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Join Dickens on his night walks through London and discover the hidden night life of Victorian society. Dickens often suffered from insomnia and used his night-time wanderings to collect impressions and ideas giving him an insight into some of the hidden aspects of Victorian London. He incorporated these discoveries into many sketches and stories of this book.

A collection of most well known stories by Nathaniel Hawthorne. The title Twice-Told Tales, is based on a line from William Shakespeare's The Life and Death of King John: Life is as tedious as a twice-told tale. The collection was considered as one of the most influential for its time and Hawthorne praised for purity and effectiveness of thought.

Richard Mutimer is a young lower-class working-man who unexpectedly inherits a large fortune. He becomes the leader of a socialist movement and decides to use his inheritance to set up a cooperative factory. However, his new wealth and power serve to highlight the defects of his character and he begins to treat his workers harshly, as well as abandoning the girl of his own station to whom he had been engaged.

Miriam Baske, a young widow, freed from the constraints of making a living, leaves behind the grey stone chapels and flinty hearts of Lancashire for the sun and artistic splendour of Italy. She meets a host of her countrymen vacationing and occupying themselves with travel, art, philosophy, romance, and improving their health.

A young wealthy gentleman looses everything in speculation and is forced into a humble life of a grocer. He finds his circumstances tragic at first and keeps his fate secret from all his friends and family. He re-considers his attitudes only when the woman with whom he is falling in love discovers he is a grocer, and throws him over.

An officer by the name of Jilin served in the army in the Caucasus. One day he received a letter from home. It was from his mother, who wrote, 'I am getting old now, and I want to see my beloved son before I die. Come and say good-bye to me, and when you have buried me, with God’s grace, you can return to the Army. I have found a nice girl for you to marry; she is clever and pretty, and has some property of her own. If you like her perhaps you will marry and settle down for good.'

It once occurred to a King that if he knew the right moment when to begin on any work and the right kind of people to have or not to have dealings with and the thing to do that was more important than any other thing, he would always be successful. And he proclaimed throughout his kingdom that he would give a great reward to any one who could tell him what was the right moment for any action, and who were the most essential of all people, and what was the most essential thing of all to do.

Aleksandr Petrovich lives through a spiritual re-awakening that culminates with his release from the prison camp. The narrator has been sentenced to penalty deportation to Siberia and ten years of hard labour for murdering his wife. Dostoyevsky skillfully portrays the inmates of the prison with sympathy for their plight, and admiration for their energy, ingenuity and talent.

A young priest is preparing to spend three nights alone with the corpse of a dead witch and only his faith to protect him. He is ordered to supervise the waking of the dead witch in a small old wooden church of a remote village. Join the priest on his journey in this Sovereign Classic edition of Viy.

Volum nominalizat la sec?iunea ?Critic?. Istorie ?i Teorie Literar?“ – Premiile ?Observator cultural“, edi?ia a VI-a, 2012 Lucrarea de fa?? pleac? de la ideea c?, odat? cu sf?r?itul anilor ‘60/?nceputul anilor ‘70, se configureaz?, ?n context rom?nesc, o mi?care poetic? cu caracter experimentalist, care se ?ndep?rteaz? de paradigmele modernismului, urm?nd modelul avangardelor interbelice. Principiul fundamental al unei asemenea poezii trebuie c?utat ?n pragmatica ?tiin?ei contemporane, c?ci ea presupune elaborarea unor ?axiomatici“ (concretizate ?n abord?ri teoretice, programe ?i manifeste artistice), urmat? apoi de investigarea, printr-o mi?care de extensie, a limitelor, de c?utarea obstinat? a noului, care se raporteaz? la propria sa ?axiomatic?“ ?n calitate de diferen??, de ?paralogie“, extinz?ndu-i limitele, dar ?i problematiz?nd-o, printr-un demers care e constructiv ?i deconstructiv totodat?, contestatar ?i autocontestatar ?n acela?i timp.

Debut?nd cu volumul Mandala (Editura Vinea, 2005), Oana C?t?lina Ninu n-a ratat aproape niciunul dintre premiile care i-au ie?it in cale. O recunoa?tere, f?r? ?ndoial?, meritat?, ?ntruc?t vorbim despre cel mai semnificativ debut liric din anul respectiv. [...] Oric?t de rebele, reprezent?rile se topesc ?ntr-o sintax? aluvionar?, corodat? prin dialogism ?i nivelat? prin directe?e. De altfel, ?n Mandala, fracturat nu e at?t discursul, care se deruleaz? lent ?i f?r? intersti?ii vizibile, c?t universul reprezent?rilor, care suport? o macera?ie organizat? din partea unei viziuni schizoide. Poemele C?t?linei Ninu descriu, cu o fervoare incandescent?, cele mai diverse forme de mutilare, ?n slujba c?rora eul liric pune la b?taie un arsenal impresionant (foarfece, ace, ?urubelni?e, col?i, unghii, bricege, lame, epilatoare, v?traie etc.), care l-ar face s? p?leasc? de invidie pe un anumit conte austriac. ?i nu e de mirare, de vreme ce figura central? a Mandalei se prezint?, ?nc? din primul text al volumului, drept ?femeia foarfec?“. (Andrei Terian, ?n Ziarul de duminic?)?Fuga de feminitate“, exorcizarea umorilor feminine ?i a corporalit??ii maligne devine miza actului poetic, prin care femeia real? e ?nlocuit? prin ?femeia inscrip?ionat?“. El are ?ns? caracterul unei vivisec?ii, presupune scormonirea nemiloas? a fibrelor ?i a ?esuturilor, e o autotortur? aproape cu neputin?? de ?ndurat, astfel ?nc?t privirea introspectiv?, care scormone?te ca un bisturiu ?n profunzimea plasmei organice cunoa?te momente de relaxare, deplas?ndu-se (ca in ciclul Nu e timpul,fato) de la spectacolul visceralit??ii ?n criz? la filmul cotidianului. Acum, Oana C?t?lina Ninu abordeaz? reportajul autenticist, care cap?t? ?ns? aspectul ?picturilor metafizice“, unde realul e ?textualizat“, realc?tuit, devenind suportul reveriei thanatice, c?ci poeta descrie ?cet??i ale mor?ilor“, evoc? ritualuri funerare grote?ti sau sortilegii sanguinare. (Octavian Soviany ?n Luceaf?rul)Mandala este ?i una dintre figurile ini?ierii. Poezia se scrie ?mpotriva limbajului dat, ?mpotriva sensului uzat, cu sufletul, dar ?mpotriva lui, cu trupul, dar ca mortificare a trupului, cu durere, ca singur vaccin al durerii prin smulgerea ei din trup ?i a?ezarea ei ?n pagin?. (Alex Matei ?n Observator cultural)Poemele se sus?in unele pe altele ?ntr-o ordine nu mecanic?, de domino, ci subversiv?: ?povestea“ ?nainteaz? exclusiv de la un ciclu la altul. ?n interiorul secven?elor, numai discurs: fragmentele narative sunt sincopate ori deturnate. O anume urgen?? a durerii, o panic? reverberat? fiziologic ?n prima parte a volumului (mandala) cedeaz? locul unei aluviuni de repro?uri distante mim?nd refrenul (nu te mai preface ana), apoi unei terapii solitare, cu oscila?ii ?i indecizii (nu e timpul fato). Iat? o radiografiere par?ial? a zonelor liminare. P?n? aici, nu de pu?ine ori scabrosul corporal (sexual sau nu, dup? caz) conserv? atmosfera co?maresc?, comparabil? aceleia din Capriciile lui Goya. (Cosmin Ciotlo? ?n Rom?nia literar?).