A k?tet Poe fantasztikus elbeszéléseit-novelláit gy?jti egybe, olyan klasszikus és ?r?k darabokat, mint A kút és az inga, a Metzengerstein, vagy a T?rténet a Rongyos Hegyekb?l. Valamennyit Babits Mihály m?gonddal és szép magyar nyelvre ültetett értelmezésében adjuk k?zre.

Iubire ?n singur?tate. Care va fi pedeapsa unei mame care, urm?ndu-?i pasiunile nebune, ??i neglijeaz? fiul? Jon ?i mama sa, Vibeke, tr?iesc ?ntr-o mic? localitate norvegian?, cu nop?i lungi ?i reci, care-i aduc copilului groaznice co?maruri ?i-i alimenteaz? femeii fantasmele erotice. Urm?ndu-?i setea de iubire, Vibeke ignor? dragostea propriului fiu, care va ajunge s? r?t?ceasc?, la propriu ?i la figurat prin gerurile Norvegiei. O poveste cu suspans, despre compromis, singur?tate ?i nevoia puternic? de iubire.

S? mori ?n momentul cel mai nepotrivit. Ce poate fi mai r?u dec?t ca amanta al?turi de care vrei s? petreci o noapte s?-?i moar? ?n bra?e? Nimic, ar zice un cititor care nu-l cunoa?te pe Javier Marías. Scriitorul spaniol ?tie ?ns? ce poate fi mai r?u. Ca ?n apartamentul unde se ?nt?mpl? totul s? se afle chiar copilul ei. ?i de aici ?ncepe povestea. Deciziile incredibil de grele pe care b?rbatul trebuie s? le ia, remu?c?rile ce-l urm?resc apoi, r?sturn?rile neprev?zute de situa?ie, interven?ia regelui Spaniei ?i farsele pe care destinul pare s? le joace personajelor sunt ingrediente marca Marías, care te vor l?sa cu gura c?scat?.

Sir Peter Paul Rubens ( 28 June 1577 – 30 May 1640), was a Flemish Baroque painter, and a proponent of an extravagant Baroque style that emphasised movement, colour, and sensuality. He is well known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.In addition to running a large studio in Antwerp that produced paintings popular with nobility and art collectors throughout Europe.. Early lifeRubens was born in the German city of Siegen, Westphalia to Jan Rubens and Maria Pypelincks. His father, a Calvinist, and mother fled Antwerp for Cologne in 1568, after increased religious turmoil and persecution of Protestants during the rule of the Spanish Netherlands by the Duke of Alba. Jan Rubens became the legal advisor (and lover) of Anna of Saxony, the second wife of William I of Orange, and settled at her court in Siegen in 1570; their daughter Christine was born in 1571. Following Jan Rubens's imprisonment for the affair, Peter Paul Rubens was born in 1577. The family returned to Cologne the next year. In 1589, two years after his father's death, Rubens moved with his mother Maria Pypelincks to Antwerp, where he was raised as a Catholic. Religion figured prominently in much of his work and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting (he had said "My passion comes from the heavens, not from earthly musings").In Antwerp, Rubens received a humanist education, studying Latin and classical literature. By fourteen he began his artistic apprenticeship with Tobias Verhaeght. Subsequently, he studied under two of the city's leading painters of the time, the late Mannerist artists Adam van Noort and Otto van Veen. Much of his earliest training involved copying earlier artists' works, such as woodcuts by Hans Holbein the Younger and Marcantonio Raimondi's engravings after Raphael. Rubens completed his education in 1598, at which time he entered the Guild of St. Luke as an independent master. Italy (1600–1608)In 1600, Rubens travelled to Italy. He stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto, before settling in Mantua at the court of Duke Vincenzo I Gonzaga. The coloring and compositions of Veronese and Tintoretto had an immediate effect on Rubens's painting, and his later, mature style was profoundly influenced by Titian. With financial support from the Duke, Rubens travelled to Rome by way of Florence in 1601. Last decade (1630–1640)The Exchange of Princesses, from the Marie de' Medici Cycle. Louvre, ParisRubens's last decade was spent in and around Antwerp. Major works for foreign patrons still occupied him, such as the ceiling paintings for the Banqueting House at Inigo Jones's Palace of Whitehall, but he also explored more personal artistic directions.In 1630, four years after the death of his first wife, the 53-year-old painter married 16-year-old Hélène Fourment. Hélène inspired the voluptuous figures in many of his paintings from the 1630s, including The Feast of Venus (Kunsthistorisches Museum, Vienna), The Three Graces and The Judgment of Paris (both Prado, Madrid). In the latter painting, which was made for the Spanish court, the artist's young wife was recognized by viewers in the figure of Venus. In an intimate portrait of her, Hélène Fourment in a Fur Wrap, also known as Het Pelsken, Rubens's wife is even partially modelled after classical sculptures of the Venus Pudica, such as the Medici Venus. In 1635, Rubens bought an estate outside of Antwerp, the Steen, where he spent much of his time. Landscapes, such as his Ch?teau de Steen with Hunter (National Gallery, London) and Farmers Returning from the Fields (Pitti Gallery, Florence), reflect the more personal nature of many of his later works. He also drew upon the Netherlandish traditions of Pieter Bruegel the Elder for inspiration in later works like Flemish Kermis (c. 1630; Louvre, Paris).

Miért vannak nemek? Miért hal ki tízmillió év múlva a férfi? Mi a n?i szépség és mit vár a n? a férfit?l? Mire jó az orgazmus? Jó-e medd?ség ellen az orális szex? Mir?l árulkodik mutató- és gy?r?sujj-arányunk? Szendi Gábor A n? felemelkedése és tünd?klése cím? k?nyvében ehhez hasonló kérdésekre keresi a választ, mik?zben az evolúciós pszichológia néz?pontjából vizsgálja N? és Férfi kapcsolatát. Lebilincsel?en izgalmas gondolatmenetei bizonyítják, hogy ebben a férfik?zpontúnak hitt világban valójában a N? a titkos mozgató! A N? a szervez?je és egyben a f?díja annak a férfiak k?zt dúló, vérre men? viadalnak, amely érte folyik. Mik?zben a N? gyengének t?nik, az Er? vele van, ? az evolúció titkos favoritja!

Lumea este plin? de ?ntreb?ri pentru Hans Thomas, un b?iat de doisprezece ani care pleac? ?mpreun? cu tat?l lui la Atena, ?n c?utarea mamei sale ?r?t?cite ?n lumea modei“. Un personaj enigmatic ?i d?ruie?te pe drum o lup?, apoi b?iatul prime?te o carte minuscul? ?n care cite?te o poveste av?nd similitudini bizare cu detalii din propria-i via??. Misterul c?r?ilor de joc este o poveste ?n interiorul altei pove?ti, un joc la grani?a ?ntre realitate ?i fantezie demn de Lewis Carroll.

A magyar k?nyvkiadás legnagyobb adósságainak egyike ez a k?nyv. A világ t?bb országában a holokausztirodalom egyik legjelent?sebb remekm?veként tartják számon, Magyarországon 1982-ben jelent meg utoljára.Zsolt Béla, nagyváradi író, újságíró, a zsidót?rvények után nem folytathatta a pályáját. Munkaszolgálatra Ukrajnába került, az út onnan haza, majd a váradi gettóba, kés?bb Bergen-Belsenbe vezetett, egészen a szabadulásig.Zsolt Béla regénye nem artisztikus memoár. Vad, olykor az elviselhet?ség határáig kegyetlen és ?szinte visszaemlékezés, felzaklató olvasmány.Az olykor egymás kínjának is ?rül? társairól. Az elmebajig kegyetlen, egyszersmind a megtorlástól retteg? csend?r?kr?l. ?rulásról, kétségbeesésr?l, az újra és újra feltámadó hamis reményr?l, és mindennek okáról és céljáról: a zsidók kifosztásáról.Aki elolvassa a Kilenc koffert, megérti, miért nem tud a rémálomból eszmélni sok európai ország azóta sem.Zsolt Béla feleségének egész családja odaveszett, k?ztük az a Heyman ?va, akinek gettónaplója megjelent már t?bb nyelven, magyarul Piros bicikli címen.

Gómez Herrera este un gaucho, un haiduc al pampasului argentinian, scos parc? din revistele motiva?ionale ?i de self-improving. ?tie ce poate ?i ce vrea ?i are la ?ndem?n? arme imbatabile: cinismul, pref?c?toria, falsitatea ?i calomnia. Demn de Juan Moreira, str?mo?ul s?u, Herrera ofer? re?eta perfect? pentru ob?inerea unui scaun ministerial ?ntr-o ?ar? european?. Comedia inocent? devine astfel o satir? bine regizat?, iar r?sul un z?mbet sarcastic. Hazliile ispr?vi ale nepotului lui Juan Moreira este un tabloul al arivistului, pe fundalul societ??ii argentiniene de la sf?r?itul secolul al XIX-lea ?i ?nceputul secolului al XX-lea.

A New York Times bestseller szerz?je, a feszültségteremtés királyn?je, 100 millió eladott példánnyal a valaha volt legnépszer?bb szerz?k egyike.Legújabb, nagy siker? krimije éppúgy felkerült a legfontosabb sikerlistákra, mint Clark szinte minden m?ve. A fiatalon meg?zvegyült Lane Harmon, az ?téves Katie édesanyja lakberendez?, fény?z? otthonokba bejáratos. Egy alkalommal, amikor f?n?ke megbízza, hogy rendezzen be egy szerény sorházat, meglepve tapasztalja, hogy a megbízó nem más, mint egy híres-hírhedt pénzember felesége. A férj, Parker Bennett, két éve t?nt el a Karib-tengeren hajózva. A cégben lév? ?tmilliárd dollárral együttVajon él-e még? Vajon k?ze van-e a milliárdokhoz? ?s vajon mit tud a feleség?Lane egyre jobban belebonyolódik az ügybe, és egyre k?zelebb kerül Bennették fiához, míg végül már megszállottan próbálja bizonyítani a család ártatlanságát. Azzal azonban nem számol, hogy ezzel magát és kislányát is veszélybe sodorja Botrány, csalás, árulás és szerelem a kritikusok és az olvasók szerint ez az ?tvenk?tetes Clark életének egyik legjobb regénye. El?sz?r a pénz a tét. Utána?a szerelem. Végül az életed.

Perechi ?n formare este romanul unei iubiri ai c?rei protagoni?ti, desp?r?i?i timp de ?aisprezece ani, ajung s? se reg?seasc? ?n ?mprejur?ri dramatice. Andreas Lüscher este un psiholog care ?ncearc? s? p?streze o distan?? profesionist? fa?? de pacien?ii s?i. Dar c?nd destinul i-o aduce ?n cale pe Meret, fosta lui iubire din tinere?e, b?rbatul descoper? c?t de fragile ?i imperfecte sunt cuvintele atunci c?nd ?ncearc? s? refac? o leg?tur? pierdut?, acum mai puternic? dec?t a fost vreodat?.

Umorul, absurdul ?i tenta?ia suprarealist? sunt aduse aici la rang de repere pentru fic?iune. Blues pentru o pisic? neagr? este o colec?ie de povestiri ?n care Boris Vian ??i m?rturise?te pe spa?ii mici pasiunea pentru firescul r?sturnat cu susul ?n jos ?i pentru jocurile infinite cu limbajul ?i literatura. Pe fondul celui de-al doilea R?zboi Mondial, lumea a luat-o razna, dar toate personajele se lupt? pentru a salva aparen?ele. Protagoni?tii sunt dintre cei mai ciuda?i, iar ac?iunile lor ?n acord cu lumea ?n r?sp?r. Pescari de timbre, sculptori de pietre de morminte, motani-negri-vorbitori-englezi iubitori de b?uturi fine sunt reprezentativi pentru stilul lui Boris Vian.

I shall be grateful to any Reader of this book who will point out any mistakes or misprints he may happen to notice in it, or any passage which he thinks is not clearly expressed. I have a quantity of MS. in hand for Parts II and III, and hope to be able——should life, and health, and opportunity, be granted to me, to publish them in the course of the next few years. Their contents will be as follows:— PART II. ADVANCED.Further investigations in the subjects of Part I. Propositions of other forms (such as “Not-all x are y”). Triliteral and Multiliteral Propositions (such as “All abc are de”). Hypotheticals. Dilemmas. &c. &c. Part III. TRANSCENDENTAL.Analysis of a Proposition into its Elements. Numerical and Geometrical Problems. The Theory of Inference. The Construction of Problems. And many other Curiosa Logica. Introduction TO LEARNERS.[N.B. Some remarks, addressed to Teachers, will be found in the Appendix]The Learner, who wishes to try the question fairly, whether this little book does, or does not, supply the materials for a most interesting mental recreation, is earnestly advised to adopt the following Rules:— (1) Begin at the beginning, and do not allow yourself to gratify a mere idle curiosity by dipping into the book, here and there. This would very likely lead to your throwing it aside, with the remark “This is much too hard for me!”, and thus losing the chance of adding a very large item to your stock of mental delights. This Rule (of not dipping) is very desirable with other kinds of books——such as novels, for instance, where you may easily spoil much of the enjoyment you would otherwise get from the story, by dipping into it further on, so that what the author meant to be a pleasant surprise comes to you as a matter of course. Some people, I know, make a practice of looking into Vol. III first, just to see how the story ends: and perhaps it is as well just to know that all ends happily——that the much-persecuted lovers do marry after all, that he is proved to be quite innocent of the murder, that the wicked cousin is completely foiled in his plot and gets the punishment he deserves, and that the rich uncle in India (Qu. Why in India? Ans. Because, somehow, uncles never can get rich anywhere else) dies at exactly the right moment——before taking the trouble to read Vol. I. This, I say, is just permissible with a novel, where Vol. III has a meaning, even for those who have not read the earlier part of the story; but, with a scientific book, it is sheer insanity: you will find the latter part hopelessly unintelligible, if you read it before reaching it in regular course. (2) Don’t begin any fresh Chapter, or Section, until you are certain that you thoroughly understand the whole book up to that point, and that you have worked, correctly, most if not all of the examples which have been set. So long as you are conscious that all the land you have passed through is absolutely conquered, and that you are leaving no unsolved difficulties behind you, which will be sure to turn up again later on, your triumphal progress will be easy and delightful. Otherwise, you will find your state of puzzlement get worse and worse as you proceed, till you give up the whole thing in utter disgust. (3) When you come to any passage you don’t understand, read it again: if you still don’t understand it, read it again: if you fail, even after three readings, very likely your brain is getting a little tired. In that case, put the book away, and take to other occupations, and next day, when you come to it fresh, you will very likely find that it is quite easy.(4) If possible, find some genial friend, who will read the book along with you, and will talk over the difficulties with you. Talking is a wonderful smoother-over of difficulties. When I come upon anything——in Logic or in any other hard subject——that entirely puzzles me, I find it a capital plan to talk it over, aloud. ? ? ? ? ? L. C.29, Bedford Street, Strand. February 21, 1896.

Volumul al treilea din seria N?scu?i ?n cea?? Am?gi?i s? elibereze spiritul r?u N?ruire ?n timp ce ?ncercau s? ?nchid? F?nt?na ?n?l??rii, noul ?mp?rat Elend Venture ?i so?ia lui, asasina Vin, se str?duiesc s? salveze lumea de Inchizitorii uciga?i ai N?ruirii, de ce?urile letale ?i insidioase numite Ad?ncime ?i de c?derile tot mai masive de cenu?? neagr? care amenin?? s? ?ngroape p?m?nturile ?i s?-i ucid? prin ?nfometare pe locuitorii lor. Pe c?nd caut? ultimul depozit secret de atiu al fostului ?mp?rat, sursa celor mai puternice energii ale N?scu?ilor din Cea??, cei doi ?nfrunt? at?t for?ele N?ruirii, c?t ?i mon?tri ?i puteri amintite ?n profe?ii. ?Un apogeu dramatic ?i surprinz?tor… Saga lui Sanderson are personaje complexe ?i o intrig? fascinant?, pun?nd ?ntreb?ri serioase despre loialitate, credin?? ?i responsabilitate."Publishers Weekly Seria N?scu?i din cea?? este o trilogie, la care a fost ad?ugat ulterior un al patrulea volum a c?rui ac?iune se petrece la 300 de ani dup? evenimentele din seria original?.

1. The architect should be equipped with knowledge of many branches of study and varied kinds of learning, for it is by his judgement that all work done by the other arts is put to test. This knowledge is the child of practice and theory. Practice is the continuous and regular exercise of employment where manual work is done with any necessary material according to the design of a drawing. Theory, on the other hand, is the ability to demonstrate and explain the productions of dexterity on the principles of proportion. 2. It follows, therefore, that architects who have aimed at acquiring manual skill without scholarship have never been able to reach a position of authority to correspond to their pains, while those who relied only upon theories and scholarship were obviously hunting the shadow, not the substance. But those who have a thorough knowledge of both, like men armed at all points, have the sooner attained their object and carried authority with them. 3. In all matters, but particularly in architecture, there are these two points:—the thing signified, and that which gives it its significance. That which is signified is the subject of which we may be speaking; and that which gives significance is a demonstration on scientific principles. It appears, then, that one who professes himself an architect should be well versed in both directions. He ought, therefore, to be both naturally gifted and amenable to instruction. Neither natural ability without instruction nor instruction without natural ability can make the perfect artist. Let him be educated, skilful with the pencil, instructed in geometry, know much history, have followed the philosophers with attention, understand music, have some knowledge of medicine, know the opinions of the jurists, and be acquainted with astronomy and the theory of the heavens. 4. The reasons for all this are as follows. An architect ought to be an educated man so as to leave a more lasting remembrance in his treatises. Secondly, he must have a knowledge of drawing so that he can readily make sketches to show the appearance of the work which he proposes. Geometry, also, is of much assistance in architecture, and in particular it teaches us the use of the rule and compasses, by which especially we acquire readiness in making plans for buildings in their grounds, and rightly apply the square, the level, and the plummet. By means of optics, again, the light in buildings can be drawn from fixed quarters of the sky. It is true that it is by arithmetic that the total cost of buildings is calculated and measurements are computed, but difficult questions involving symmetry are solved by means of geometrical theories and methods. 5. A wide knowledge of history is requisite because, among the ornamental parts of an architect's design for a work, there are many the underlying idea of whose employment he should be able to explain toGree inquirers. For instance, suppose him to set up the marble statues of women in long robes, called Caryatides, to take the place of columns, with the mutules and coronas placed directly above their heads, he will give the following explanation to his questioners. Caryae, a state in Peloponnesus, sided with the Persian enemies against Greece; later the Greeks, having gloriously won their freedom by victory in the war, made common cause and declared war against the people of Caryae. They took the town, killed the men, abandoned the State to desolation, and carried off their wives into slavery, without permitting them, however, to lay aside the long robes and other marks of their rank as married women, so that they might be obliged not only to march in the triumph but to appear forever after as a type of slavery, burdened with the weight of their shame and so making atonement for their State. Hence, the architects of the time designed for public buildings statues of these women, placed so as to carry a load..

A Viszkis rabló visszatért. A legenda tovább él - igaz, már csak a képzeletben. Ambrus Attila els? regénye alighanem zavarba ejti az olvasót. Valóság és fantázia keveredik benne megannyi izgalommal, akcióval, váratlan fordulattal. A nyers, szókimondó stílusban megírt cselekményben megelevenednek bankrablások, a császári élethez tartozó hódítások, a szegény, kilátástalan gyerekkor emlékei, no meg a b?rt?nben átélt, kit?r?lhetetlen napok. A f?h?s valóságos haramiává válik, mert újra rabol, s?t gyilkol is, mik?zben szerelemre és talán normális életre vágyik. A Viszkis rabló visszatér, de most nem elégszik meg a kisebb zsákmánnyal. A Magyar Nemzeti Bank páncélautóját veszi célba: megtervezi, el?készíti és csatlósaival bele is vág az évtized balhéjába. Ambrus Attiláért egykor a fél ország rajongott, s mindenki azért szurkolt, hogy ne kerülj?n rend?rkézre. Az általa kreált f?szerepl? talán kevésbé lesz szimpatikus, mint a Viszkis a valóságban, de hatással lesz ránk, az egészen bizonyos. Szeretjük és utáljuk egyszerre. Ha elkezdjük olvasni a t?rténetét, már nem szabadulunk t?le. A K?nyvjelz? magazin 2015. decemberi számában megjelent cikk: Ha nem kerül?k b?rt?nbe, már nem élnék

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!"