This book is called The White Spark as the white spark or vacuum cell in Nature IS THE RIGHT HAND OF GOD—it is a ubiquitous principle of the universe and is the cause and parent of electricity, combustion, radium, snow-flakes, flowers, trees, leaves, crystallization, wireless telegraphy, animal forms and EVEN LIFE ITSELF. This book is the key to every department of human endeavor, as it enunciates the basic principle and THE PRIME MOVER of the universe.?It tells the road to health, the cause and cure of disease, the truth about the germ humbug and drug treatments, serums and antitoxins. It shows why luminosity is produced on the flesh of various organisms, why a slice of pollock when first iced, then heated to 100 degrees and then thrust into a temperature of 50 degrees becomes luminous. It shows the farmer that he can become a magician of agriculture—tells that the nitrogen of the air is only a dust of quartz rocks, like the invisible moisture of the air is "a dust of water"—that the nodules on the roots of the clover and legumes do not abstract nitrogen from the air, for if they did nature would have placed these bacteriological growths on the vine and not the root, the scientists have the cart before the horse in this case and the nodular cells form the proteids from sand or silica, this book tells how it is done. It tells what a trance is and how the soul can leave the body temporarily. How JESUS CHRIST is carrying out the biblical prophesy by TELEPATHY. Gives the truths about the ideal society, alcohol, drunkenness, causes of crime, longevity and law.

Нельсон Мандела — п?вденноафриканський правозахисник, юрист, пол?тик, президент П?вденно-Африкансько? Республ?ки (1994 –??1999 рр.). Мандела був першим президентом ПАР, обраним на демократичних, не сфальсиф?кованих виборах. У сво?й трет?й книз? Нельсон Мандела в?дверто опису? ?н?ц?ац?ю африканських хлопчик?в, побут ? злидн? свого дитинства, навчання й одруження, народження ? смерть сво?х д?тей, жах самотност? в’язня на остров? Роббен ? вистраждану Свободу. Житт?вий досв?д та погляди Нельсона Мандели як н?коли актуальн? в контекст? нин?шн?х укра?нських реал?й, бо ?правда поляга? в тому, що ми ще не в?льн?, ми просто здобули свободу бути в?льними, право не бути пригноблюваними…справжн? випробування нашо? в?дданост? свобод? лише почина?ться?.??

THE history, the features, and the most famous examples of European architecture, during a period extending from the rise of the Gothic, or pointed, style in the twelfth century to the general depression which overtook the Renaissance style at the close of the eighteenth, form the subject of this little volume. I have endeavoured to adopt as free and simple a mode of treatment as is compatible with the accurate statement of at least the outlines of so very technical a subject. Though it is to be hoped that many professional students of architecture will find this hand-book serviceable to them in their elementary studies, it has been my principal endeavour to adapt it to the requirements of those who are preparing for the professional pursuit of the sister arts, and of that large and happily increasing number of students who pursue the fine arts as a necessary part of a complete liberal education, and who know that a solid and comprehensive acquaintance with art, especially if joined to some skill in the use of the pencil, the brush, the modelling tool, or the etching needle, will open sources of pleasure and interest of the most refined description. The broad facts of all art history; the principles which underlie each of the fine arts; and the most precious or most noteworthy examples of each, ought to be familiar to every art student, whatever special branch he may follow. Beyond these limits I have not attempted to carry this account of Gothic and Renaissance architecture; within them I have endeavoured to make the work as complete as the space at my disposal permitted. THE architecture generally known as Gothic, but often described as Christian Pointed, prevailed throughout Europe to the exclusion of every rival for upwards of three centuries; and it is to be met with, more or less, during two others. Speaking broadly, it may be said that its origin took place in the twelfth century, that the thirteenth was the period of its development, the fourteenth that of its perfection, and the fifteenth that of its decline; while many examples of its employment occur in the sixteenth. In the following chapters the principal changes in the features of buildings which occurred during the progress of the style in England will be described. Subsequently, the manner in which the different stages of development were reached in different countries will be given; for architecture passed through very nearly the same phases in all European nations, though not quite simultaneously. It must be understood that through the whole Gothic period, growth or at least change was going on; the transitions from one stage to another were only periods of more rapid change than usual. The whole process may be illustrated by the progress of a language. If, for instance, we compare round-arched architecture in the eleventh century to the Anglo-Saxon form of speech of the time of Alfred the Great, and the architecture of the twelfth century to the English of Chaucer, that of the thirteenth will correspond to the richer language of Shakespeare, that of the fourteenth to the highly polished language of Addison and Pope, and that of the fifteenth to the English of our own day. We can thus obtain an apt parallel to the gradual change and growth which went on in architecture; and we shall find that the oneness of the language in the former case, and of the architecture in the latter, was maintained throughout. For an account of the Christian round-arched architecture which preceded Gothic, the reader is referred to the companion volume in this series. Here it will be only necessary briefly to review the circumstances which went before the appearance of the pointed styles.

"Where ocean bathes earth's footstool these sea-bowersBedeck its solid wavelets: wise was heWho blended shore with deep, with seaweed flowers,And Naiads' rivulets with Nereids' sea." Strictly speaking the peninsula on which the city stands is of the form of a trapezium. It juts out into the sea, beating back as it were the fierce waves of the Bosphorus, and forcing them to turn aside from their straight course and widen into the Sea of Marmora, which the ancients called the Propontis, narrowing again as it forces its way between the near banks of the Hellespont, which rise abrupt and arid from the European side, and slope gently away in Asia to the foot of Mount Ida. Northwards there is the little bay of the Golden Horn, an arm as it were of the Bosphorus, into which run the streams which the Turks call the Sweet Waters of Europe. The mouth of the harbour is no more than five hundred yards across. The Greeks of the Empire spanned it by a chain, supported here and there on wooden piles, fragments of which still remain in the Armoury that was once the church of S. Irene. Within is safe anchorage in one of the finest harbours of the world. South of the Golden Horn, on the narrow tongue of land—narrow it seems as seen from the hills of the northern shore—is the city of Constantine and his successors in empire, seated, like the old Rome, on seven hills, and surrounded on three sides by sea, on the fourth by the still splendid, though shattered, medi?val walls. Northwards are the two towns, now linked together, of Pera and Galata, that look back only to the trading settlements of the Middle Ages.The single spot united, as Gibbon puts it, the prospects of beauty, of safety, and of wealth: and in a masterly description that great historian has collected the features which made the position, "formed by Nature for the centre and capital of a great monarchy," attractive to the first colonists, and evident to Constantine as the centre where he could best combine and command the power of the Eastern half of his mighty Empire. Byzantium Before Constantine.It is impossible to approach Constantinople without seeing the beauty and the wonder of its site. Whether you pass rapidly down the Bosphorus, between banks crowned with towers and houses and mosques, that stretch away hither and thither to distant hills, now bleak, now crowned with dark cypress groves; or up from the Sea of Marmora, watching the dome of S. Sophia that glitters above the closely packed houses, till you turn the point which brings you to the Golden Horn, crowded with shipping and bright with the flags of many nations; or even if you come overland by the sandy wastes along the shore, looking across the deep blue of the sea to the islands and the snow-crowned mountains of Asia, till you break through the crumbling wall within sight of the Golden Gate, and find yourself at a step deep in the relics of the middle ages; you cannot fail to wonder at the splendour of the view which meets your eyes. Sea, sunlight, the quaint houses that stand close upon the water's edge, the white palaces, the crowded quays, and the crowning glory of the Eastern domes and the medi?val walls—these are the elements that combine to impress, and the impression is never lost. Often as you may see again the approach to the imperial city, its splendour and dignity and the exquisite beauty of colour and light will exert their old charm, and as you put foot in the New Rome you will feel all the glamour of the days that are gone by.

Щороку ми д?зна?мося дедал? б?льше нових сл?в у галуз? економ?ки, комп’ютерних технолог?й ? маркетингу, натом?сть невпинно убож?? наш лексикон у сфер? етики й морал?. Дев?д Брукс б’? на сполох: очевидно, що сучасне сусп?льство у гонитв? за новац?ями нехту? усталеними етичними принципами, втрача? моральн? стимули й ?деали, руйну? св?й духовний стрижень. ?ДНК особистост?? про те, як переглянути власн? пр?оритети ? зосередитися на внутр?шн?х чеснотах. Вона покаже, як деяким людям вдалося проторувати шлях до сильного характеру ? стати г?дною особист?стю. ?хн? ?стор?? стануть для читача певними ор??нтирами у пошуках власно? стратег?? гартування характеру, допоможуть п?знати себе, в?днайти душевну гармон?ю ? щастя.

Капталзм свобода — класика полтико-економчно лтератури ХХ столття — як нколи актуальна для Украни. Нобелвський лауреат Млтон Фрдман розгляда зв’язок мж економчною та полтичною свободою. Вн опису, чому варто обмежити вплив держави в економку, децентралзувати владу, забезпечити гнучкий валютний курс, роздержавити сфери освти соцального забезпечення.

Одного дня життя дев’ятир?чного хлопчика повн?стю зм?нилося. Дитяча ц?кав?сть обернулася страшною пожежею, внасл?док яко? хлопчик отримав оп?ки майже усього т?ла. Пробувши у л?карн? п’ять м?сяц?в, в?н пережив ампутац?ю пальц?в та бол?сну реаб?л?тац?ю. Але якщо рубц? на т?л? можна прикрити одягом, то що робити ?з душевними шрамами? Чи можна п?сля цього мр?яти про повноц?нне щасливе життя? ?У полум’?? — це книга-спов?дь про незламн?сть, пошук себе ? велику роботу на шляху до усп?ху. Вона написана на основ? реальних под?й, як? зм?нили життя багатьох людей.

Книга объединяет два главных прижизненных издания основателя и ярчайшего представителя поэзии абсурда. Эдвард Лир (1812-1888) – прославленный английский поэт и художник, отец литературного лимерика, жанра, оказавшего заметное влияние на литературу конца XIX и всего XX века. Лимерики (216 забавных пятистиший) приведены на языке оригинала с параллельными переводами, выполненными лучшим российским интерпретатором поэзии нонсенса Борисом Архипцевым, и сопровождаются авторскими иллюстрациями. Переводчик посвятил работе более 20 лет жизни, добившись уникального результата, невиданной прежде полноты раскрытия авторского замысла в сочетании с красотой и естественностью звучания русского стиха. ?…Архипцев переводит Эдварда Лира, как благочестивый толковник – Писание: он передает и смысл, и звук. Точен – часто до мельчайших деталей. Звучен – до самой лихой эквилибристики…??Н. Горбаневская. Книга погружает читателя в атмосферу тонкого английского юмора, превосходно переданного переводчиком, в мир абсурда, делая его близким и понятным человеку любого возраста – от младшего школьного до старшего пенсионного. Издательство Animedia Company желает вам приятного чтения.

When Mandy’s car is stolen with her two young daughters inside, the police think it’s a car-jacking gone wrong, but she can’t forget the determined look in the man’s eyes as he drove away. Mandy and her husband, Nick, are on the verge of divorce and the kidnapping is a wake-up call. All of their differences and problems can’t stand in the way of a parent’s love. In order to find their children, they’ll have to forgive each other and learn to work together. But they don’t have years or even months to make this happen . . . according to the kidnapper, time is running out.? The first novella in the Silver Cascade Suspense series, Silver Cascade Secrets, is available when you sign up for Rachelle's VIP news. If you're interested, copy and paste this link into your browser http://rachellechristensen.com/free-book/

Realmente, o estudo dos fluidos e das for?as radiantes leva, necessariamente, às formas invisíveis da vida, pois a elas se relaciona fortemente. E por aí que a Ciência nova chegará a reconhecer a existência do mundo dos espíritos e que as imensas perspectivas do Além se abrir abrir?o diante dela.'

Darwin, ?nsan dahil tüm canl? türlerinin do?al se?i-lim yoluyla bir ya da birka? ortak ata-dan evrildi?ini ?ne sürmü? ve o günün ?artlar?na g?re bu teoriyi destekleyen pek ?ok kan?t sunmu?tur. Darwin'in fikirleri üzerine in?a edilen modern evrim teorisi, bugün biyoloji biliminin temeli ve birle?tirici ??esidir. Evrimin ger?ekle?ti?i ger?e?i Charles Darwin'in ya?ad??? d?nemde, do?al se?ilim teorisinin evrimin ana a??klamas? oldu?u ise 1930'lu y?llarda bilim dünyas? taraf?ndan kabul g?rmü?tür. Darwin'in orijinal teorileri modern evrimsel biyolojinin temelini olu?turmakta, hayat?n ?e?itlili?i üzerine birle?tirici bir mant?ksal a??klama sunmaktad?r. Darwin'in Hayat? da dahil Evrim teorisi ve türlerin k?keni eserini tüm y?nleriyle ele alan bu ba?ucu eserini mutlaka okuman?z? ?neriyoruz.. DARW?N K?MD?R? ?nsan dahil tüm?canl??türlerinin?do?al se?ilim?yoluyla bir ya da birka??ortak atadan?evrildi?ini??ne sürmü? ve o günün ?artlar?na g?re bu teoriyi destekleyen pek ?ok kan?t sunmu?tur.?Darwin'in fikirleri üzerine in?a edilen modern?evrim teorisi, bugün?biyoloji?biliminin temeli ve birle?tirici ??esidir. Evrimin ger?ekle?ti?i ger?e?i Charles Darwin'in ya?ad??? d?nemde, do?al se?ilim teorisinin evrimin ana a??klamas? oldu?u ise 1930'lu y?llarda bilim dünyas? taraf?ndan kabul g?rmü?tür.?Darwin'in orijinal teorileri modern evrimsel biyolojinin temelini olu?turmakta, hayat?n ?e?itlili?i üzerine birle?tirici bir mant?ksal a??klama sunmaktad?r. Darwin'in?do?a tarihine?duydu?u ilgi, ?nce?Edinburgh ?niversitesi'nde?t?p, sonra?Cambridge ?niversitesi'nde?teoloji?okurken geli?ti. Beagle?gemisinde yapt??? be? senelik yolculuk s?ras?nda, zaman?n me?hur jeolo?u?Charles Lyell'?n ortaya att???, ge?mi?teki jeolojik süre?lerin bugünkülerle ayn? oldu?unu savunan teoriyi destekleyecek pek ?ok g?zlem yapt? ve iyi bir jeolog olarak ünlendi.?Ayn? yolculukta, canl?lar?n co?rafi da??l?m? ve?fosiller?üzerine yapt??? dikkatli g?zlemler sonucunda, türlerin birbirine d?nü?ümüyle ilgilenmeye ba?lad? ve 1838'de?do?al se?ilim?fikrini geli?tirdi.?Daha ?nce benzer fikirlerin "sapk?nl?k" olarak nitelendirildi?ini ve bast?r?ld???n? g?rmü? oldu?undan, uzun süre fikirlerini en yak?n arkada?lar? d???nda kimseye a?mad?.?Olas? itirazlara en iyi ?ekilde cevap verebilmek i?in ara?t?rma yapmaya ve kan?t toplamaya ba?lad?.?1858'de?Alfred Russell Walla-ce'dan ald??? bir mektubu okuyunca, Wallace-'?n da kendisininkine benzer bir teori geli?tirdi?ini anlad?, ve nihayet teorisini yay?mlamaya karar verdi. 1859'da yay?mlad????On the Origin of Speci-es?(Türlerin K?keni ?zerine) adl? kitab?, canl?lar?n ortak atalardan evrilerek ?e?itlendi?i fikrinin geni? kabul g?rmesini sa?lad?. Daha sonra yay?mlad????The Descent of Man, and Selection in Relation to Sex?(?nsan?n Türeyi?i, ve Cinsiyete Mahsus Se?ilim) kitab?nda insan evrimini ve cinsel se?ilim fikrini inceledi.?The Expression of the Emotions in Man and Animals (?nsan ve Hayvanlarda Duygular?n ?fadesi) adl? kitab?nda ise insanlar?n ve hayvanlar?n duygular?n? ifade edi? ?ekilleri aras?ndaki benzerlikleri ortaya koydu.

Te még hiszel a fogtündérben?! Vigyázz, kész, horror! Legyen saját m?fogsorod! Ha kivágod, máris használhatod! KLAFF-KLAFF. David Walliams szó szerint berobbant a gyerekirodalomba. Patkányburger cím? regénye azonnal els? lett a legkeresettebb gyerekk?nyvek listáján. A nálunk is méltán népszer? Gengszter nagyiból pedig t?bb mint félmillió példányt adtak el világszerte. Az Egyesült Királyságban David Walliams jelenleg az egyik legismertebb kortárs gyerekk?nyv-szerz?. ?rásait t?bb mint harmincnégy nyelvre fordították le, regényeivel sorra zsebeli be a díjakat. Legt?bben mindenkori példaképéhez, Roald Dahlhoz hasonlítják. A városra s?tétség borult. Fura dolgok t?rténtek az éjszaka kell?s k?zepén, amikor már mindenki aludt. A gyerekek lefekvéskor a párnájuk alá tették kipottyant tejfogukat, hogy azt elvihesse a fogtündér. De reggel, mikor felébredtek, ajándék helyett egészen mást találtak a kiesett fog helyén. D?gl?tt meztelen csigát. ?l? pókot. Vagy épp száz meg száz fülbemászó mászott el? a párnájuk alól. Mer? gonoszság, ugye?! De ki vagy mi állhat e csúnya tréfák m?g?tt? Olvasd el a k?nyvet, és megtudod! ?Walliams született tehetség és sziporkázóan szellemes” – Evening Standard. Vigyázat! Ez egy horrort?rténet. Elég sok kitalált szóval. A Gengszter nagyi és a Patkányburger bestseller-szerz?je újabb végtelenül vicces és roppant rémiszt? t?rténettel lepi meg olvasóit, mely Alfiról, a fiúról szól, akinek nagy a szíve, de még ennél is hatalmasabb a fogorvostól való félelme. David Walliams eddigi leggonoszabb cselsz?v?jét mutatja be hátborzongató regényében, amelyt?l vacogni kezd a fogunk, az állkapcsunk pedig megfájdul a nevetést?l! ?Igazi élvezet… egy új Roald Dahl!” – The Times. ?David Walliams k?nyvei olyanok, mint egy szippantásnyi csodás, friss leveg?” – Sun. ?Jól megírt, vicces, megható” – Observer

In writing upon any matter of experience, such as art, the possibilities of misunderstanding are enormous, and one shudders to think of the things that may be put down to one's credit, owing to such misunderstandings. It is like writing about the taste of sugar, you are only likely to be understood by those who have already experienced the flavour; by those who have not, the wildest interpretation will be put upon your words. The written word is necessarily confined to the things of the understanding because only the understanding has written language; whereas art deals with ideas of a different mental texture, which words can only vaguely suggest. However, there are a large number of people who, although they cannot viibe said to have experienced in a full sense any works of art, have undoubtedly the impelling desire which a little direction may lead on to a fuller appreciation. And it is to such that books on art are useful. So that although this book is primarily addressed to working students, it is hoped that it may be of interest to that increasing number of people who, tired with the rush and struggle of modern existence, seek refreshment in artistic things. To many such in this country modern art is still a closed book; its point of view is so different from that of the art they have been brought up with, that they refuse to have anything to do with it. Whereas, if they only took the trouble to find out something of the point of view of the modern artist, they would discover new beauties they little suspected. If anybody looks at a picture by Claude Monet from the point of view of a Raphael, he will see nothing but a meaningless jargon of wild paint-strokes. And if anybody looks at a Raphael from the point of view of a Claude Monet, he will, no doubt, only see hard, tinny figures in a setting devoid of any of the lovely atmosphere that always envelops form seen in nature. So wide apart are some of the points of view in painting. In the treatment of form these differences in point of view make for enormous variety in the work. Works showing much ingenuity and ability, but no artistic brains; pictures that are little more than school studies, exercises in the representation of carefully or carelessly arranged objects, but cold to any artistic intention. At this time particularly some principles, and a clear intellectual understanding of what it is you are trying to do, are needed. We have no set traditions to guide us. The times when the student accepted the style and traditions of his master and blindly followed them until he found himself, are gone. Such conditions belonged to an age when intercommunication was difficult, and when the artistic horizon was restricted to a single town or province. Science has altered all that, and we may regret the loss of local colour and singleness of aim this growth of art in separate compartments produced; but it is unlikely that such conditions will occur again. Quick means of transit and cheap methods of reproduction have brought the art of the whole world to our doors. Where formerly the artistic food at the disposal of the student was restricted to the few pictures in his vicinity and some prints of others, now there is scarcely a picture of note in the world that is not known to the average student, either from personal inspection at our museums and loan exhibitions, or from excellent photographic reproductions. Not only European art, but the art of the East, China and Japan, is part of the formative influence by which he is surrounded; not to mention the modern science of light and colour that has had such an influence on technique. It is no wonder that a period of artistic indigestion is upon us. Hence the student has need ixof sound principles and a clear understanding of the science of his art, if he would select from this mass of material those things which answer to his own inner need for artistic expression.

An afternoon of a cold winter’s day, when the sun shone forth with chilly brightness, after a long storm, two children asked leave of their mother to run out and play in the new-fallen snow. The elder child was a little girl, whom, because she was of a tender and modest disposition, and was thought to be very beautiful, her parents, and other people who were familiar with her, used to call Violet. But her brother was known by the style and title of Peony, on account of the ruddiness of his broad and round little phiz, which made everybody think of sunshine and great scarlet flowers. The father of these two children, a certain Mr. Lindsey, it is important to say, was an excellent, but exceedingly matter-of-fact sort of man, a dealer in hardware, and was sturdily accustomed to take what is called the common-sense view of all matters that came under his consideration. With a heart about as tender as other people’s, he had a head as hard and impenetrable, and therefore, perhaps, as empty, as one of the iron pots which it was a part of his business to sell. The mother’s character, on the other hand, had a strain of poetry in it, a trait of unworldly beauty—a delicate and dewy flower, as it were, that had survived out of her imaginative youth, and still kept itself alive amid the dusty realities of matrimony and motherhood. So, Violet and Peony, as I began with saying, besought their mother to let them run out and play in the new snow; for, though it had looked so dreary and dismal, drifting downward out of the gray sky, it had a very cheerful aspect, now that the sun was shining on it. The children dwelt in a city, and had no wider play-place than a little garden before the house, divided by a white fence from the street, and with a pear-tree and two or three plum-trees overshadowing it, and some rose-bushes just in front of the parlor windows. The trees and shrubs, however, were now leafless, and their twigs were enveloped in the light snow, which thus made a kind of wintry foliage, with here and there a pendent icicle for the fruit. “Yes, Violet,—yes, my little Peony,” said their kind mother; “you may go out and play in the new snow.”

Holmes decodes a warning from Porlock, an informant against arch-criminal Moriarty, for "Douglas" resident five years at "Birlstone". Scotland Yard's MacDonald asks them to investigate a corpse with the same look and circle-in-triangle brand on the forearm as Birlstone owner Douglas. The head was blown off by an American-style sawed-off shotgun. Apparently, an intruder dropped a card with VV341, and left across a shallow moat. Watson observes the bereaved English wife and best male friend in unusually good spirits. When Holmes pretends the moat will be drained, the conspirators retrieve a missing dumb-bell weighting down the visitor's clothes beneath the water. Douglas comes from hiding, to explain he killed the assassin Baldwin in self-defence; the plan was to save him from more attacks by criminal survivors of Vermissa Valley. He hands Dr. Watson the following account. Young McMurdo gains reputation as tough counterfeiter, Freemen Lodge member fleeing murder charges in Chicago. In the Vermissa coal mine area, McGinty rules Scowrers branded by a circle in square, the local Lodge 341 who extort, murder, and exchange vicious deeds with nearby Lodges. Pretty Ettie prefers McMurdo to nasty Baldwin, and wants to flee, but will wait some months. When word comes that Pinkerton sent Edwards, McMurdo gathers ringleaders in one room, and springs his trap on them, surrounded by the law. Although the worst were hanged, after ten years, villains were freed, and chased McMurdo-Edwards-Douglas, despite changes of name, location, and wife. He married Ettie, then she died in California, where he made a fortune. The Valley of Fear, notable for Professor Moriarty's involvement, is set before "The Final Problem", the short story in which Moriarty was introduced. This introduces a logical difficulty, as in "The Final Problem" Dr. Watson has never heard of Moriarty, whereas by the end of The Valley Of Fear he is, or should be, familiar with his name and character. The "Moriarty" element in the story is tied into the fate of the informer in the story. It ties the Molly Maguire background to another event of that period: the murder of James Carey, an informer who was shot on board a ship off the coast of Natal, South Africa in 1883 by Patrick O'Donnell, an Irish republican who had relatives in the Mollies and briefly visited the Pennsylvania coal mining district, supposedly looking for the suspected informer among them.

The Mole had been working very hard all the morning, spring-cleaning his little home. First with brooms, then with dusters; then on ladders and steps and chairs, with a brush and a pail of whitewash; till he had dust in his throat and eyes, and splashes of whitewash all over his black fur, and an aching back and weary arms. Spring was moving in the air above and in the earth below and around him, penetrating even his dark and lowly little house with its spirit of divine discontent and longing. It was small wonder, then, that he suddenly flung down his brush on the floor, said 'Bother!' and 'O blow!' and also 'Hang spring-cleaning!' and bolted out of the house without even waiting to put on his coat. Something up above was calling him imperiously, and he made for the steep little tunnel which answered in his case to the gavelled carriage-drive owned by animals whose residences are nearer to the sun and air. So he scraped and scratched and scrabbled and scrooged and then he scrooged again and scrabbled and scratched and scraped, working busily with his little paws and muttering to himself, 'Up we go! Up we go!' till at last, pop! his snout came out into the sunlight, and he found himself rolling in the warm grass of a great meadow. 'This is fine!' he said to himself. 'This is better than whitewashing!' The sunshine struck hot on his fur, soft breezes caressed his heated brow, and after the seclusion of the cellarage he had lived in so long the carol of happy birds fell on his dulled hearing almost like a shout. Jumping off all his four legs at once, in the joy of living and the delight of spring without its cleaning, he pursued his way across the meadow till he reached the hedge on the further side. 'Hold up!' said an elderly rabbit at the gap. 'Sixpence for the privilege of passing by the private road!' He was bowled over in an instant by the impatient and contemptuous Mole, who trotted along the side of the hedge chaffing the other rabbits as they peeped hurriedly from their holes to see what the row was about. 'Onion-sauce! Onion-sauce!' he remarked jeeringly, and was gone before they could think of a thoroughly satisfactory reply. Then they all started grumbling at each other. 'How STUPID you are! Why didn't you tell him——' 'Well, why didn't YOU say——' 'You might have reminded him——' and so on, in the usual way; but, of course, it was then much too late, as is always the case. It all seemed too good to be true. Hither and thither through the meadows he rambled busily, along the hedgerows, across the copses, finding everywhere birds building, flowers budding, leaves thrusting—everything happy, and progressive, and occupied. And instead of having an uneasy conscience pricking him and whispering 'whitewash!' he somehow could only feel how jolly it was to be the only idle dog among all these busy citizens. After all, the best part of a holiday is perhaps not so much to be resting yourself, as to see all the other fellows busy working.

Strumming a harp while floating on a white cloud might be Paradise for some people, but it would bore others stiff. Given an unlimited chance to choose your ideal world, what would you specify—palaces or log cabins? I'll take beer, son, and thanks again for the offer. As you can see, I'm kinda down on my luck. I know what you're thinking, but I'm not really on the bum. I usually make out all right—nothing fancy, mind you, but it's a living. Odd jobs in the winter and spring, follow the harvests in the summer and fall. Things are slack right now.You? Electronics, huh? Used to know a fellow in electronics.... His name was Joe Shannon, used to work for Stellar Electric up in Fremont. Young fellow, not more'n twenty-five or so. Rail thin, wispy hair, serious look—you know, the one suit, absent-minded type. Joe was a brain. A triple-A, gold-plated, genuine genius. Had a wife named Marge. Not beautiful but pretty and a nice figure and a cook you never saw the likes of. Like I say, she was married to Joe but Joe was married to his work and after you'd been around a while, you could tell there was friction. But that ain't the beginning.

Plays for Today by Women A wide-ranging collection of plays by women dealing with contemporary subjects such as sexual abuse, recession, war, poverty and the complexity of modern women’s lives. Many roles for women and girls provided. Suitable for study or for performance or as part of courses in Women’s Studies or Feminist Theatre Studies. All the plays have been produced and performed in the UK to acclaim and are written by commissioned playwrights. ? “The expanse of subjects this short collection covers shows that women are not just writing about the kitchen sink, the claim so often levelled. This collection (provides) a snapshot of an exciting time for female writers” ? @17percent ? The Plays For A Button ?by Rachel Barnett: comic two hander about two friends and the lengths one will go to, to remain best friends. Yours Abundantly, From Zimbabwe ?by Gillian Plowman: a middle-aged woman decides to leave her comfy life in the UK and work in a school in Zimbabwe. Welcome To Ramallah ?by Sonja Linden and Adah Kay: two Jewish sisters are forced to confront the reality of what their forefathers have done to the Palestinians. From The Mouths Of Mothers ?by Amanda Stuart Fisher: a verbatim drama detailing the distressing stories of mothers who learned that their child has been abused. The Awkward Squad ?by Karen Young: a three-generational drama involving Northern women who are trying to live and work in recessionary Britain. Sweet Cider ?by Emteaz Hussain: In a rundown park, two teenage runaways Tazeem and Nosheen hang out, chatting to the boys and an old bag lady, trying to reconcile being British with their Pakistani cultural traditions. ? About the editors Cheryl Robson ?is an award-winning playwright and publisher who founded Aurora Metro Books over 20 years ago to develop and publish new writers in drama and fiction. She also established The Virginia Prize for Fiction in 2009 to promote emerging women novelists. Previously, she worked for the BBC, ran a theatre company and taught in higher education. Rebecca Gillieron ?is an editor and musician with various releases on independent labels in the US and UK. Keen to raise the profile of women and the arts, she has worked in publishing for fifteen years moving from Virgin and Penguin Books into independent publishing via The Womens Press, Marion Boyars and now Aurora Metro Books.? ? ? ?

Will one man change everything Caroline's ever thought about love? Caroline Lowther’s in a long-term open relationship with her boyfriend of nearly four years, Nathan MacMillan. For the past six months, Nathan’s had another girlfriend, Rissa, while Caroline has yet to find anyone else who interests her in a romantic way. That is until Benedict Grant, a local business man in an open-relationship of his own, approaches her at her favorite cafe and makes his own attraction clear. What follows is a whirlwind romance where two hearts fall fast for one another, secrets kept become desires revealed, and the shocking murder of someone close to Caroline leaves her world shattered and her heart broken. Picking up the pieces, Caroline must learn that life has immeasurable merit, love is worth holding on to even if it’s different from what she’s always thought, and every single moment leads her right where she needs to go.

Cook delicious meals quickly! With Air Fryer You have ?more possibilities than ever to cook amazing healthy meals which everybody will love! Just download our new Air Fryer Cookbook. In? Air Fryer Cookbook , you'll get all the essentials you will need to cook great breakfast, lunch or dinner. Linda Croll has?tried more than 500 recipes and ?choose her favorite ?so now you don’t need to spend your time to find a new recipe, because best recipes are now in our Air Fryer Cookbook! You can use them every day or for special events because every recipe in ?this book is simple and healthy!

You've self-published a book and you'd like to see it in your local library or bookstore or the review pages of your favourite newspaper. You'd like to speak or read at a literary festival or event. You'd like to enter it for a book award or prize. This Alliance of Independent Authors (ALLi) guide will tell you how to recognise opportunities, work with publishing partners and open doors, and keep them open, for your own benefit -- and that of all indie authors. This guide is also aimed at those who work in the literary, publishing and books industries: award bodies, book fairs and conferences, libraries, literary festival and event organisers, retailers, reviewers and anyone who acts as a bridge between writer and reader. It gives detailed advice on how to find good self-published books and how they might -- and should -- be included, wherever readers are found. Packed with useful information, and real-life examples from members of The Alliance of Independent Authors, this guidebook is part of a wider campaign that includes a petition, and lobbying within the publishing industry, encouraging it to open up to the self-publishing phenomenon. You can sign the petition at Change.org. change.org/petitions/open-up-to-indie-authors More information at: allianceindependentauthors.org