Cartea e ca o pies? de teatru alc?tuit? din personaje, parantezele autorului, dialoguri, secven?e, scene, acte, cu leg?tura necesar?, intre acestea. ?n treac?t fie spus, critica poate s? ?ntre?in? longevitatea operei, dac? are destul? vigoare ?i dac? opera e de calitate. Sunt vorbe optimiste la vremea Internetului care, deocamdat?, nu de?ine puterea controlului critic ?i nici nu se ?ntrev?d ?anse de aceast? natur?. Tocmai de aceea pericolul dispari?iei c?rt?ii de h?rtie pare anun?area unui cataclism. Noi mai credem ?n ceva. R?m?ne hot?r?t c? interpretarea critic?, pentru a fi c?t mai aproape de text, trebuie s? se asocieze cu "partea estetic?" a demersului, care e scriitura, citatul, descrierea ?i altele. O "conversa?ie", pe c?t posibil neretoric?.

“Star Maker”, regarded as one of the true classics of science fiction, Star Maker is a poetic and deeply philosophical work. The story details the mental journey of an unnamed narrator who is transported not only to other worlds but also other galaxies and parallel universes, until he eventually becomes part of the "cosmic mind." First published in 1937, Olaf Stapledon's descriptions of alien life are a political commentary on human life in the turbulent inter-war years. The book challenges preconceived notions of intelligence and awareness, and ultimately argues for a broadened perspective that would free us from culturally ingrained thought and our inevitable anthropomorphism. This is the first scholarly edition of a book that influenced such writers as C.S. Lewis and Arthur C. Clarke and which Jorge Luis Borges called "a prodigious novel."? Some Books of Stapledon: Last and First Men (1930) Sirius: A Fantasy of Love and Discord (1944) Odd John: A Story Between Jest and Earnest (1935) Last Men in London (1932) A Modern Magician (1979) Death into Life (1946) Darkness and the Light (1942) A World of Sound (1936) A Man Divided (1950) The Seed and the Flower (1916)

Tales of Space and Time, A collection of short stories: "The Crystal Egg", "The Star", "A Story of the Stone Age", "A Story of the Days to Come" & "The Man who could Work Miracles" ? Some Books of Wells: The War of the Worlds (1898) The Time Machine (1895) A Modern Utopia (1905) The Invisible Man (1897) The Island of Dr. Moreau (1896) The Food of the Gods and How It Came to Earth (1904) The Sleeper Awakes (1910) The Story of the Inexperienced Ghost (1902) The First Men in the Moon (1901) A Dream of Armageddon (1901)

“The Blazing World”, is a Description of a New World, Called The Blazing-World, better known as The Blazing World, is a 1666 work of prose fiction by English writer Margaret Cavendish, the Duchess of Newcastle. It has been described as an early fore-runner of science fiction.??Here on this Figure Cast a Glance.?But so as if it were by Chance,?Your eyes not fixt, they must not Stay,?Since this like Shadowes to the Day?It only represent's; for Still,?Her Beauty's found beyond the Skill?Of the best Paynter, to Imbrace?These lovely Lines within her face.?View her Soul's Picture, Judgment, witt,?Then read those Lines which Shee hath writt,?By Phancy's Pencill drawne alone?Which Peces but Shee, can justly owne.??To The Duchesse of Newcastle, ?On Her New Blazing-World.??Our Elder World, with all their Skill and Arts,?Could but divide the World into three Parts:?Columbus, then for Navigation fam'd,?Found a new World, America 'tis nam'd;?Now this new World was found, it was not made,?Onely discovered, lying in Time's shade.?Then what are You, having no Chaos found?To make a World, or any such least ground??But your Creating Fancy, thought it fit?To make your World of Nothing, but pure Wit.?Your Blazing-World, beyond the Stars mounts higher,?Enlightens all with a C?lestial Fier.??William Newcastle.

Dinu are 25 de ani, o carier? ?n presa de scandal ?i nemul?umiri pe toate planurile: e convins c? iubita ?l ?n?al?, a scris o carte pe care nu reu?e?te s-o publice, iar jobul s?u, de a scoate senza?ionalul din necazurile altora, nu-i aduce nici o satisfac?ie. ?n loc s?-?i accepte cu demnitate condi?ia de t?n?r intelectual rom?n, e decis s?-?i rezolve toate problemele, ?n doar o s?pt?m?n?. ?ntr-o astfel de situa?ie, de o gravitate medie, c?teva sfaturi ra?ionale ar putea fi exact ce are nevoie. Din p?cate, persoanele din jurul s?u nu se obosesc cu a?a ceva. Luca, prietenul s?u cel mai bun ?i fost coleg de facultate, ?l ?mpinge, de fiecare dat?, spre cea mai simpl? sau imoral? solu?ie. De cealalt? parte, fratele s?u Andrei ?ncearc? s?-l transforme ?ntr-un bun cre?tin, precum ceilal?i membrii ai sectei. Obsesia fa?? de starul hip-hop Ty Julius, impus? de cerin?ele publicului de tabloid, e singurul lucru care reu?e?te s?-i mai st?rneasc? sentimente puternice. Asta p?n? c?nd o ?nt?lne?te pe Simona, care i-ar putea schimba via?a complet, ?n bine, sau ?n r?u, sau poate chiar deloc.

-THE DOUBLE- centers on a government clerk who goes mad. It deals with the internal psychological struggle of its main character, Yakov Petrovich Golyadkin, who repeatedly encounters someone who is his exact double in appearance but confident, aggressive, and extroverted, characteristics that are the polar opposites to those of the toadying "pushover" protagonist. ??The motif of the novella is a doppelganger (Russian "dvoynik"), known throughout the world in various guises such as the fetch. * * *? It was a little before eight o’clock in the morning when Yakov Petrovitch Golyadkin, a titular councillor, woke up from a long sleep. He yawned, stretched, and at last opened his eyes completely.?For two minutes, however, he lay in his bed without moving, as though he were not yet quite certain whether he were awake or still asleep, whether all that was going on around him were real and actual, or the continuation of his confused dreams. ??Very soon, however, Mr. Golyadkin’s senses began more clearly and more distinctly to receive their habitual and everyday impressions. The dirty green, smoke-begrimed, dusty walls of his little room, with the mahogany chest of drawers and chairs, the table painted red, the sofa covered with American leather of a reddish colour with little green flowers on it, and the clothes taken off in haste overnight and flung in a crumpled heap on the sofa, looked at him familiarly. At last the damp autumn day, muggy and dirty, peeped into the room through the dingy window pane with such a hostile, sour grimace that Mr. Golyadkin could not possibly doubt that he was not in the land of Nod, but in the city of Petersburg, in his own flat on the fourth storey of a huge block of buildings in Shestilavotchny Street.

"THERE was once upon a time a king who had a garden; in that garden was an apple tree, and on that apple tree grew a golden apple every year."?These stories are the golden apples that grew on the tree in the king's garden; grew and grew and grew as the golden years went by; and being apples of gold they could never wither nor shrink nor change, so that they are as beautiful and precious for you to pluck today as when first they ripened long, long ago.??Perhaps you do not care for the sort of golden apples that grew in the king's garden; perhaps you prefer plain russets or green pippins? Well, these are not to be despised, for they also are wholesome food for growing boys and girls; but unless you can taste the flavor and feel the magic that lies in the golden apples of the king's garden you will lose one of the joys of youth.??No one can help respecting apples (or stories) that gleam as brightly today as they did hundreds and thousands of years ago, when first the tiny blossoms ripened into precious fruit.??"Should you ask me whence these stories,?Whence these legends and traditions?With the odors of the forest,?With the dew and damp of meadows?"—??I can say only that the people were telling fairy tales in Egypt, in Joseph's time, more than three thousand years ago; and that grand old Homer told them in the famous "Odyssey," with its witches and giants, its cap of darkness, and shoes of swiftness. Old nurses and village crones have repeated them by the fireside and in the chimney corner; shep-herds and cowherds have recounted them by the brookside, until the children of the world have all learned them by heart, bequeathing them, generation after generation, as a priceless legacy to their own children. Nor must you fancy that they have been told in your own tongue only. Long, long before the art of printing was known, men and women of all nations recited these and similar tales to one another, never thinking that the day would come when they would be regarded as the peculiar property of youth and childhood. ?

Un nou gen de proz? literar?? A?a s-ar p?rea, dac? pornim de la separarea ?n con?tient ?i incon?tient a sinelui uman, aprofundat? magistral de marele psihiatru elve?ian C.G. Jung ?n celebra ?i monumentala sa Carte Ro?ie. Dumitru Popescu are o bogat? oper? literar?-fic?ional? ?i nonfic?ional? – inspirat? din yona con?tientului. Baletul fantasmelor ne propune sondarea cu mijloace literare a celeilalte zone a spiritului, cu origini ?i mecanisme ?nc? greu decelabile ?i care deschide o alt? fabuloas? perspectiv? a l?untricului omenesc.

There are, roughly speaking, two distinct types of Scottish Fairy Tales. There are what may be called "Celtic Stories," which were handed down for centuries by word of mouth by professional story-tellers, who went about from clachan to clachan in the "High-lands and Islands," earning a night's shelter by giving a night's entertainment, and which have now been collected and classified for us by Campbell of Isla and others.??These stories, which are also common to the North of Ireland, are wild and fantastic, and very often somewhat monotonous, and their themes are strangely alike. They almost always tell of some hero or heroine who sets out on some dangerous quest, and who is met by giants, generally three in number, who appear one after the other; with whom they hold quaint dialogues, and whom eventually they slay. Most of them are fairly long, and although they have a peculiar fascination of their own, they are quite distinct from the ordinary Fairy Tale.

Pisagor, ?ifa sanat?n?n en kutsal sanat oldu?unu s?ylemi?tir. ?ifa en kutsal sanatsa, o halde bedenle oldu?u kadar ruhla da ilgilenmelidir; ?ünkü hi?bir varl?k, en ?nemli par?as? hasta oldu?u sürece sa?l?kl? olamaz. ? ? ? ? ? ? ? ?Tyana’l? Apolionius Bu ?nemli ?al??mada, Kuantum ?yile?me, deyince ?unu anl?yoruz, kuantum fizi?i esaslar?na ve Modern bilime g?re iyile?me t?bbi kurallar? ile alternat?ve T?p, yani S?fac?l?k ??retisini birle?tiren bu kitap, ?e?itli hasta vaklar?n? ve Hastal?klara ili?kin vücuttaki ruhsal süredurumlara kuantum mekan???n?n modelleriyle yakla??m sa?layarak, grafiksel detayl? anlat?m?n? kullanarak, okura sa?l?kl? ve net bir yeni ?a??n s?fac? bilgisini kadim ??retileri kuantum mekan??iyle harmanlayarak aktarmaktad?r. Buna g?re, bu ?al??man?n amac?, zihin-beden-ruh bütünlü?ünü sa?lamaya deniyor ve mutlu olman?n tek ?art?n?n, ?al??ma boyunca, bu ü?ünün birli?inden ge?ti?ine inan?l?yor. Buradaki "iyile?me"den kas?t ise, Zihin-Beden-Ruh koordinasyonu kastedilmi?tir, yani tüm bir zihinsel bedensel ve ruhsal ?akra alanlar?n?n tam bir s?fas? konu edilmi?tir.. Hastal?klara kar?? ba????kl?k sisteminin etkileri muhakkak ki, ?a??m?zda art?k yads?namaz bir ger?ektir. Fakat ne var ki, buradaki esas ama?, hastal?klar? iyile?tirmekten ziyade, hasta olmaman?n yollar?n? aramakt?r bu esere g?re. (Daha da do?rusu "sa?l?kl? ol"ma ve “sa?l?kl? kal”ma halini ve süreklili?ini yakalamak ve bu süreklili?i hayat boyu sa?laman?n y?ntemi ara?t?r?l?yor ve analiz ediliyor..) Buradaki "hastal?k" terimi, t?bbi referanstan ?ok; yokluk, yaln?zl?k, i?sizlik, ba?ar?s?zl?k, mutsuzluk, kendini bo?lukta hissetme ve de?ersizlik gibi duygulara refere edilmektedir. Buna g?re, ?nsan sadece t?bbi hasta olmaz, fakir bir insan da hastad?r, yaln?z bir insan da! Kanser nas?l bir hastal?ksa; cimrilik, kabal?k, güvensizlik, korku, endi?e ve nefret de o oranda hastal?kt?r.. Sa?l?kl? bir insan tan?m?n? ??yle yap?yoruz hep genellikle: Kazanc?nda ve kahkahas?nda bolluk-bereket i?inde, ba??ms?z, gü?lü, ili?kilerinde mutlu, sevgiyi her daim ya?ayan ve etraf?ndakilerle payla?an, güven i?inde, sa?l?kl? ve güzel kalabilmek... ??te, bu kitab?n da yegane yaz?lma hedefi ve amac? da bunu sürekli olarak okura kazand?racak bilginin anahtar?n? vermektir. Yani, bir anlamda y?llard?r ki?isel geli?im alan?nda, s?k?a yap?lan yanl?? uygulamalar sonucunda, benzer ?al??malar?n yapt??? bal?k vermeyi ??retmek yerine, okura bal??? nas?l tutaca??n? ??retmeyi hedeflemektedir..

Caragiale a delimitat si impus teritoriul dramaturgiei romanesti cu numai cinci piese patru comedii si o drama scrise pe durata a doar unsprezece ani. Timp de un secol si peste trei decenii cat a trecut pana astazi de la prima lectura publica a Noptii furtunoase cea dintai dintre marile lui piese perimetrul problematic de viziune stilistic si tipologic al teatrului romanesc atat in registrul comediei cat si in cel al dramei fie aceasta ?de idei“ fantastica ori mitologizanta a ramas cel stabilit de Caragiale. Pentru literatura dramatica romaneasca el a avut si are acelasi rol ca in literatura franceza Corneille Racine si Molière laolalta. I-a fixat pentru eternitate probabil tiparele si ?ntinderea specificul si frontierele. MIRCEA IORGULESCU

n finalul romanului Donna Alba mtile personajelor cad. Mihai Aspru a vrut doar s-o stpneasc“ pe trufaa aristocrat, mbrcndu-i dorina n podoabe strlucitoare luate din cri. n schimb, Georges Radu erban, soul nelat, boier rigid taxat maliios de ctre narator, se dovedete un veritabil erou tragic, sinucigndu-se din dragoste, ca personajul lui Dostoievski.Ct o privete pe Alba, obiectul obsesiei ndelung elaborate, ea e un personaj de film din anii ‘30: femeia fatal, provocatoare de nenorociri pentru brbaii care o iubesc. Intriga dinamic, colorat de suspans, ajunge la o rezolvare cu happy end, care ar fi putut prea facil dac naratorul n-ar fi introdus un accent original de autoironie i umor negru, chiar n legtur cu ultima apariie a Albei. Foarte frumoas n valurile negre de mare doliu, dar deloc ndurerat, ea i apare brbatului ca un nger al morii, promindu-i o primejdioas fericire.

PREFACE?All the stories about Princes and Princesses in this book are true stories, and were written by Mrs. Lang, out of old books of history. There are some children who make life difficult by saying, first that stories about fairies are true, and that they like fairies; and next that they do not like true stories about real people, who lived long ago. I am quite ready to grant that there really are such things as fairies, because, though I never saw a fairy, any more than I have seen the little animals which lecturers call molecules and ions, still I have seen people who have seen fairies—truthful people. ??This book about Princes and Princesses is not one which a child is obliged to read. Indeed the stories are not put in order, beginning with the princes who lived longest ago and coming down gradually to people who lived nearest our own time. The book opens with the great Napoleon Bonaparte, who died when some very old people still living were alive. Napoleon was not born a prince, far from it; his father was only a poor gentleman on a wild rough little island. But he made himself not merely a king, but the greatest of all emperors and generals in war. He is not held up as a person whom every boy should try to imitate, but it is a truth that Napoleon always remained a boy in his heart. He liked to make up stories of himself, doing wonderful things which even he was unable to do. When he was a boy he played at being a general, making snow fortresses and besieging them, just as many boys do. And when he was a man he dreamed of conquering all the East, Asia, and India, and Australia; and he tried to do all that, but it was too much even for him.

The tales in the Grey Fairy Book are derived from many countries: ”Lithuania, various parts of Africa, Germany, France, Greece, and other regions of the world. They have been translated and adapted by Mrs. Dent, Mrs. Lang, Miss Eleanor Sellar, Miss Blackley, and Miss Lang. 'The Three Sons of Hali' is from the last century 'Cabinet des Faces,' a very large collection. The French author may have had some Oriental original before him in parts; at all events he copied the Eastern method of putting tale within tale, like the Eastern balls of carved ivory. ??The stories, as usual, illustrate the method of popular fiction. A certain number of incidents are shaken into many varying combinations, like the fragments of coloured glass in the kaleidoscope. Probably the possible combinations, like possible musical combinations, are not unlimited in number, but children may be less sensitive in the matter of fairies than Mr. John Stuart Mill was as regards music.

Cel mai vechi dintre cltorii romantici, Grigore Alexandrescu, n paginile consacrate vizitei sale la mnstirile olteneti (1842), ne ofer… destul de puin. Impresiile sale privesc mai degrab tradiiile istorice ale locurilor pe care le viziteaz sau unele particulariti ale ornduirii lor actuale. Cadrul natural este abia indicat. Cnd ajunge la Cozia, o simpl nsemnare topografic i este de ajuns… n faa Mnstirii Dintr-un Lemn descrierea este ceva mai bogat, dar fr elemente sensibile propriu-zise. Autorul descrie o configuraie, nu un peisagiu… Petera de la Polovraci l impresioneaz mai mult, dar spiritul de observaie rmne, chiar n faa acestui spectacol, inferior fanteziei constructive, creia i se pare a vedea, n grupul stalactitelor, siluete de copii sau de fantasmagorice fiine combinate din oameni i fiare, dac nu simple chipuri slbatice "c doi tlhari, care, cu armele gata, ateapt s atace un trector". Abia, ultima pagin a Memorialului jertfete esteticii timpului, zugrvind un motiv tipic-rasarirea lunii deasupra unei pduri… Pagina merit a fi reinut. Este acea prin care natura, ca obiect al descrierii literare, intr n operele prozatorilor romni, sub forma magiei lunare. Scriitorul nelege ce poate fi dulceag sau convenional n zugrvirea strlucirii nentinate a lunii i de aceea ntregete tabloul sau din contraste punnd alturi de lumin selenar, rspndit pe ziduri, pe stnci i poteci, masa ntunecat a pdurii rmase n umbr. Rsrirea lunii la Tismana rmne oricum o excepie n paginile de proz ale lui Grigore Alexandrescu.“Tudor Vianu, Arta prozatorilor romni, Chiinu, Casa de editura Litera, 1997, p. 69-70.

Mare poet clasic, Co?buc ?i-a asigurat locul printre marii creatori: Eminescu, Creang?, Caragiale, Slavici, prin con?inutul na?ional al operei sale, prin cultivarea ?i frecventarea clasicilor, prin puritatea expresiei ?i claritatea stilului, prin promovarea idealului de frumuse?e echilibrat?, ?n general prin ?nnoirea limbii poetice. Co?buc este – unanim recunoscut – un mare clasic al versului rom?nesc. Poet al naturii ?i al omului de la ?ar?, al exuberan?ei juvenile, al iubirii, al revoltei ?i luptei, al b?rb??iei, Co?buc ?nscrie una din cele mai pre?ioase experien?e ale literelor rom?ne?ti, ?ntr-un moment de r?scruce, c?nd, prin scrierile unei pletore de pseudoeminescieni, se crease ?n poezia noastr? o stare deprimant?, maladiv?, din care se p?rea c? nu exist? perspective de ie?ire spre un liman s?n?tos. ?n acest climat de mal de siecle, de Wetschmerz r?sare nea?teptat de viguros ?i nou George Co?buc, redres?nd poezia rom?neasc?, aduc?nd noi orizonturi, noi sensuri, noi valori artistice.

Pove?tile lui Creang? sunt delectabile deopotriv? pentru copii ?i pentru adul?i. ?ns? numai cei din urm? le pot gusta pe deplin savoarea. Creanga pare a nu-?i fi b?tut capul s? inventeze pove?ti: avea de?tul material la ?ndem?n? ca s? mai fie nevoie de a?a ceva. C?t datoreaz? el crea?iei folclorice anonime ?i c?t ?i este aceasta tributar? dup? publicarea pove?tilor ?i absorb?ia – sau re?ntoarcerea – acestora ?n circuitul oralit??ii e o chestiune ce poate interesa mig?loase cercet?ri erudite. Farmecul pove?tilor lui Creang? nu st? ?n inven?ie – cel mult, aici ?i-a spus cuv?ntul selec?ia f?cut? de scriitor dintr-un inventar disponibil at?t de bogat. Ceea ce atrage ?i cucere?te, ?n primul r?nd, e ?punerea ?n scen?“ – nemaivorbind de darul rostirii plastice, suculen?e, at?t de mult comentat ?i analizat.LIVIU PAPADIMA

Her ?ey ?evresiyle etkile?imsel bütünlükte anlaml? olmaktad?r. Soral?m yine de; Bütünü par?alar?ndan fazlas? yapan nedenler nelerdir? Evrende neyin ifadesiyiz? Canl?l?k, bilin?, ruh, duygular art?k anla??labilir midir? Canl?l?k h?z farklar?ndan m? olu?maktad?r? H?zl? bile?enimiz olan elektri?in; canl?l???n ve bilincimizin olu?umunda nas?l bir etken olmaktad?r? Bizleri olu?turanlardan beden, duygular, bilin?, ruh diye tan?mlad?klar?m?z aras?nda ba?lant?lar nas?l kurulmaktad?r? Sorular?, günümüzde enerjiler aras? ba?lant?, etkile?im nas?l kurulmaktad?r? Sorusu gibi oldu?u, yani her?ey gibi onlar?nda enerji oldu?u anla??lm??t?r. Ruh olarak tan?mlad?k, zihin-beden aras?nda ba?lant?y? kurmaya, duygular? anlamaya ?al??t?k. Bilincin, alg?n?n tüm bunlarla nas?l bir ili?kisi olabilece?ini sorgulad?k. Genelde ?yle oluyor ya, bütünün ?nce par?alar?n? anlamaya, par?alara ay?r?p anlamaya ?al??man?n sorunlar?n?n izlerini sürüp bütünle olan etkile?imini g?rmeye y?neliyoruz. Zaman?n i?inde zaman ge?irmemize ra?men bilincimizle, canl?l???m?zla nas?l ba?lant?l? oldu?unu g?rmezden geldik. Günümüz dünyas?n?n ula?t??? bilgi, ya?amsal deneyimlerin kaydedilip aktar?lmas?, izledi?imiz filmlerden tutun da, deneyimlerimizin h?zl? etkile?imiyle zaman aral?klar?n? orduk. S?n?r sistemimize benzeyen internet a?lar? olu?turduk. ?nsanl?k olarak yapay zekalar geli?tirdik. Hücre ile beden benzeri; canl?yla tüm canl?l???n, ekosistemin, varl???n etkile?im ?rüntüsü oldu?unu, etkile?imsel ?rüntüde anlam? oldu?unu ??rendik. Belki de olu?turdu?umuz yeni anlamlar gelecekte olu?acaklar?n par?alar?d?r. De?i?im devam ediyor. G?rünen o ki, canl?lar bu evrenin en ileri evrensel enerji alanlar?d?r. Soral?m kendimize; Evrende canl?l?ktan daha anlaml? bir ?ey var m?d?r? Dünya bilinci ?a?lard?r. Biriktirdi?i bilgi ve deneyimlerini, olu?umun ba?lang?c?ndan itibaren nesiller boyu aktarm??, ekosistemiyle bir bütün olarak evrilmi?tir. Ula?t??? bilin? halini ?evresiyle etkile?imsel d?ngü i?inde hep yeniden ?ekillendirmi?tir. D?nü?ümsel etkile?imin hi?bir zaman?n?n ayn? olmay??? temel evrensel durumun etkisiyle de zamanda evrilmi? ve günümüz dünyas?n?n paradigmas?na ula?m??t?r. Evrimsel ?rüntüye paralel geli?en teknolojik entegrasyonla bilgi, zamanda ?ok yo?un etkile?ebilmi?tir. Dünya üzerinde artan s?n?r hücresi say?s? yani artan canl? say?s?n?n olumlu bir yan? ise, bilginin etkile?imini art?rm?? olmas?d?r. Platon’un idealar dünyas?nda var olan?n kendi ba??na var olamayaca??n?, var olan?n ?ncül bir mükemmeli olmal? dü?üncesiyle hareket etti?i g?rülüyor. Bu dü?ünceye bi ele?tiriyle ba?lay?p daha sonra ele?tiriyide ele?tirelim. Diyelim ki bu dü?ünceye evrimin, zaman?n itiraz? var. Buna b?yle devam edersek ba?lang?? i?inde, uzaylar i?inde ba?layan evrenler olsa bile bugünki mant?k yine en ba?a d?nmemizi s?ylüyor. Yani ilk nas?l olu?tu? Bu olu?um ?ncesi uzay diyeyim en mükemmel saf hali olan B?R nas?l olu?tu. 1’de ise hi?bir ?zellik olmamal? yani nas?l olurda idea’lar oradan kaynaklan?r. Demek ki varl?k olu?umu bi süre?, evrim olur gibi. Sondan ba?a d?nsekte bi süre?, ba?tan ba?lam?? olsakta bi süre?. Bu ifadeler B?R d?ngüsü i?inde do?ru olabilir. ?dealar nereden geldi ?ünki sonu? olarak idealar B?R de olmamal? ?ünkü B?R farkl?l?k bar?nd?rm?yor. Asl?nda her ?eyi B?R kapsar, o kaynak potansiyeller alan?d?r. Haliyle her ?eyle ayn? alandad?r. Bi nevi potansiyeller alan?yla varl?k ayn? ?eydir, benzerdir. O halde Platon’un idealar kuram?n?n kayna?? ve kendisi bu evrendedir, bu evrendir. Günümüz bilim dünyas?nda ?oklu evrenler dü?üncesi olduk?a yayg?nd?r. O halde evrenlerin oldu?u daha dev uzaysal kaynaklar, alanlar olmal?d?r. ??te B?R belkide bizimde i?inde evrildi?imiz vede k?smen farkl?la?t???m?z her ?eyin kayna??, alan?d?r. Evren büyük tabii ancak büyüklük hep yan?lt?c? olmaya devam etmi?tir. Belkide hiper bir uzay hatta uzaylar alan?nda olabiliriz. Belki ama e?er do?ru b? dü?ünce ?ekliyse bu ilk soruyu yinede de?i?tirmiyor. ?lk ba?lang?? diye bir ?ey var m??

n vrst de 11 ani, Ivy Manx locuiete n inutul Caux, al crui conductor este teribilul Rege Mtrgun i unde legea trmului este otrvete sau fii otrvit“. Fr un degusttor de ncredere acreditat de Breasl care s-i stea mereu aproape, urmtoarea ta mas ar putea fi i ultima.Chiar mai ru, unchiul mult iubit al fetiei – ultimul farmacopat vindector din Caux – a disprut fr urm, lsnd-o pe Ivy cu trusa lui cu leacuri secrete, cu o cioar zgomotoas pe nume H i cu un degusttor nepriceput i mrav, cu nclinaie pentru picoteal.Nu mai e timp de pierdut! Ivy trebuie s-i pun n aplicare teribilul plan! mpreun cu un tnr degusttor pe nume Rowan – aflat pe fug dup otrvirea accidental a douzeci dintre grzile regelui –, fata pornete n cutarea unchiului ei. n aceste vremuri dominate de corupie i de uneltiri – n acest, pn nu demult, minunat loc strvechi –, cei doi copii, devenii acum dumanii ntregului regat, au un sprijin de ndejde.Dar ce vor oare urmritorii lor S fie nestemata de-o inegalabil frumusee ce pare – dei asta este practic imposibil – a fi scobit Sau o fi elixirul pe care ea nsi l-a creat i care are misterioase puteri vindectoare Sau oare poate fi vorba despre Ivy nsiSpus pe un ton uor ironic i de o prospeime irezistibil, primul volum al trilogiei Otrvurile din Caux“, Nestemata Scobit este o uimitoare poveste despre ierburi i magie, degusttori i otrvuri.

Uneori singura solu?ie este v?rsarea de s?nge.Un criminal ac?ioneaz? animat de cele mai perverse dorin?e, f?r? nici o remu?care ?n fa?a tinere?ii ?i inocen?ei victimelor. Are o list? lung? la activ ?i nu las? urme. Uciderea ?i mutilarea adolescentei Jennifer Maidment este ?n sine un act de o cruzime ?nfior?toare, iar dr. Tony Hill descoper? ?n scurt timp c? nu este dec?t primul dintr-o campanie care vizeaz? un grup de tineri aparent f?r? nici o leg?tur? ?ntre ei, ademeni?i de monstru prin intermediul unei re?ele de socializare online.Un nou caz ?nfrico??tor, care ?i rede?teapt? celebrului psiholog ?i profiler Tony Hill fantomele trecutului.

Dup? ?nfr?ngerea Regelui ?i a Reginei M?tr?gun?, ?n Caux este din nou lini?te. Totu?i, a mai r?mas de ?ndeplinit o Profe?ie: bunul rege Verdegris, acum bolnav de moarte, urmeaz? a fi g?sit ?i vindecat de Nobilul Vl?star, nimeni alta dec?t Ivy Manx.Al?turi de prietenul ei Rowan, t?n?ra trebuie s? se aventureze ?n interiorul Breslei Degust?torilor, condus? de diabolicul Vidal Vinegret. Colac peste pup?z?, primejdiile se ?nmul?esc odat? cu apari?ia unei plante otr?vitoare care-i amenin?? c?l?toria: feriga rea, cunoscut? ?i ca f?c?toarea-de-regi, cea care ??i poate ?nnebuni victimele, lu?ndu-le prizoniere ?ntr-un t?r?m ?ntunecat.Vor reu?i eroii no?tri s? contracareze ac?iunile du?manilor lor ?i s? ?nf?ptuiasc? Profe?ia? Ce alte noi aventuri li se mai deschid ?nainte?Aventurile lui Ivy Manx continu? ?ntr-o nou? carte misterioas? ?i mortal de hazlie.