Join Mark Twain on his trip on board a steamboat from St. Louis to New Orleans. He describes the competition from railroads, and the new, large cities, and adds his observations on greed, gullibility, tragedy, and bad architecture. The book also introduces a brief history of the river as reported by Europeans and Americans, beginning with the Spanish explorer Hernando de Soto.

We follow continued adventures of David Blafour. He attempts to gain justice for James Stewart, who has been arrested and charged with complicity in the Appin Murder. David makes a statement to a lawyer and goes on to meet Lord Prestongrange, the Lord Advocate, to press the case for James' innocence.

For Epicurus, the purpose of philosophy was to attain the happy, tranquil life, characterized by peace and freedom from fear, the absence of pain, and by living a self-sufficient life surrounded by friends. He taught that pleasure and pain are the measures of what is good and evil; death is the end of both body and soul and should therefore not be feared; the gods neither reward nor punish humans; the universe is infinite and eternal; and events in the world are ultimately based on the motions and interactions of atoms. Although much of Epicurus' written work has been lost, the remaining principle doctrines and his letters featured in this book provide an insight into the Epicurean school of thought, which was originally based in the garden of his house and thus called The Garden.

Esmeralda, a beautiful Gypsy street dancer with a kind and generous heart, captures the hearts of many men, including those of Captain Phoebus and Pierre Gringoire, a poor street poet, but especially Quasimodo and his adoptive father, Claude Frollo, the Archdeacon of Notre Dame. Frollo is torn between his obsessive lust and the rules of the church. He orders Quasimodo to kidnap her, but the hunchback is captured by Phoebus and his guards, who save Esmeralda.

Tom Sawyer lives with his Aunt Polly and his half-brother, Sid. One day Tom, his friend Joe Harper, and Huck Finn decide to become pirates. The three find a raft and establish camp on Jackson's Island, where they enjoy a carefree life of fishing, swimming, and playing. When a steamboat passes by firing cannons over the water, the boys realize that they are presumed to be drowned. Tom sneaks home at night in order to leave Aunt Polly a reassuring note that they are all right, but he changes his mind when he overhears that church services are planned for the deceased boys if they are not found by Sunday. The funeral services are secretly attended by the boys, and all rejoice when the dead boys casually stroll down the aisle.

There was once upon a time a couple of folks who had a son called Halvor. Ever since he had been a little boy he had been unwilling to do any work, and had just sat raking about among the ashes. His parents sent him away to learn several things, but Halvor stayed nowhere, for when he had been gone two or three days he always ran away from his master, hurried off home, and sat down in the chimney corner to grub among the ashes again...

Dmitri Olenin, a privileged disenchanted nobleman joins the army as a cadet, in the hopes of escaping the superficiality of his daily life. In his quest to find completeness, he naively hopes to find serenity among the simple people of the Caucasus. The novel is partially based on Tolstoy's own experiences in the Caucasus during the Caucasian War.

Sherlock, one of the greatest detectives of all time. This Fractal Press edition features complete collection of the four Sherlock Holmes novels, including: A Study in Scarlet, The Sign of the Four, The Hound of the Baskervilles, The Valley of Fear.

Charles Pooter and his wife Caroline have just moved to a new home. Mr Pooter is a City of London clerk with Perkupps. The couple have a 20-year-old son, Lupin, who works as a bank clerk in Oldham. From the beginning a pattern is set whereby the small vexations of the Pooters' daily lives are recounted, many of them arising from Pooter's unconscious self-importance and pomposity. Trouble with servants, tradesmen and office juniors, together with minor social embarrassments and humiliations, occur regularly.

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.

In this continuing sequel to The Three Musketeers, d'Artagnan resigns as captain of the Musketeers as he perceives the young king Louis XIV as weak-willed. He resolves to aid the exiled Charles II to retake the throne of England, unaware that Athos is attempting the same. With their assistance Charles II is restored to the throne and d'Artagnan is rewarded richly.

LA is a beast. A city that swallows most with its glamour and glitz. However, as a science fiction writer, Sarah Fuller has a hard time trying to fit in with the socialites, granola moms and trendy hipsters. That’s why she chooses to passively sit by and make fun of them. No one is safe from her ridicule. Thrown back into the dating arena in her late thirties, Sarah encounters brand new challenges. Readers will laugh out loud at the adventures and mishaps this sassy protagonist gets herself into. She explores LA life, seeing it through her unique lens. Adventures in WeHo, drag queen bingo, pot dispensaries and all the strangeness that comes out of LA weave together in this crazy, episodic adventure. Can you handle the absurdities?? Fans of Chelsea Handler and Sex in the City will love Everyone in LA is an Asshole, a series that doesn’t hold back and says what we’re all secretly thinking.? ?

Doomsday is here and the earth is suffering with each breath she takes. Whether it’s from the nuclear meltdown, the wrath of the Four Horsemen, a war with technology, or a consequence of our relationship with the planet, humanity is left buried and hiding, our bones exposed, our hearts beating somewhere in our freshly slit throats. This is a collection that strips away civilization and throws readers into the lives of its survivors. The poems inside are undelivered letters, tear-soaked whispers, and unanswered prayers. They are every worry you’ve had when your electricity went out, and every pit that grew in your stomach watching the news at night. They are tragedy and trauma, but they are also grief and fear, fear of who—or what—lives inside us once everything is taken away. These pages hold the teeth of monsters against the faded photographs of family and friends, and here, Wytovich is both plague doctor and midwife, both judge and jury, forever searching through severed limbs and exposed wires as she straddles the line evaluating what’s moral versus what’s necessary to survive. What’s clear though, is that the world is burning and we don’t remember who we are. So tell me: who will you become when it’s over? "Reading this collection is like dancing through Doomsday, intoxicated by the destructive, decadent truth of desire in our very mortality." --Saba Syed Razvi, author of?Heliophobia?and?In the Crocodile Gardens "Vivid, each word a weight on your tongue, these poems taste of metal and ash with a hint of spice, smoke. She reminds us the lucky ones die first, and those who remain must face the horrors of a world painted in blisters and fear." --Todd Keisling, author of?Ugly Little Things?and?Devil's Creek "Set in a post-apocalyptic world that at times seems all too near, Wytovich's poems conjure up frighteningly beautiful and uncomfortably prescient imagery." --Claire C. Holland, author of?I Am Not Your Final Girl "A surreal journey through an apocalyptic wasteland, a world that is terrifyingly reminiscent of our own even as the blare of evacuation alarms drowns out the sizzle of acid rain, smiling mannequins bear witness to a hundred thousand deaths, and "the forest floor grows femurs in the light of a skeletal moon."--Christa Carmen, author of?Something Borrowed, Something Blood-Soaked "Like a doomsday clock fast-forwarding to its final self-destruction, Wytovich's poetry will give you whiplash as you flip through page after page. The writing here is ugly yet beautiful. It reads like a disease greedily eating up vital organs. The apocalypse has arrived and it couldn't be more intoxicating!"--Max Booth III, author of?Carnivorous Lunar Activities

"Volumul Picaj al Ioanei Miron e de fapt un poem amplu scris parc? sub imperiul aceleia?i st?ri, una a dezordinii interioare, a hausului existen?ial. Poezia ?ncearc? s? pun? ordine ?ntr-o lume dezmembrat? ?i schizoid?. Spa?iile psihice sunt ?n acord cu toate acele lucruri dezlocuite de sens. Cea care a decis s? dep??easc? un oarecare prag existen?ial are nevoie de o propulsare spre altceva cu adev?rat autentic ?i plin de con?inut. De aici, un r?zboi interior, o tenta?ie a punctului zero, un picaj. Cartea nu descrie traiectoria descendent? a unui spirit din ce ?n ce mai lucid. Nu e vorba aici de o probu?ire, dup? cum ar putea sugera titlul. Confruntarea cu limita (suportabilit??ii?) stimuleaz? ?nfiriparea unei dimensiuni material-spiritual?. Materialitatea dur?, abraziv?, t?ioas? poate fi ?n?eleas? ?n dou? feluri: ca nevoie de echilibru, de fixitate ?i, mai plauzibil, ca o ?ngreunare a spiritului dornic de libertate. Dincolo de toate acestea, timpul cunoa?te reprezent?ri clar delimitate:? ?ncet ?ncet ne facem loc aici/ o s? ne aciu?m mai bine/ cine ne spune cu adev?rat cine suntem cine o s? ne descopere/ de ce s? taci ?ine-m? bine minte/ ?mpreun? am scotocit prin d?rm?turi/ ?i cu toate astea n-ai dat impresia de nesiguran??/ s?-mi poveste?ti ce ?i c?nd/ cum ?i de ce se ?nt?mpl? s? mai ?i uit?m/ ?n lipsa concentr?rii aerul devine ?ngust/ & str?zile cu tot restul/ bitimul cald ?mp?ienjenit privirile ?ntinse/ un loc sigur ?n care te infiltrezi”." (?erban Axinte) "Poezia Ioanei Miron face chiar lucrurile pe care teoriile literare au ?ncercat mereu f?r? succes s? le explice. Alege diferite scenarii existen?iale ?i decupeaz? secven?ele relevante pentru circula?ia unei energii speciale. Face acest lucru chiar ?i atunci c?nd reformuleaz? mizele t?cerii: "am ?nv??at s? mim?m t?cerea/ despre noi ?i despre al?ii am ?nv??at/ s? fim o singur? gur? din care iese orice imbold orice/ striden??". Arta Ioanei Miron ?ine mai ales de injectarea cu for?? a unor expresii al c?ror sunet pare str?in de ceea ce ?tim deja c? este poezie ?i totul se ?nt?mpl? contur?nd circuite controlate poetic. Dintre variantele de titlu pe care Ioana Miron mi le-a ar?tat, "Blocaje tactile" era sintagma care mie mi se p?rea c? sugereaz? linia investiga?iei poetice din acest volum: "schimb?ri comune gesturi banale/ facem corp comun cu obiectele/ am stat pe iarb? important e s? fim ?n locuri cunoscute ?i/ sigur te-a? convinge/ s? ne ?nt?lnim la ?nt?mplare s? ?nlocuim/ aerul cu sufl?rile tale tactile/". S-ar putea s? m? fi ?n?elat, ?ns? picajul este numai cadrul acestui demers ?n care se ?nc?p???neaz? Ioana Miron, ?n ciuda tuturor celor care ?in s? rezume poezia la fluctua?iile ipocriziei militante." (R?zvan ?upa)

Cartea Autori ?i opere reune?te prefe?e, postfe?e, studii introductive ori de sine st?t?toare elaborate de-a lungul mai multor decenii de profesorul Ion Iano?i, rev?zute ?i ?mbun?t??ite pentru actuala edi?ie. Lucrarea ?nsumeaz? trei volume, cu subtitlurile: Culturi occidentale, Cultura rus?, Cultura rom?n?. Volumul I, Culturi occidentale, cuprinde 15 studii, organizate ?n trei par?i. Partea 1 trateaz? ?ase scriitori clasici ?i importante opere ale lor, majoritar rom?ne ale secolului XX. Partea a 2-a analizeaz? tot ?ase scrieri distincte apar?in?nd unor g?nditori ilu?tri din veacurile XIX ?i XX. Partea a 3-a prezint? opera de ansamblu a c?torva filosofi. Printre autorii discuta?i ?i amintim pe Italo Svevo, Franz Kafka, Robert Musil; Heinrich Heine, Friedrich Nietzsche, Martin Heidegger: dup? cum se vede, ?n majoritatea lor de limb? german?. Volumele Autori ?i opere ?ntregesc monografiile profesorului Ion Iano?i, prima – pe cele despre Thomas Mann ?i Hegel, cea de a doua – despre Dostoievski ?i Tolstoi, cea de a treia – despre Constantin Noica. Astfel, ele ?mplinesc preocup?ri de o via?? cu privire la figuri tutelare din literatura ?i filosofia german?, rus? ?i rom?neasc?, din ultimele secole.

Volumul de eseuri Melancolii portugheze radiografiaz? c?teva dintre v?rstele literaturii portugheze. Secven?ele alese ?i au ca protagoni?ti pe Luis de Camoes, Mariana Alcoforado, Fernando Pessoa, José Saramago ?i Antonio Lobo Antunes. De la ardoarea baroc? la melancolie, de la ie?iri patetice la replieri nostalgice, traseul puncteaz? treptele ?i centrii de tensiune ai unui tip de sensibilitate aparte, ?ntors, dup? expresia lui Camoes, ?cu spatele la p?m?nt ?i fa?a spre mare“. Demersul nu va fi str?in de procedeele, artificiile ?i ?ntregul arsenal al criti-fic?iunii.

Geo Vasile ne propune o selec?ie riguroas? de 100 de prozatori ?i esei?ti ale?i din ?ntreaga istorie a literaturii. Elementul inedit, provocator ?i inevitabil ?n acest context este selectarea ?i plasarea, evident, justificat?, a unor redutabili prozatori ?i esei?ti rom?ni ?n contextul generos ?i selectiv deopotriv? al concertului universal al litera?ilor. Astfel, al?turi de autori precum Paul Auster, Saul Bellow, Mario Vargas Llosa, Julio Cortázar, Henri Miller, Philip Roth etc., sunt a?eza?i Nicolae Breban, Augustin Buzura, Petru Cimpoe?u ?i mai tinerii s?i colegi, argumenta?ia adus? ?n arena de litere de istoricul ?i criticul literar Geo Vasile fiind una perfect justificat?, iar criteriul de selec?ie – unul atotputernic: valoarea.

Szívhang 564–565. - Szívz?r

Apa karácsonyra, ?gb?l pottyant ?r?kség

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?).