A negatív érzelmek - mint a b?ntudat, a düh, a kétség, a csalódás - nyomot hagynak a lelkünkben. Minél hosszabb id?n át vagyunk kitéve ezeknek a rossz érzelmi állapotoknak, annál maradandóbbak lesznek a nyomaik is. Kurt Tepperwein kifejlesztett egy eredményes lelki méregtelenít? módszert, amellyel fel tudjuk frissíteni, s?t úgyszólván újraéleszthetjük a lelkünket. Meggy?z? és k?nnyen alkalmazható programmal magyarázza el az okokat; hogy hogyan szabadulhatunk meg a negatív mintáktól; és hogy mely tényez?k segítik a lelki higiénét. A nélkül?zhetetlen tanácsadó k?nyvet egy sor személyes kérdéslista és az ?nvizsgálat elvégzéséhez való gyakorlati útmutató teszi teljessé. "Ismerjük fel, hogy minden helyzetben megvan a lehet?ségünk arra, hogy eld?ntsük, mit állítunk a k?zéppontba, és hogyan akarunk reagálni. K?vessenek az úton, és meglátják, hogy minden bosszantó helyzetben van legalább egy olyan aspektus, amely hálára vagy ?r?mre adhat okot."

Várostrom, varázslat, lovagi torna. Mindez Balatónia szomszédságában, a fajszok f?ldjén, ahol az udvaronccá cseperedett Rév Fül?p újra fontos szerepet kap, és azt is megtudja, mi a teend?, ha j?nnek a siófok. De hova lehetett Fajszf?ld uralkodója, Hatodik (Torkos) Hollád király, aki sz?rén-szálán elt?nt?

Cred ?n sensibilitatea publicului fa?? de un teatru al ideilor, dar ?i fa?? de un teatru de ac?iune fidel formelor clasice. Cu riscul de a fi considerat un manierist, accept aceast? etichet?, dac? ?mi aleg drept modele nume ca Montherlant, Camus, Vallejo sau Camil Petrescu. Am ?ncercat s? tratez una dintre marile teme ale dramaturgiei universale, care ?ncepe cu vechii greci ?i se ?mpline?te ?n teatrul clasic francez: conflictul dintre datorie ?i pasiune. Drama apare atunci c?nd cele dou? imperative devin divergen?e ?i ea se poate reg?si ?i azi de la marii lideri politici la oamenii de r?nd. Dar pentru a o ilustra am ales varianta teatrului istoric, deoarece (pentru a-l cita pe Henri Rochefort ) ?viitorul, ?n momentul de fa??, pare at?t de sumbru, ?nc?t am sim?it s? m? hr?nesc o vreme cu trecutul". Drama personajelor mele, fie c? este vorba despre Ugo, fie c? este vorba despre printul Rudolf, este e?ecul ?nregistrat ?n ?ncercarea de a le g?si un liant, de a le ?mp?ca. Am v?zut ?n Rudolf de Habsburg un adev?rat profet al lumii moderne… care a prev?zut toate catastrofele secolului al XX-lea ?i a ?ncercat s? orienteze politica austriaca ?ntr-o alta direc?ie. Dar via?a sa privat?, departe de a fi un model, a dejucat acest plan. El dispare pentru c? nu-?i mai g?se?te locul ?n lumea lui, ?n timp ce Ugo d’Este ??i accept? sf?r?itul din acela?i motiv. (Corneliu ?enchea)

nainte de orice altceva, Poezia de la Gndirea este o carte despre slbiciunea conceptelor. Ce mai definesc azi cuvinte precum tradiionalism sau modernism ntre rzboaie, termenii au polarizat probabil toate disputele, nelsnd n stare de neutralitate aproape nimic. Nu-i vorba, nu ideologiile fac literatura. Iar cnd este vorba despre poezie, lucrurile sunt cu atat mai complicate. Or, privind napoi cu suspiciune, Mircea A. Diaconu realizeaz nu doar o descriere comparativa a principalelor constante ale poeziei de la Gndirea, ci si o anatomie – sceptic mcar – a conceptelor n disputa lor cu realitatea de fapt. Criticii conceptelor – dublate de o ncercare de refundamentare a lor – i rspunde o analiz minuioas, fr parti-pris-uri, a realitii de fapt. n distana aceasta, dintre concept i realitate, ptrunde ochiul deopotriv al istoricului i al criticului literar. Iar ceea ce rezult nu mai este o sum de adevruri apodictice, ci o proiecie hermeneutic fundamentat interogativ.

Annyit már most nyugodtan elmondhatok, hogy akárcsak A n? cím? k?nyvnél - amely alapjában véve nem csupán a n?r?l szólt -, menet k?zben már itt is tudtam, láttam, hogy ez a k?nyv sem tisztán csak a férfiról fog szólni. Szerettem volna sok mindent beletenni a férfiasság kérdésér?l, a b?ntudat megoldásának az elkezdésér?l, a gyászról, halálról, búcsúról, elengedésr?l, virágokról, ?nmagamról. Tényleg sok mindent. Válaszokat egy sor kérdésre. Felvetéseket a pasikkal kapcsolatosan. Hogy például "miért élt a párom nyolc hónapig egy másik csajjal párhuzamos életet mellettem, mik?zben azt bizonygatta, hogy mennyire szerelmes belém?" A minap kaptam egy ilyen e-mailt! ?pp karácsonykor robbant szét a dolog... Amikor ez a k?nyv készült, k?rbetelefonáltam egy csomó pasit, akit ismerek. A tinédzserekt?l kezdve az ?tvenesekig valamennyiüknek ugyanazt a kérdést tettem fel: mit?l érzik magukat férfinak. A kérdésre, hogy mit?l érzik magukat férfinak, a pasik egy jelent?s része azt felelte, hogy ezen ?k még soha nem gondolkodtak, és ez a kérdés eléggé meglepetésszer?en érte ?ket... Holott a n?k esetében az utóbbi ?t-tíz év másról sem szólt, mint hogy definiálják, mi az, hogy n?... ?gy t?nik, ezek olyan dolgok, amelyekr?l a pasik általában nem beszélnek. Vagy csak nagyon felületesen. Magáról a férfilétr?l... Azért nem, mert "ez teljesen magától értet?d?", hogy az illet? férfi. Fel sem merül, hogy ezt bármi megkérd?jelezhetné..."

Volumul reprezint? punctul de finalizare a unor preocup?ri anterioare ale autorului, afirmat ?n c?mpul semioticii ?i al stilisticii prin studii ?i eseuri dedicate cu prec?dere poeziei rom?ne?ti de-a lungul evolu?iei ei. F?r? a-i ignora pe creatorii medii, importan?i pentru c? dau expresie continuit??ii, el ?i-a propus s? explice, cu mijloacele puse la dispozitie de progresul ?nregistrat de disciplinele umaniste ?n ultima jum?tate de secol, ?misterul“ care transforma limba ?n opera. Sunt discuta?i marii poe?i na?ionali, de la Mihai Eminescu la Nichita St?nescu, relev?ndu-i-se fiec?ruia specificitatea, a?a cum se deta?eaz? ea pe fundalul unor constante care definesc ?ns??i esen?a poeticit??ii.

"Amerika z?r?s hely volt a hatvanas-hetvenes években: diáklázadások, hippik és polgárjogi mozgalmak, na meg persze szex, drog és rock&roll minden mennyiségben. Skip Gibbs és barátn?je, Robin Abbott kezdett?l fogva benne volt a legkeményebb balhékban, csak épp nem virággal harcoltak a rendszer ellen, hanem dinamittal. Nem csoda, hogy az FBI jó pár évre kivonta ?ket a forgalomból...Robin - akinek volt ideje t?prengeni a sitten - kiszabadulva végül arra a k?vetkeztetésre jut: nincs értelme a kapitalizmus ellen harcolni, elég megsarcolni azokat, akiknek amúgy is túl sok pénzük van. Választása a dúsgazdag Ricks testvérekre esik, els?sorban azért, mert úgy sejti, Woody és az ?ccse, Mark nyomták fel ?ket annak idején a sz?vetségieknél. Robin ?rd?gi tervet eszel ki, hogy elégtételt vegyen a b?rt?nben elvesztegetett évekért. Ha kell, akár dinamittal is.A páros csak egy valakivel nem számol: a volt bombaszakért? Chris Mankowskival, aki épp Woody Ricks után nyomoz a szexi Greta Wyatt meger?szakolása ügyében. Az id?zít? ketyeg, a kérdés már csak az, mikor robban a bomba!"

Citindu-l, recitindu-l pe Nietzsche, citind i recitind nietzscheenii, dostoievskienii, m recream, m remodelam, strunjindu-m pe mine nsmi i, n acelai timp, m reapropiam altminteri, de fiecare dat, de continentul Nietzsche, iar n timp probabil, iari i iari, mai rapid – prin intermediul celui care l-a creat pe Zarathustra – de mine nsmi. Scrierile mele, romanele, poemele, eseurile se afl, volens nolens, sub auspiciile dionisiace ale acestui scriitor spre care m harponeaz, instinctiv, de bun seam, i voina de a deveni ceea ce sunt: poet. Un poet care propaga un soi de stranie religie a viului, n esen de neexprimat, o religie-mit de sorginte nietzschean, construit pe un exces de personalitate.(...) Boala, cu un pic de noroc, poate fi pintenul dat de un nesfrit zeu rutcios i perspicace n bolgiile luminoase ale destinului. ntlnirea mea cu acest spectacol de un dramatism randiose – care este Nietzsche – din ntmplare cred c s-a transformat n destin. Da. i totodat n voina de Destin“. – Aura Christi.Am terminat de citit cu nfrigurare Nietzsche i Marea Amiaz (oricum, verbul a citi nu sintetizeaz dect imperfect efortul sinestezic pe care-l necesit o carte att de complex i de bogat n idei). La un prim nivel, volumul poate fi lecturat ca un impresionant catalog al marilor teme“ din literatura european (german, francez, englez, rus, romn), aceea nrudit, direct sau indirect, cu suflul zarathustrian al fostului profesor de la Universitatea din Basel. La un nivel secund ns, mult mai profund i mai semnificativ, el este un elogiu excepional adus vitalismului injectat de solarul divin, reflectat magistral prin textele unor Berdiaev, Sestov, Kierkegaard i mai ales Nietzsche. Filiaia cea mai puternic i mai transparent care mi vine n minte dup parcurgerea paginilor tale este Rudolf Otto: dei nu are nevoie s-l citeze niciodat explicit, cartea este infuzat de conceptul de numinos, acel sacru inefabil intuit de teologul german n lucrarea sa capital, Das Heilige. Te felicit pentru acest volum, exemplar n toate sensurile, i sunt convins c oamenii crora li se adreseaz nu vor mai fi aceiai dup parcurgerea sa.“ – Ctlin Ghi.

Aproxima?ii o carte de critic? literar? ?n care autorul a ?nregistrat cele mai importante apari?ii din literatura rom?n? a ultimilor ani, ?n studii critice, cronici literare ?i eseuri care comenteaz? c?r?i, scriitori sau tendin?e ale momentului actual. Structurat? ?n trei cicluri, cartea lui Iulian Boldea se remarc? prin precizia formul?rilor, obiectivitatea enun?urilor ?i prin metodele critice adecvate valorificate. Tototdata, ea con?ine numeroase puncte de vedere, perspective ?i ipoteze critice meritorii, dup? cum v?de?te o extrem? aten?ie la nuan?ele textului, la relieful s?u subliminal. Demersul critic al autorului se caracterizeaz?, ?nainte de toate, prin rigoarea aser?iunilor ?i relevan?a demonstra?iei. ?ntre autorii comenta?i ?n aceast? carte, pot fi aminti?i Virgil Nemoianu, Al. Paleologu, Nicolae Manolescu, Gabriel Liiceanu, Adrian Marino, Ion Vartic, Marta Petreu, Mircea Muthu, Dan Culcer, ?tefan Borbély, Horia B?descu, Vasile Dan, Eugen Dorcescu, Ion Zuba?cu s.a.

The story starts in London on Tuesday, October 1, 1872. Fogg is a rich English gentleman and bachelor living in solitude at Number 7 Savile Row, Burlington Gardens. Despite his wealth, which is ?40,000 (roughly ?3,020,000 today), Fogg, whose countenance is described as "repose in action", lives a modest life with habits carried out with mathematical precision. Very little can be said about his social life other than that he is a member of the Reform Club. Having dismissed his former valet, James Foster, for bringing him shaving water at 84 °F (29 °C) instead of 86 °F (30 °C), Fogg hires a Frenchman by the name of Jean Passepartout, who is about 30 years old, as a replacement. Later on that day, in the Reform Club, Fogg gets involved in an argument over an article in The Daily Telegraph, stating that with the opening of a new railway section in India, it is now possible to travel around the world in 80 days. He accepts a wager for ?20,000 (roughly ?1,510,000 today) from his fellow club members, which he will receive if he makes it around the world in 80 days. Accompanied by Passepartout, he leaves London by train at 8:45 P.M. on Wednesday, October 2, 1872, and thus is due back at the Reform Club at the same time 80 days later, Saturday, December 21, 1872. Mr. Phileas Fogg lived, in 1872, at No. 7, Saville Row, Burlington Gardens, the house in which Sheridan died in 1814. He was one of the most noticeable members of the Reform Club, though he seemed always to avoid attracting attention; an enigmatical personage, about whom little was known, except that he was a polished man of the world. People said that he resembled Byron—at least that his head was Byronic; but he was a bearded, tranquil Byron, who might live on a thousand years without growing old. Certainly an Englishman, it was more doubtful whether Phileas Fogg was a Londoner. He was never seen on 'Change, nor at the Bank, nor in the counting-rooms of the "City"; no ships ever came into London docks of which he was the owner; he had no public employment; he had never been entered at any of the Inns of Court, either at the Temple, or Lincoln's Inn, or Gray's Inn; nor had his voice ever resounded in the Court of Chancery, or in the Exchequer, or the Queen's Bench, or the Ecclesiastical Courts. He certainly was not a manufacturer; nor was he a merchant or a gentleman farmer. His name was strange to the scientific and learned societies, and he never was known to take part in the sage deliberations of the Royal Institution or the London Institution, the Artisan's Association, or the Institution of Arts and Sciences. He belonged, in fact, to none of the numerous societies which swarm in the English capital, from the Harmonic to that of the Entomologists, founded mainly for the purpose of abolishing pernicious insects. Phileas Fogg was a member of the Reform, and that was all. The way in which he got admission to this exclusive club was simple enough. He was recommended by the Barings, with whom he had an open credit. His cheques were regularly paid at sight from his account current, which was always flush. Was Phileas Fogg rich? Undoubtedly. But those who knew him best could not imagine how he had made his fortune, and Mr. Fogg was the last person to whom to apply for the information. He was not lavish, nor, on the contrary, avaricious; for, whenever he knew that money was needed for a noble, useful, or benevolent purpose, he supplied it quietly and sometimes anonymously. He was, in short, the least communicative of men. He talked very little, and seemed all the more mysterious for his taciturn manner. His daily habits were quite open to observation; but whatever he did was so exactly the same thing that he had always done before, that the wits of the curious were fairly puzzled. ABOUT AUTHOR: Jules Gabriel Verne (1828 – 1905) was a French novelist, poet, and playwright best known for his adventure novels and his profound influence on the literary genre of science fiction. Born to bourgeois parents in the seaport of Nantes, Verne was trained to follow in his father's footsteps as a lawyer, but quit the profession early in life to write for magazines and the stage. His collaboration with the publisher Pierre-Jules Hetzel led to the creation of the Voyages Extraordinaires, a widely popular series of scrupulously researched adventure novels including Journey to the Center of the Earth, Twenty Thousand Leagues Under the Sea, and Around the World in Eighty Days.

"BLEAK HOUSE" is a novel by Charles Dickens, published in 20 monthly instalments between March 1852 and September 1853. It is held to be one of Dickens's finest novels, containing one of the most vast, complex and engaging arrays of minor characters and sub-plots in his entire canon. The story is told partly by the novel's heroine, Esther Summerson, and partly by a mostly omniscient narrator. Memorable characters include the menacing lawyer Tulkinghorn, the friendly but depressive John Jarndyce, and the childish and disingenuous Harold Skimpole, as well as the likeable but imprudent Richard Carstone. At the novel's core is long-running litigation in England's Court of Chancery, Jarndyce v Jarndyce, which has far-reaching consequences for all involved. This case revolves around a testator who apparently made several wills. The litigation, which already has taken many years and consumed between 60,000 and 70,000 in court costs, is emblematic of the failure of Chancery. Though Chancery lawyers and judges criticised Dickens's portrait of Chancery as exaggerated and unmerited, his novel helped to spur an ongoing movement that culminated in the enactment of legal reform in the 1870s. In fact, Dickens was writing just as Chancery was reforming itself, with the Six Clerks and Masters mentioned in Chapter One abolished in 1842 and 1852 respectively: the need for further reform was being widely debated. These facts raise an issue as to when Bleak House is actually set. Technically it must be before 1842, and at least some of his readers at the time would have been aware of this. However, there is some question as to whether this timeframe is consistent with the themes of the novel. The English legal historian Sir William Holdsworth set the action in 1827. Characters in Bleak House: As usual, Dickens drew upon many real people and places but imaginatively transformed them in his novel. Hortense is based on the Swiss maid and murderess Maria Manning. The "telescopic philanthropist" Mrs Jellyby, who pursues distant projects at the expense of her duty to her own family, is a criticism of women activists like Caroline Chisholm. The "childlike" but ultimately amoral character Harold Skimpole is commonly regarded as a portrait of Leigh Hunt. "Dickens wrote in a letter of 25 September 1853, 'I suppose he is the most exact portrait that was ever painted in words! ... It is an absolute reproduction of a real man'; and a contemporary critic commented, 'I recognized Skimpole instantaneously; ... and so did every person whom I talked with about it who had ever had Leigh Hunt's acquaintance.'"[2] G. K. Chesterton suggested that Dickens "may never once have had the unfriendly thought, 'Suppose Hunt behaved like a rascal!'; he may have only had the fanciful thought, 'Suppose a rascal behaved like Hunt!'". Mr Jarndyce's friend Mr Boythorn is based on the writer Walter Savage Landor. The novel also includes one of the first detectives in English fiction, Inspector Bucket. This character is probably based on Inspector Charles Frederick Field of the then recently formed Detective Department at Scotland Yard. Dickens wrote several journalistic pieces about the Inspector and the work of the detectives in Household Words, his weekly periodical in which he also published articles attacking the Chancery system. The Jarndyce and Jarndyce case itself has reminded many readers of the thirty-year Chancery case over Charlotte Smith's father-in-law's will. Major characters: Esther Summerson – the heroine of the story, and one of its two narrators (Dickens's only female narrator), raised as an orphan because the identity of her parents is unknown. At first, it seems probable that her guardian, John Jarndyce, is her father because he provides for her. This, however, he disavows shortly after she comes to live under his roof.

Candide is characterised by its sarcastic tone, as well as by its erratic, fantastical and fast-moving plot. A picaresque novel with a story similar to that of a more serious bildungsroman, it parodies many adventure and romance clichés, the struggles of which are caricatured in a tone that is mordantly matter-of-fact. Still, the events discussed are often based on historical happenings, such as the Seven Years' War and the 1755 Lisbon earthquake. As philosophers of Voltaire's day contended with the problem of evil, so too does Candide in this short novel, albeit more directly and humorously. Voltaire ridicules religion, theologians, governments, armies, philosophies, and philosophers through allegory; most conspicuously, he assaults Leibniz and his optimism. Voltaire's men and women point his case against optimism by starting high and falling low. A modern could not go about it after this fashion.?He would not plunge his people into an unfamiliar misery. He would just keep them in the misery they were born to. But such an account of Voltaire's procedure is as misleading as the plaster cast of a dance. Look at his procedure again. Mademoiselle Cunégonde, the illustrious Westphalian, sprung from a family that could prove seventy-one quarterings, descends and descends until we find her earning her keep by washing dishes in the Propontis. The aged faithful attendant, victim of a hundred acts of rape by negro pirates, remembers that she is the daughter of a pope, and that in honor of her approaching marriage with a Prince of Massa-Carrara all Italy wrote sonnets of which not one was passable. We do not need to know French literature before Voltaire in order to feel, although the lurking parody may escape us, that he is poking fun at us and at himself. His laughter at his own methods grows more unmistakable at the last, when he caricatures them by casually assembling six fallen monarchs in an inn at Venice. A modern assailant of optimism would arm himself with social pity. There is no social pity in "Candide." Voltaire, whose light touch on familiar institutions opens them and reveals their absurdity, likes to remind us that the slaughter and pillage and murder which Candide?witnessed among the Bulgarians was perfectly regular, having been conducted according to the laws and usages of war. Had Voltaire lived today he would have done to poverty what he did to war. Pitying the poor, he would have shown us poverty as a ridiculous anachronism, and both the ridicule and the pity would have expressed his indignation. About Author: VOLTAIREFran?ois-Marie Arouet (1694 – 1778), known by his nom de plume Voltaire, was a French Enlightenment writer, historian and philosopher famous for his wit, his attacks on the established Catholic Church, and his advocacy of freedom of religion, freedom of expression, and separation of church and state. Voltaire was a versatile writer, producing works in almost every literary form, including plays, poems, novels, essays, and historical and scientific works. He wrote more than 20,000 letters and more than 2,000 books and pamphlets. He was an outspoken advocate, despite the risk this placed him in under the strict censorship laws of the time. As a satirical polemicist, he frequently made use of his works to criticize intolerance, religious dogma, and the French institutions of his day.

Kedves Feln?ttek! ?Ez a k?nyv Nektek készült! T?rténetünk a XXXIV. században játszódik. Egy királyi család nem épp szokványos életén keresztül betekintést nyerhetünk a j?v?be. ??j faj k?rvonalazódik, aminek fejl?dése megállíthatatlan. ?Unalmasnak t?n?, idillikus életüket felváltja a S?tétség er?ivel folytatott harc, aminek kimenetele végleg meghatározza a F?ld bolygó sorsát...

The history of our English translations of "Don Quixote" is instructive. Shelton's, the first in any language, was made, apparently, about 1608, but not published till 1612. This of course was only the First Part. It has been asserted that the Second, published in 1620, is not the work of Shelton, but there is nothing to support the assertion save the fact that it has less spirit, less of what we generally understand by "go," about it than the first, which would be only natural if the first were the work of a young man writing currente calamo, and the second that of a middle-aged man writing for a bookseller. On the other hand, it is closer and more literal, the style is the same, the very same translations, or mistranslations, occur in it, and it is extremely unlikely that a new translator would, by suppressing his name, have allowed Shelton to carry off the credit. In 1687 John Phillips, Milton's nephew, produced a "Don Quixote" "made English," he says, "according to the humour of our modern language." His "Quixote" is not so much a translation as a travesty, and a travesty that for coarseness, vulgarity, and buffoonery is almost unexampled even in the literature of that day. But it is, after all, the humour of "Don Quixote" that distinguishes it from all other books of the romance kind. It is this that makes it, as one of the most judicial-minded of modern critics calls it, "the best novel in the world beyond all comparison." It is its varied humour, ranging from broad farce to comedy as subtle as Shakespeare's or Moliere's that has naturalised it in every country where there are readers, and made it a classic in every language that has a literature.

The saber was the weapon of the soldiers and dueling heroes here in the Carpathian Basin for more than a thousand years. During this time it became more than a simple tool of fighting. It became a loyal companion and a symbol of valor of the wielder. This weapon and the valiant spirit of its wielders became known in Western Europe and North American via Hungarians. At the time of our settlement Western Europe feared the sight of the saber, it became a worthy opponent of the Turkish and later, after the civil war of Rákóczi it brought us honor in the wars fought at the side of foreign countries. Maybe there is no other sword type like this which reserved its significance for so long time. ?The saber is not only an antique weapon of a past era, but much like a sports tool as a foil which is used at the Olympic Games. ?This book contains an elaborated practical curriculum. With the help of it, the saber fencing can be learned from the basics to master level. The book guides the reader through hundreds of exercises with the help of more than a hundred photographic illustrations. These can help anyone to learn the basic moves, the more complex exercises and even the trick-cuts or disarmament. ?We prove with this book that the saber fencing is a living sport and martial art.

sszefoglaló knyvem olyan témát mutat be, amivel már tbb ismeretterjeszt írásban találkozhatott az olvasó, ám ezúttal olyan részletekkel és érdekességekkel találkozunk, amit eme knyvek alig, vagy egyáltalán nem taglalnak. E szerzeményben végigkvetjük a Fld mélyérl induló izzó anyagot, a kérgen át a felszínig, ahol tüzet és pusztítást zúdít mindenre és mindenkire a kzelben. Bemutatom, hogy mi lesz a kihlt lávából, és milyen formákat hoz létre. Ezen külnleges természeti képzdmények kialakulását és fejdését vesszük górcs alá. Megismerkedünk pár külnleges tzhányóval, amik pusztításuk révén rendkívüli hatással voltak nemcsak krnyezetükre, hanem az emberiségre is. Olyan ismereteket mutatunk be, amelyek meglepetést okozhatnak az olvasóknak.

…ránézett az el?tte terpeszked? hatalmas faóriásra. Milyen méltóságteljes, és milyen dunyha vastagságú, hófehér palást borítja f?ldig ér? ágait. Mint valami sátor, akár meg is éjszakázhat alatta. Elfedi az, megvédi az erd? minden veszélyét?l. K?zben kitisztult az ég, s csillagok milliárdjai gyújtották meg kis lámpásaikat. A hókristályok csillagszóróként sziporkáztak a nagy feny? ágain. Aztán a fa csúcsán megjelent a ragyogó hold, és az arany sarló megkoronázta az amúgy is fényárban tünd?kl? fát. Ez lehet az erd? karácsonyfája – gondolta. ?gy karácsonyozik az erd?, és én most vendégségben vagyok nála. ?s még bejglim is van – jutott eszébe. Csak a szerettei hiányoztak. Hogy ?k nem lehettek részesei ennek a látványnak, nem gy?ny?rk?dhettek vele együtt az óriás karácsonyfa szépségében…

Robert Masello új thrillerében David Franco, a zseniális, de szkeptikus ifjú kutató egy legendás m?tárgy nyomába ered: egy amulettet keres, amelyet Benvenuto Cellini, a reneszánsz Itália kézm?vesmestere készített. Az amulettet a szépsége mellett a varázsereje teszi értékessé, ugyanakkor igen veszedelmesnek tartják.Az egyszer? nyomozásnak induló kaland intrikák sz?vevényévé válik. Franco Loire menti kastélyokban és római palazzókban kutat a kincs után, hogy megfejtsen egy rejtélyt, amely ?sid?k óta foglalkoztatja az emberiséget.A tudós egy s?tét titkokat ismer?, gy?ny?r? firenzei lányt hív segítségül, s orgyilkosokkal a nyomában néz szembe egy sokkal er?sebb gonosszal, mint amit?l rémálmaiban rettegett. Lélegzetelállító fordulatokban b?velked? utazásuk Chicago utcáitól a nagy francia forradalom káoszáig vezet.?Egy regény, amelyben a t?rténelmi tények találkoznak az irodalmi kreativitással, és a lehetetlen félelmetes valósággá válik. A Medúza-amulett Cellini m?véhez hasonlóan egyedi alkotás, éppen olyan vonzó, mint amilyen ijeszt?, és éppen olyan monumentális, mint amilyen merész.Robert Masello az Egyesült ?llamok egyik legsikeresebb t?rténelmi és misztikus krimi írója, regényeit 15 nyelvre fordították le. A magyar k?z?nség Az Einstein-prófécia és A Romanov-kereszt címmel megjelent regényein keresztül ismerhette eddig meg.

Gyilkosság t?rténik egy vidéki kúriában. Az áldozatot megfojtva találják a szobájában, az ajtót belülr?l elreteszelték, az ablak tárva-nyitva. Az asztalon egy csupor kakaó - benne altató. Vajon a gyilkos tette bele? Ha igen, aligha lehetett más, mint valaki a házban lakók k?zül. A Maxie család és két vendégük feszült, gyanakvó légk?rben várják a nyomozás eredményét, és a legkevésbé sem k?nnyítik meg Dalgliesh f?felügyel? dolgát. A poéta-lelk? detektív azonban nem az a fajta, aki k?nnyen feladja...P. D. James, akit Agatha Christie mellett az angol krimi klasszikusának tartanak, gondosan ügyel arra, hogy az olvasó számára végig izgalmas maradjon a fejt?r? irodalmi kirakójáték - majd minden szerepl?je gyanús, és egészen az utolsó oldalakig az is marad.?A Takard el az arcát! az írón? korai és egyik legsikeresebb regénye, a m?faj tízmilliók által olvasott alapm?ve.?

Az elvált, nyugdíjas Nathan Glass már nem vágyik másra, csak magányra és névtelenségre, ezért visszavonul gyerekkora helyszínére, Brooklynba. Csakhogy találkozik rég nem látott unoka?ccsével, Tommal, aki valaha akadémiai ambíciókat dédelgetett, ám most taxisof?r, majd annak barátjával, a kétes múltú antikvárius Harryvel, és hamarosan azt veszi észre, hogy egy ?sszeesküvés részese, amelynek tárgya egy hamisított kézirat, célja pedig a bosszú. Paul Auster ebben a regényében a t?le megszokottnál melegebb, der?sebb hangon mesél kallódó emberekr?l, akiknek élete nem úgy alakult, ahogy remélték, akik már lemondtak a j?v?r?l, de a j?v? még korántsem mondott le róluk. Auster, hosszú évek óta a Nobel-díj várományosa, számtalan irodalmi díj birtokosa, k?nyveit harminc nyelvre fordították le. M?vei most a 21. Század Kiadó új életm?sorozatában jelennek meg. "Elb?v?l? t?rténet a család elviselhetetlen szépségér?l és a szerelem megváltó erejér?l." USA TODAY "Nagyszív?, életigenl?, gyengéd és mulatságos t?rténet.” The Washington Post "Auster üzenenetet küld nekünk: van remény. A szerelem megment bennünket. Meg fogjuk menteni egymást. The Boston Globe

gy mondják, sose bízz egy idegenben. Talán nekik van igazuk. Amikor Emma Joseph megismerkedett a férjével, Davidet bánat gytrte. Els feleségét a saját elszabadult kocsija gázolta halálra, hatesztends lánya pedig titokzatos módon eltnt a baleset helyszínérl. Most, hat évvel késbb, Emma úgy véli, végre maguk mgtt tudhatják a fájdalmas idket. j életet építettek fel Daviddel, és van egy csodaszép kisfiúk, Ollie. Aztán feltnik egy idegen, és flforgatja az életüket. Emma elveszíti a biztonságérzékét. Vajon csakugyan tudja, mi trtént oly sok évvel azeltt s miért aggódik nmagáért meg a csecsem fiáért Elkeseredésében régi barátjához, Tom Douglas nyomozó ffelügyelhz fordul segítségért, ám ezzel a lépéssel valamennyiük életét veszélybe sodorja. Hamarosan olyan hazugságok hálójára derítenek fényt, amely mindkettejüket velejéig sokkolja. Az Aludj jól világhír szerzjének legújabb bestsellere letehetetlen és elgondolkodtató remekm, a pszichológiai thrillerek, és a krimik kedvelinek a kedvence világszerte.