaturgy at Goldsmiths University. Previously she spent over a decade in New Zealand writing and teaching at Auckland University. Her plays include: Passage (The Herald Theatre, Auckland 2010), Breaking China (Theatre Centre, 2002 and Singapore’s International Festival, 2004) and Legacy (for Massive Theatre Company, 1998). Most recently she worked as dramaturge with Otago University and Talking House Theatre Company on Be/Longing and Hush, with Red Leap Theatre Company on Paper Sky and Sea, with playwright Mei-Lin Hansen on The Mooncake And The Kumara, with Winning Productions on I Wanna Be -- Ponsonby and Carol Brown on 1000 Lovers and the Pah Collective. Her book Catalyst For Change: The Interventions of the Dramaturge was published in New Zealand in 2017. Reviews: ‘Graham’s poetically eloquent script flows like molten silver and should give students, teachers and other theatregoers much to think about’ (on Crivelli’s Garden) – The Stage ‘A prime example of how an excellent script innovatively directed and beautifully performed can be applied to a wide age range. This joyful production provides much food for thought.’ (on Breaking China) – The Stage

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