Mi s-a cerut o biografie, dar dac? citi?i cartea ve?i avea parte de una. Mai bine v? spun pe scurt povestea c?r?ii, care n-a fost carte de la început. Au fost zilele ?i nop?ile mele, a?a cum le-am tr?it eu ?i-ai mei. Printre sârme ?i portocali. A fost o perioad? în care a? fi vrut s? uit unele întâmpl?ri, apoi am în?eles c? nu le voi putea ?terge din amintire ?i c? de fapt nici nu vreau. Le-am povestit, la început cu îndoiala c? cineva ar în?elege impactul pe care le-au avut pentru noi, apoi cu mirarea c? pe cineva intereseaz? aceast? poveste. M-au uimit reac?iile, am început s? scormonesc în memorie ?i m-am trezit scriind ceva despre care n-am crezut c? va fi o carte. Va fi, totu?i, va avea coper?i frumoase ?i câteva file din care, dac? le ve?i citi, ve?i ?ti c? sârmele aveau ghimpi, iar portocalii erau plini de culoare ?i parfum. În carte apare familia mea ?i vreau s? le mul?umesc pentru îng?duin?a de-a folosi amintirile lor în cuprinsul acestor pagini.

Ultimul volum al trilogiei Ultima vr?jitoare din Transilvania. Revenit? ?n Bucure?ti dup? povestea dramatic? tr?it? ?n satul V., Alexandra observ? treptat c? acele lucruri pe care le credea r?mase ?n trecut o urm?resc. Via?a ei este pe cale s? se schimbe din temelii. Tot ce crezuse a fi doar legend? pare acum mai real ca niciodat?. Singura care poate l?muri misterul este Aneke, care nu ?nt?rzie s? reapar? ?n via?a Alexandrei, iar secretul tulbur?tor pe care-l va afla adolescenta va fi punctul culminant al ?ntregii ei aventuri ?n lumea fascinantei contese. O poveste complicat? ?i captivant? despre nemurire, iubire, prietenie, iertare, alegeri, sacrificii, ?n care personajele dezv?luie tr?s?turi total nea?teptate. Finalul trilogiei ?Ultima vr?jitoare din Transilvania“ te va ?ine cu sufletul la gur? p?n? la ultima pagin?. Dou? lumi distincte se ?ntrep?trund: lumea ado- lescen?ilor de azi, cu Facebook, concerte rock, tatuaje ?i pierce-uri, ?i lumea contesei disp?rute, cu intrigi de curte ?i pove?ti uitate. Un mistery romance ?n tonuri ?ntunecate despre incest, supersti?ii, tr?d?ri, secrete, legende transmise peste veacuri.

Simea pdurea vie, alchimic, pulsnd, i, dei nu credea n fantome i alte bazaconii, i plcea s vorbeasc cu ea n minte, s se lase descoperit de ceva aparte, ceva deasupra sa i de neneles ntru totul, ca-n Her. Iar pdurea putea s-i fac simit prezena n attea feluri, putea s poarte attea chipuri i attea voci. Iar el putea s intre i s ias din ea, s uite de el de attea i attea ori. Aici singurtatea devenea intimitate, devenea linite, devenea ap, devenea o min strbtut de infuziile proteice ale pmntului; o subteran n care plictiseala conferinelor de pres, momentele de stnjeneal i de blbial erau absorbite de muchi, de ciuperci, de licheni. Aici devenea polen purtat de vnt. O pdure precum o planet extraterestr studiindu-l n tcere. Realitatea sa era irealitatea altor umbre, visele sale erau comarurile altor montri.“

E diminea??, Abiscruda ?i poveste?te lui Altiulius despre un cercet?tor al somnului, pe nume Dement, pe care ea l-a visat. Palev ?i Abisa aud ?ntreaga discu?ie dintr-o camer? al?turat?, ?i sur?d.– Acest Dement, ?n visul meu, cerceta somnul oamenilor ?i oamenii aveau somnul tulbure ?i cercet?torul Dement le privea somnul ?n ochi ?i z?mbea. Eu eram treaz? ?n visul meu ?i cercet?torul a venit la mine ?i mi-a zis: ?La ?aptezeci de ani, oamenii viseaz? de opt ori mai pu?in dec?t nou-n?scu?ii“.Altiulius o ascult? pe Abiscruda, ?i spune:– P?i, da, b?tr?nii nu mai au de ce s? viseze, C?ND E?TI B?TR?N ?I SE TERMIN? VISELE.– Nu, Altiulius, B?TR?NII VISEAZ? MAI PU?IN FIINDC? LI SE USUC? PLEOAPELE, de aia. NOU-N?SCU?II VISEAZ? MULT PENTRU C? PLEOAPELE LOR MIROS A LAPTE.– Asta ?i-a zis-o cercet?torul?– Nu. Asta i-am zis-o eu lui.– Copiii ??tia parc? s?nt de pe alt? lume, spune Abisa ?n ?oapt?.– ?i nu s?nt de pe alt? lume? spune Palev, cu voce sc?zut?.

Recuerdo que en cierta ocasión tuve en mis manos un ejemplar de la Gaceta Imperial de Pekín, y al revolver sus finas hojas de papel de arroz, entre las apretadas columnas de misteriosos caracteres, sólo encontré dos anuncios comprensibles por sus grabados: el que llaman vulgarmente tío del bacalao, ó sea el marinero que lleva á sus espaldas un enorme pez, pregonando las excelencias de la Emulsión Scott, y una botella de largo cuello con la etiqueta ?Vichy-?tat?. Pocas empresas en el mundo habrán hecho la propaganda que la Compa?ía Arrendataria de las aguas de Vichy. Circulan por las calles de la peque?a y elegante ciudad francesa los pesados carromatos cargados de cajones, camino de la estación del ferrocarril. Marchan las botellas alineadas en apretadas filas al salir de Vichy, para luego esparcirse como una esperanza de salud. ?Adonde van?... ? ?AUTOR: Vicente Blasco Ibanez nacio el 29 de enero de 1867 en Valencia (Espana). Era hijo de Ramona Ibanez y del comerciante Gaspar Blanco. Estudio Derecho en la Universidad de Valencia. Participo en la politica uniendose al Partido Republicano". En 1894 fundo el periodico El pueblo. En el ano 1896, fue detenido y condenado a varios meses de prision. En 1889 contrajo matrimonio con Maria Blasco del Cacho, hija del magistrado Rafael Blasco y Moreno. Cuando subio al poder Canovas del Castillo, el escritor se exilio brevemente en la ciudad de Paris. Fue un autor vinculado en muchos aspectos al naturalismo frances. Por otra parte, la explicita intencion politicosocial de algunas de las novelas de Blasco Ibanez, aunada al escaso bagaje intelectual del autor, lo mantuvo alejado de los representantes de la Generacion del 98. Murio el 28 de enero de 1928 en Menton (Francia)a los 60 anos. Entre sus titulos destacan: "Arroz y Tartana" (1894), "La Barraca" (1898), "Entre Naranjos (1900), "Canas y Barro" (1902), "La Horda" (1905), "Sangre y Arena" (1908) o "Los Cuatro Jinetes Del Apocalipsis" (1916).

Cu doar c?teva zile ?naintea Cr?ciunului, fostul agent secret Cotton Malone se vede nevoit s?-?i ?ntrerup? traiul ?n anticariatul s?u lini?tit, pentru a s?ri ?n ajutorul bunului s?u prieten, miliardarul Henrik Thorvaldsen. B?tr?nul danez este hot?r?t s?-?i r?zbune fiul ucis ?ntr-un schimb de focuri ?n capitala Mexicului, dar ambi?ia lui nu numai c? ?i pune via?a ?n pericol, ci ajunge s? scoat? la iveal? o adev?rat? conspira?ie interna?ional?. O aventur? ame?itoare, cu numeroase r?sturn?ri de situa?ie, ?l poart? pe Cotton Malone ?ntre Copenhaga, Londra ?i Paris, pun?ndu-i la ?ncercare intui?ia, priceperea, dar ?i loialitatea. Aflat ?ntr-o permanent? lupt? cu timpul, americanul va face tot posibilul s? ?mpiedice o serie de atacuri teroriste ce au ca ?int? mai multe monumente din capitala francez?, ?ncerc?nd totodat? s? nu-?i dezam?geasc? cel mai bun prieten. ?G?sim aici toate tr?s?turile distinctive ale lui Berry: anvergur?, grada?ie, r?sturn?ri de situa?ie, istorie – ?i suspans de la un cap?t la altul. ?mi place la nebunie tipul ?sta.“ – Lee Child ?Steve Berry ?mbin? abil suspansul contemporan ?i misterul istoric ?n cel mai recent roman cu fostul agent secret Malone… acest thriller urzit cu iscusin?? ofera o mul?ime de surprize.“ – Publishers Weekly

AMERICAN INDIAN FAIRY TALES?By W.T. Larned, 1921, ?Twenty-ninth Edition??* Iagoo, the Story-Teller?* Shin-ge-bis fools the North Wind?* The Little Boy and Girl in the Clouds?* The Child of the Evening Star?* The Boy who Snared the Sun?* How the Summer Came?* Grasshopper?* Mish-o-sha, the Magician?* The Fairy Bride??With one exception, all the tales in this book are adapted from the legends collected by Henry R. Schoolcraft, ethnologist and government agent for the Lake Superior country, and published in 1839 with the title, "Algic Researches."

The "Times."?"For its rapid action, in fact, we have seldom read a better story, or one which is more full of incidents, sanguinary, trenchant, and robust."??The "Daily Telegraph."?"A true and a wonderfully well-sustained piece of Oriental life and striking history."??The "Spectator."?"This is a very remarkable book. It is a determined attempt to bring the interior Hindoo and Mussulman life of a great Mahratta province during the most exciting times home to the hearts and understandings of Englishmen, to interest them in people with whom they have nothing except human nature in common."??"Morning Post."?"'Tara' is a unique work. There is nothing like it in the English literature of fiction. No other writer has ever attempted the portrayal of Indian life, society, and interests, entirely free from any European admixture of character or incident. The author himself now does so for the first time. 'The Confessions of a Thug' related to British jurisdiction in India. 'Tippoo Sultan' dealt with the gallant struggles of that monarch against the encroaching British power, but 'Tara' is all Indian."??"Saturday Review."?"It is seldom that we meet with a work of fiction executed with anything like the conscientious care and minute elaboration of Captain Meadows Taylor's Indian Tale. His characters have mostly the clearness and individuality of portraits, and his scenery exhibits all the marked and decisive features of photographs taken on the spot. The work throughout is evidently that of a master of Oriental life and character in love with his subject, to whom nothing appears trivial or beneath notice that can illustrate the peculiar traits of Asiatic nature, or kindle an enthusiasm for knowing more of the history, manners, and usages of our fellow-subjects in the east."??The "Standard."?"In no one part of the work has Captain Taylor shown more thorough art than in those pages in which he details the features of the Hindoo and Ma-homedan family life. He never overloads; his characters are not lay figures attired in triple folds of gorgeous robes to hide their nakedness. With a few subtle touches he shows us the interior life of each household, and the morning springs of every character, and he leaves us to fill in the obvious details for ourselves."???My Lord,?The scenes and characters which i have endeavoured to depict in these volumes will be necessarily new and strange to you; but if they excite interest in the native annals of a country of which i find but little real knowledge existing, the object of the work will have been attained; while, by the kind courtesy which permits me to dedicate it to you, your excellency confers upon me a very sincere gratification.??I have the honour to be,?Your Lordship's very faithful servant,??MEADOWS TAYLOR.

Now ponder well, you parents deare,?These wordes which I shall write;?A doleful story you shall heare,?In time brought forth to light.??A gentleman of good account?In Norfolke dwelt of late.?Who did in honour far surmount?Most men of his estate.??Sore sicke he was, and like to dye,?No helpe his life could save;?His wife by him as sicke did lye,?And both possest one grave.??No love between these two was lost,?Each was to other kinde;?In love they liv'd, in love they dyed,?And left two babes behinde:??The one a fine and pretty boy,?Not passing three yeares olde;?The other a girl more young than he?And fram'd in beautye's molde. Randolph Caldecott (1846 – 1886) was an English artist and illustrator, born in Chester. The Caldecott Medal was named in his honour. He exercised his art chiefly in book illustrations. His abilities as an artist were promptly and generously recognised by the Royal Academy. Caldecott gre-atly influenced illustration of children's books during the nineteenth century. Two books illustrated by him, priced at a shilling each, were published every Christmas for eight years. Caldecott also illustrated novels and accounts of foreign travel, made humorous drawings depicting hunting and fashionable life, drew cartoons and he made sketches of the Houses of Parliament inside and out, and exhibited sculptures and paintings in oil and watercolour in the Royal Academy and galleries. After six years at Whitchurch, Caldecott moved to the head office in Manchester of the Manchester & Salford Bank. He lodged variously in Aberdeen Street, Rusholme Grove and at Bowdon. He took the opportunity to study at night school at the Manchester School of Art and practised continually, with success in local papers and some London publications. It was a habit of his at this time, which he maintained all his life, to decorate his letters, papers and documents of all descriptions with marginal sketches to illustrate the content or provide amusement. A number of his letters have been reprinted with their illustrations in Yours Pictorially, a book edited by Michael Hutchings. In 1870, a painter friend in London, Thomas Armstrong, put Caldecott in touch with Henry Blackburn, the editor of London Society, who published a number of his drawings in several issues of the monthly magazine. Encouraged by this evidence of his ability to support him-self by his art, Caldecott decided to quit his job and move to London; this he did in 1872 at the age of 26. Within two years he had become a successful magazine illustrator working on commission. His work included individual sketches, illustrations of other articles and a series of illustrations of a holiday which he and Henry Blackburn took in the Harz Mountains in Germany. The latter became the first of a number of such series.

T?n?rul austriac Oskar Voxlauer ?ncearc? s? scape de ororile r?zboiului. ?n Primul R?zboi Mondial dezerteaz?. Dup? nou?sprezece ani petrecu?i ?n Ucraina, se ?ntoarce acas?, dar nimere?te ?n plin? ascensiune a nazi?tilor, iar r?zboiul ?l ajunge din urm?. Nici ?n p?dure nu poate sc?pa, nici iubirea nu este un refugiu posibil.

Autorul bestsellerurilor interna?ionale CAP?TUL CERCULUI ?i PAZNICII LEG?M?NTULUI ?n 1970, Silvana, fiica lui Giovanni Nobile, profesor de teologie la Vatican, este r?pit? din ordinul unei secte religioase ?i ?ncuiat? ?ntr-un sicriu. Dac? Nobile nu le pred? un pergament vechi de mii de ani, numit Manuscrisul lui Lucifer, r?pitorii amenin?? c? o vor l?sa pe Silvana ?n co?ciug p?n? la moarte. Patruzeci de ani mai t?rziu, arheologul Bj?rn Belt? descoper? ceea ce pare s? fie un fragment din misteriosul manuscris ?i se treze?te din nou ?inta unor atacuri inexplicabile. Singura cale de a sc?pa de urm?ritori este s? dezlege taina manuscrisului ?i s? aduc? la lumin? un secret uluitor, p?zit cu str??nicie de mai bine de patru milenii. ?Scriu c?r?ile pe care mi-ar pl?cea s? le citesc – c?r?i care m? intrig?, m? entuziasmeaz?, m? provoac?, m? ?nva?? lucruri noi, dar ?i c?r?i care m? sperie...“ Tom Egeland ?Manuscrisele str?vechi, miturile din jurul lor ?i impactul pe care l-au avut asupra omenirii ar p?rea de interes numai pentru erudi?i, dar ?n m?inile lui Egeland iau foc ca praful de pu?c?.“ Dagsavisen ?Romanul creeaz? suspans nu numai la suprafa?a evenimentelor, ci ?i ?n ad?ncime, prin viziunea tulbur?toare pe care o propune asupra ?ngerilor, a demonilor, a lui Dumnezeu ?i a Satanei.“ Aftenposten

THIS BOOK is written for all little lads and lasses, but especially for the former, since it is the true—quite true—story of a little lad who lived to be, perhaps, the greatest king this world has ever seen.?It is a strange, wild tale this of the adventures of Prince Akbar among the snowy mountains between Kandahar and Kabul, and though the names may be a bit of a puzzle at first, as they will have to be learned by and bye in geography and history lessons, it might be as well to get familiar with them in a story-book; though, indeed, as everybody in it except Roy the Rajput, Meroo the cook boy; Tumbu, the dog; and Down, the cat (and these four may have been true, you know, though they have not been remembered) really lived, I don't know whether this book oughtn't to be considered real history, and therefore??A LESSON BOOK:??"Anyhow, I hope you won't find it dull."??STORIES:?FAREWELL ?THE FIRST VICTORY ?THE ROYAL UMBRELLA ?TUMBU-DOWN ?ON THE ROAD ?AT COURT ?WINTER?DOWN'S STRATAGEM?SPRING ?THE NIGHT OF RECORD ?A WINTER MARCH?SNOW AND ICE ?OVER THE PASS ?IN THE VALLEY?DEAREST-LADY?CRUEL BROTHER KUMRAN?IMPRISONMENT?THE GARDEN OF GAMES?BETWIXT CUP AND LIP?ESCAPED?DAWN

THERE are numerous time-honored stories which have become so incorporated into the literature and thought of our race that a knowledge of them is an indispensable part of one's education. These stories are of several different classes. To one class belong the popular fairy tales which have delighted untold generations of children, and will continue to delight them to the end of time. To another class belong the limited number of fables that have come down to us through many channels frorn hoar antiquity. To a third belong the charming stories of olden times that are derived from the literatures of ancient peoples, such as the Greeks and the Hebrews. A fourth class includes the half-legendary tales of a distinctly later origin, which have for their subjects certain romantic episodes in the lives of well-known heroes and famous men, or in the history of a people.??It is to this last class that most of the fifty stories contained in the present volume belong. As a matter of course, some of these stories are better known, and therefore more famous, than others. Some have a slight historical value; some are useful as giving point to certain great moral truths; others are products solely of the fancy, and are intended only to amuse. Some are derived from very ancient sources, and are current in the literature of many lands; some have come to us through the ballads and folk tales of the English people.

Un nou bestseller interna?ional de la creatorii seriei ?Pisicile r?zboinice” Lumea nu va mai fi niciodat? la fel dup? Marele M?r?it - a?a s-ar numi un cutremur devastator v?zut prin ochii unui c??el. P?m?ntul s-a despicat pe de-a ?ntregul ?i au disp?rut toate labele-lungi – a?a s-ar numi semin?ia omeneasc? prin ochii aceluia?i c??el. Hrana a devenit aproape imposibil de g?sit, apa este otr?vit?, iar du?manii mi?un? la tot pasul. ?n aceast? situa?ie, c?inii se v?d nevoi?i s? deprind? toate aptitudinile unor supravie?uitori. A venit vremea lor s? domine lumea. Norocel, un C?ine Singuratic obi?nuit s? tr?iasc? pe cont propriu, s-a integrat ?n Haita C?inilor Lega?i pentru a face fa?? condi?iilor dure de via?? de dup? Marele M?r?it. C?nd un atac puternic ?i pune ?n pericol nu numai pe C?inii Lega?i, ci ?i pe inamicii lor, C?inii S?lbatici, Norocel ??i d? seama c? singura lor ?ans? de supravie?uire este s? se uneasc?. Tocmai aceast? decizie ?i va provoca probleme, iar ?n cele din urm? va fi alungat din haita unit?. Cartea a IV-a prilejuie?te ?mp?carea dintre Norocel ?i Alfa, conduc?torul Haitei S?lbatice. Dar ?ntre ei r?m?ne ?n continuare o tensiune mocnit?: Alfa las? de ?n?eles c? nu va fi niciodat? dispus s? accepte compania anumitor c?ini. Haita recent unit? se afl? ?n c?utarea unui nou c?min, c?t mai ?ndep?rtat de Tab?ra C?inilor Fioro?i. C?inii descoper? treptat c? niciun teritoriu nu este complet lipsit de pericole. Atunci c?nd ?nt?lnesc un alt grup de c?ini care a supravie?uit Marelui M?r?it, Norocel sper? ca cele dou? haite s? se alieze. ?ns?, aceast? nou? Hait?, condus? de Teroare, laba dreapt? a C?inelui-Spaim?, s-ar putea s? se transforme ?n cel mai periculos inamic pe care l-au ?nt?lnit vreodat?... ?O carte plin? de ?nt?mpl?ri palpitante ?i minunate.“ - Kirkus Reviews ?Tinerii cititori vor g?si o mul?ime de lucruri fascinante ?n aceast? carte de aventuri, de la intriga palpitant? p?n? la caracteriz?rile fiec?rui c??el ?n parte. O lectur? ideal? pentru fanii ?Pisicilor r?zboinice?.” – Booklist ?S? vezi lumea prin ochii unui c??el ??i poate schimba viziunea asupra vie?ii. Ac?iunea ?i pericolul ?i vor ?ine pe cititori ?n suspans, iar finalul pe muchie de cu?it ?i va determina s? deschid? ner?bd?tori urm?toarea carte din serie.” - Jennifer Rummel, VOYA Din aceea?i serie: Supravie?uitorii. Cartea I - Ora?ul pustiu Supravie?uitorii. Cartea a II-a - Du?manul ascuns Supravie?uitorii. Cartea a III-a – C?derea ?ntunericului

SINCE the publication of my larger book, "The Horse Fair," many letters have been received from teachers and their scholars telling of the pleasure derived from the reading of it, and incidentally suggesting that much of its contents is directly in line with the courses of literary instruction pursued in our elementary schools. This suggestion has led me to col-lect certain of the stories into a smaller volume especially adapted for use as a school reading-book.? The eighteen stories in this volume have been chosen with a thought to their educative value as well as for the intrinsic charm of the original narratives, which in various forms have delighted many generations of readers. All have a literary interest connecting them with subjects with which every educated person is supposed to be familiar. In the first four, you will be introduced to the sun myths and season myths of the Greeks and of our Norse ancestors. Following these, the tale of song-inspiring Pegasus is presented in contrast with that of Griffen, the base imitation invented by the romancing poets of the Middle Ages. ? Then in "The Ship of the Plains," you may read of the mythical founding of Athens; and in the sketch that follows, you may enjoy a brief glimpse of Arabic imagery in the story of one of the most interesting episodes in the life of the prophet Mohammed. The story of the twin brethren will acquaint you with the thought of some of the old Latin writers, while the tale of Rakush will give you a taste of Persian literature as it is found in the great epic written by Firdusi. The romances of Charlemagne and his peers are represented by the story of Broiefort and his indomitable master; and the world-famous Don Quixote is introduced by his sorry but scarcely less famous steed, Rozinante.

Scrum este cel de-al doilea roman al lui Augustin Nacu ?i reprezint? istoria unei evad?ri e?uate, un joc periculos, dar ?i frumos, disperat de frumos al unui grup de prieteni, mai ?nt?i, elevi, apoi, studen?i, din Uniunea Sovietic?, afla?i ?ntr-o goan? perpetu? dup? visul lor. Cu mici excep?ii, ac?iunea se desf??oar? la Chi?in?u, capitala Republicii Sovietice Socialiste Moldovene?ti, la ?nceputul anilor optzeci ai secolului XX, constituind sf?r?itul a?a-zisei epoci de stagnare a lui Brejnev ?i acel intermezzo dinaintea perestroik?i lui Gorbaciov, av?nd mai multe ie?iri ?ntr-un viitor nu doar imaginar pentru tot at?tea ?ntoarceri ?ntr-un trecut teribil de real, chiar ?i ?n unul mai ?ndep?rtat, cel de la mijlocul secolului men?ionat, o perioad? dramatic? pentru Basarabia ?i oamenii ei, bunici ?i p?rin?i, a c?ror remanent? disperare s-a transmis printr-o ?memorie a genelor“ copiilor ?i nepo?ilor, aliment?ndu-le mereu acestora din urm? dorin?a nest?vilit? de libertate, din care s-a iscat acel vis ?i, implicit, acel joc al lor...

Philip Haldane and his sister lived in a little red-roofed house in a little redroofed town. They had a little garden and a little balcony, and a little stable with a little pony in it—and a little cart for the pony to draw; a little canary hung in a little cage in the little bow-window, and the neat little servant kept everything as bright and clean as a little new pin. Philip had no one but his sister, and she had no one but Philip. Their parents were dead, and Helen, who was twenty years older than Philip and was really his half-sister, was all the mother he had ever known. And he had never envied other boys their mothers, because Helen was so kind and clever and dear. She gave up almost all her time to him; she taught him all the lessons he learned; she played with him, inventing the most wonderful new games and adventures. ABOUT AUTHOR: Edith Nesbit (married name Edith Bland; 1858 – 1924) was an English author and poet; she published her books for children under the name of E. Nesbit. She wrote or collaborated on over 60 books of fiction for children, several of which have been adapted for film and television. She was also a political activist and co-founded the Fabian Society, a socialist organisation later connected to the Labour Party.

Clipele vie?ii mele sunt pentru mine la fel de importante ca primele clipe ale Universului.Clipesc, aud, respir, m? mi?c… deci exist!Pentru cei ce nu mai au r?bdare. Pentru cei care caut? mereu sf?r?itul ?nc? de la ?nceput. Pentru cei ce nu mai au timp…Acum se termin? ?nceputul ?i, cum suntem pe punctul de a disp?rea definitiv, nu v?d de ce am mai c?uta care este motivul ?i dac? s?ar mai fi putut face ceva. (Ciprian Vestemean)

De ce, oare, ne ?ntreb?m, ?i ?nlesnise Gra?ian Porumb omului pe care-l dispre?uia aceast? fapt?, aceast? grav? injusti?ie? Nu ?tim, d?m din umeri, privim ?n st?nga, privim ?n dreapta, dar de nic?ieri nu ne vine un ajutor c?t de c?t, un r?spuns. ?i nu ne r?m?ne atunci, insisten?i cum suntem, dec?t s? ghicim: trebuia oare, ?n imagina?ia ?nfierb?ntat? de nou? ?i ciudat? aventur? a t?n?rului – trebuia oare ca prietenul s?u Bizoniu, s? ?coboare" ?i ?n ?lumea cealalt?" care, ha, ha, se afla tot ?n lumea noastra, ?n lumea ?celor nev?zu?i?" A, nu, ei nu sunt nev?zu?i dec?t pentru simplul motiv ca ?i ?nl?turam din calea, din drumurile noastre ?i ?i ascundem, ?i ??nchidem" ?n subteranele lor care se cheam? sau temni?e, sau case de nebuni! Oricum, ?n ?subteranele nebunilor" Gra?ian consider? c? "micul pop?" ??i plimbase deja pa?ii ?i f?ptura, urma doar sa ?accead?" ?i la "ceilal?i", cei ne?n?ele?i ?i ?pedepsi?i" care, vii ?i fiin?e fiind, ca ?i noi, aveau la r?ndul lor dreptul de a-L ?nt?lni. A?a cum ?i ?el", omul viu ?i ?n?eleg?tor – de?i, cum am v?zut, el nu ?abuz?" de ?n?elegerea sa, nu se gr?bea defel ?s? ?n?eleag?", ci mai ales s? aud?, s? vad?, s? stea al?turi, s? fie, adic?, s?-?i d?ruiasca din merindea timpului s?u ?i nou?, s? fie ?cu noi" – deci, a?a cum ?i ?el" avea ?dreptul" de a fi cu ?ei". Cine ?tie? (Nicolae Breban)Puterea nev?zut? este cel de-al treilea volum din tetralogia Ziua ?i noaptea, care are ca supratem? rela?ia maestru-ucenic.

Marina ?vetaieva se distinge printr-o scriitur? accentuat personal?, nu numai ?n poezie, dar ?i ?n proz?. Este vorba de stilistica ei nervoas?, abrupta, sincopata, chiar ?i ortografic inconfundabil?, cu multiple linii de pauz? ori intercal?ri neuzuale de paranteze, exclama?ii ?i altele. Care s? fie, deci, cuv?ntul nimerit pentru a surprinde particularitatea acestei crea?ii? I-am spus: stare patetic?. ?i pot spune: stare febril?. I-am spus: radicalitate. ?i pot spune: frenezie. ?i via?a, ?i opera ?vetaievei febriciteaz?. Ele repudiaz?, f?r? ?ncetare, situa?iile medii, mediocre, cotidiene, cumin?i. ...Dac? excesul poate periclita via??, excesivul poate salva arta. Excesivul e aici o supralicitare a d?ruirii, o hipertrofie a ata?amentului. ?vetaieva smulge arta din str?mtor?rile ei, ale ?vetaievei ?i ale artei. E ca o hiperbola a omului, ca o dovada a demnit??ii rec??tigate: prin arta subumanul trece ?n sublim. Crez?nd ?n art?, ?vetaieva crede ?n umanitate, ?n ?ansa nemuririi ei palpabile. Dar transgresarea mor?ii ea o stoarce din vecin?tatea mor?ii; dintr-o via?? ne?ncetat periclitat? de absolutismele ei. Via?a nu e tr?it? pe m?sura artei, s-o oblig?m la nem?surare! – ar putea fi deviza ei, ultimul ei mesaj.

Aceste povestiri au fost scrise ?n perioada 2010?2014 ?i publicate, ?n parte, ?n periodice. Le?am numit parabole, av?nd o anumit? inten?ionalitate, ?i am aplicat ?n realizarea lor aceea?i structur? (cvadripartit?) ?i acela?i registru can?titativ (aproximativ o mie de cuvinte).Pe cele din C?l?uzitorul de suflete (cea dint?i sec?iune) le consider europene, ac?iunea lor petrec?ndu?se ?n loca?ii diferite de pe b?tr?nul continent ?i majoritatea ideilor pe care se bazeaz? n?sc?ndu?se ?n timpul unor peregrin?ri (iubirile, c?r?ile, muzica ?i c?l?toriile sunt, dup? umila?mi p?rere, cele mai frumoase lucruri care ni se pot ?nt?mpla ?ntr?o via??). Cu excep?ia primei ?i a ultimei lucr?ri care schi?eaz? un posibil cadru, ordinea povestirilor este alfabetic?. De?i g?ndite ca fantastice, ele au ?i o dimensiune experien?ial?, ?n acela?i timp put?nd fi citite ?i ca poeme ?n proz?: ale ora??elor prin care am trecut, ale oamenilor pe care i?am cunos?cut ?i, desigur, ale sufletului meu, undeva, ?n str?fundurile mele consider?ndu?m?, ca mul?i semeni de?ai mei, oarecum poet… (Ladislau Daradici)