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.

C?t?lin Ghi?? este unul dintre cei mai serio?i, mai informa?i ?i mai inspira?i cercet?tori care se afirm? ?n comparatistica literar? ?i cultural? de la noi. Neotematismul s?u este unul atent la diferen?e – ?i ?n primul r?nd la diferen?a estetic? –, reticent fa?? de exploatarea ideologizant? a literaturii. Cartea de fa?? ??i acoper? tema cu mare grij?, cu acribie filologic? ?i teoretic?, dar o ?i dep??e?te uneori prin implica?ii nea?teptate ?i prin considera?ii de ansamblu. ?mi place ?n mod deosebit luciditatea autocritic? a autorului, ?n care v?d reflexul moral al modestiei ?i, ?n acela?i timp, orgoliul justificat al competen?ei profesionale“. – Mircea Martin

Aproape c? nu a existat epoc?, de la primele texte scrise p?n? azi, ?n care s? nu se vorbeasc? despre o criz? a literaturii. Periodic, fie regimul politic, fie situa?ia economic? ori exuberan?ele filozofarde au f?cut s? fie puse semne de ?ntrebare dup? cuv?ntul ?literatur?“. Timp de cinci ani, o serie de ?nt?lniri organizate ?n spa?ii neconven?ionale la Bucure?ti (?i, de c?teva ori, ?n afara Rom?niei) a ?ncercat s? adune scriitori de toate v?rstele pentru a-i pune fa?? ?n fa?? cu publicul lor. Nici acum, dic?ionarul limbii rom?ne nu include termenul ?performare“, dar, dac? ?n cazul artelor spectacolului traducerea ?interpretare“ poate s? func?ioneze, atunci c?nd este vorba despre literatur?, limba rom?n? nu ofer? dec?t termenul ?lectur?“. Acest cuv?nt nu acoper? complexitatea unei prezent?ri ce implic? ?i publicul ?n calitate de participant activ la ?nt?lnirea cu scriitorul, ?i cu textul acestuia. Ini?iat ca un proiect de promovare a literaturii contemporane pentru un public larg, ?Poeticile cotidianului“ s-a transformat, dup? ani de ?nt?lniri s?pt?m?nale, ?ntr-un eveniment literar cu propria sa concep?ie despre literatur?: poetica rela?ional?.

Cnd tatl tu e mai n vrst dect tine exact de dou ori“ este partea a II-a a rockmanului Tovari de camer“ de Mihail Vakulovski. Aciunea romanului are loc la Chiinu, cnd personajul homodiegetic triete acel moment unic n via, cnd e exact de dou ori mai tnr dect tatl su: Am 23 de ani, iar tata – 46. E unicul an din viaa noastr cnd tata e mai mare dect mine exact de dou ori“. Romanul poate fi citit i de sine stttor, dar i n continuarea primului roman din trilogie, Tovari de camer. Student la Chiinu“, pentru c Hai, personajul principal, i continu aventurile existeniale exact de unde ne-a lsat n prima parte, cnd absolvise facultatea, pe la mijlocul anilor ’90. Acum aciunea are loc n special la Universitatea la care lucreaz i la Academia de tiine, dar i n Chiinu i Braov, unde se duce dup prefaa crii i unde se ntlnete cu Mikealangelo, un personaj foarte pitoresc, pe care-l vom putea urmri i-n partea a treia a trilogiei, Tovari de camer. Doctorand la Bucureti“, volum bun de tipar care n mod normal va aprea n cel mai scurt timp. Aceast parte a povetii lui Hai este ca un pod peste Prut, e ca Prutul care leag cele dou ri surori, dar are viaa lui i personajele lui, care activeaz ntr-o lume mai puin cunoscut publicului larg – lumea academic, universitar, scriitoriceasc i jurnalistic. Dac vrei s aruncai un ochi cum sunt vzute aceste medii din interior, fi i necenzurat – Cnd tatl tu e mai n vrst dect tine exact de dou ori“ e romanul perfect pentru asta.

n iunie 2015 am publicat n revista Permanene” (nr. 6) articolul Vladimir Tismneanu - ieri i azi”, motivat de faptul c Preedintele Comisiei Prezideniale pentru Analiza Dictaturii Comuniste din Romnia a devenit brusc un atacator al celor susinute n Raportul Final al Comisiei pe care a prezidat-o. Pn n prezent nu exist niciun fel de opinie a dlui Tismneanu i nici a celor de la Institutul Elie Wiesel” - MCA referitor la acest punct de vedere.

n 1943, soia lui Boris Vian, Michelle, s-a mbolnvit i a trebuit s sufere o intervenie chirurgical. Ca s-o amuze pe Michelle n timpul convalescenei, Boris Vian scrie Conte de fées à l’usage de moyennes personnes (Poveste de adormit oamenii obinuii) i o ilustreaz cu desene fcute de el nsui. mpreun cu trei nuvele – Pompierii, Pensionarul i Amintirea – textul acestei poveti“ constituie un volum pe care fanii lui Boris Vian vor fi ncntai s-l citeasc.

Vanitos, crud, nehot?r?t ?i incompetent, regele Ioan al II-lea cel Bun, din dinastia Valois, st?p?ne?te, comi??nd gre?eal? dup? gre?eal?, o ?ar? aflat? ?n grav? criz?. Sub domnia sa tumultuoas?, R?zboiul de 100 de Ani se ?nte?e?te, fac?iunile nobililor se lupt? ?ntre ele, foametea amenin?? poporul, impozitele sunt zdrobitoare, iar ciuma face ravagii. O epopee nefericit? ?i s?ngeroas?, la cap?tul c?reia are loc dezastrul de la Poitiers, b?t?lia ?n care regele Fran?ei este luat prizonier de c?tre englezi.

Cum poate un tanar timid, introvertit si cu complexe fizice, sociale si culturale sa devina asasin profesionist? Prin vocea protagonistului, intr-un stil alert, caracterizat de o extrema violenta verbala, dar si de sensibilitate, tandrete si umor. Romanul Ucigasul dezvaluie procesele interioare complexe si pline de conflicte, precum si pe cele exterioare care il arunca pe cai nu de el alese, dar inscrise deja, oarecum, intr-un fel de cod genetic social.

n Ziua Recunotinei doi adolesceni, Nate i Ashley, rmn n grija unchiului, un istoric linitit i retras, dup ce tatl ajunge la nchisoare pentru c ia ucis soia, pe care a prinso n flagrant delict tocmai cu fratele lui. Romanul ncepe n for – i apoi se dezlnuie cu adevrat. Numi amintesc cnd am citit ultima dat un roman cu o asemenea intensitate narativ; o relatare necrutoare a unui an catastrofal, violent, comic i sumbru totodat, aductor de profunde schimbri n viaa unei familii americane disfuncionale. Dea dreptul uimitor.“ Salman RuShdie

n Oslo-ul anilor ’90, ntro toamn prelungit n var indian, Will, un tnr scenarist plin de idei, dar neapreciat de productori, triete de patru ani mpreun cu iubita lui, Cathrin, art director ntro agenie de publicitate. Pentru a scpa de plictiseala care ncepe si bntuie, Cathrin iniiaz un joc erotic primejdios: cu pretextul c vor s-i cumpere o locuin, viziteaz case i apartamente, n care, ascunzndu-se de ochii agenilor imobiliari, renvie pasiunea primilor ani. Totul pare s se rezolve, Will semneaz un contract - e drept, pentru filme interzise minorilor, dar dispariia lui Cathrin d totul peste cap, calmul lund nfiarea unui thriller ce te ine cu sufletul la gur.

Iat?o pe fiica regelui troian Priam, vestita profet? Casandra, sosind ?n fa?a por?ilor cet??ii Micene ?n carul cu prizonieri al eroului grec Agamemnon. ?tie c? va fi ucis? ?nainte de asfin?itul soarelui ?i ??i rememoreaz? via?a, o existen?? excep?ional? pentru o femeie a acelor vremuri, ce culmineaz? ?n momente de o intensitate ?i un dramatism emo?ionant. Christa Wolf imagineaz? biografia fascinant? a unei figuri feminine at?t de controversate din mitologia antic?, reu?ind s? ne fac? s? o sim?im ca pe o contemporan? a noastr?.?

„Iat? o carte pe care s? o cite?ti încet ?i cu inima strâns?, o carte pe care s? o sim?i a?a cum sim?i ploaia b?tând darabana pe geamurile unui azil situat chiar aici ?i, în acela?i timp, la hotarele visului: acest t?râm atât de îndep?rtat ?i, în acela?i timp, atât de al nostru.  O zei?? stranie pare s? domine universul acestei opere singulare: boala, în multiplele ei variante, fizice ?i mentale, f?r? a uita c? fiecare boal? are o ie?ire, uneori spre lumina cea mai nea?teptat?, alteori spre cea mai nea?teptat? umbr?. Ne afl?m în fa?a unei c?r?i pline de delicate?e ?i de modera?ie, care??i trage vitalitatea din realism, din umanitate ?i, în acela?i timp, din delir, ?i care s?ar putea citi ca un roman polifonic, în?esat de voci care vorbesc în noapte.“ Jesús Ferrero (în Prefa??)

Ce ve?i g?si ?n aceast? carte? Ve?i g?si ?nt?mpl?ri ?i pove?ti care seam?n? izbitor cu cele pe care le vedem ?n corpora?ii. Ve?i reg?si lucruri familiare, lucruri care v? plac, dar ?i lucruri care ?i vor pune pe g?nduri pe corporati?ti. Ve?i reg?si pove?ti despre situa?ii zilnice, colegii de birou, colegii de la alte birouri. ?i, nu ?n ultimul r?nd, v? ve?i reg?si pe fiecare dintre voi. De ce s? cump?ra?i o carte care v? poveste?te ceva ce tr?i?i zilnic? Poate pentru c? modul ?n care se poveste?te o s? v? plac? ?i o s? v? captiveze, pentru faptul c? e ca ?i cum cineva v-ar fi citit g?ndurile, pentru faptul c? doar vre?i s? v? sim?i?i bine descoperind mediul corporatist. Este o carte dedicat?, ?n principal, corpora?iilor ?i oamenilor care lucreaz? ?n ele, adic? despre noi, corporati?tii. ?ntr-un ton optimist ?i, sper, amuzant.

O singur? alegere – ?l salveaz? de trecutul s?u O singur? alegere – ?i marcheaz? viitorul O singur? alegere – Scoate la iveal? primejdiile O singur? alegere – ?l schimb? pentru totdeauna O singur? alegere – ?l va elibera Aceast? edi?ie include: Transferatul ? Novicele ? Fiul ? Tr?d?torul ?i trei scene inedite din Divergent. Cu doi ani ?nainte ca Tris Prior s? fac? alegerea care avea s?-i schimbe via?a, fiul de ?aisprezece ani al liderului Abnega?iei a trecut prin acela?i lucru. Transferul lui Tobias c?tre Ne?nfricare repre-zint? ?ansa de a o lua de la cap?t. Aici, el nu va fi strigat pe numele dat de p?rin?i. Aici, el nu va permite ca teama s? ?l transforme ?ntr-un copil ?nsp?im?ntat. Proasp?t botezat ?Four“, el afl? ?n timpul ini?ierii c? va izb?ndi ?n Ne?nfricare. ?ns? ini?ierea este doar ?ncepu-tul, iar Four trebuie s?-?i revendice locul ?n ierarhia Ne?nfrica?ilor. Deciziile lui ?i vor afecta pe viitorii novici ?i vor scoate la iveal? secrete care ar putea s?-i pun? ?n primejdie propriul viitor – ?i viitorul ?ntregului sistem de fac?iuni. Doi ani mai t?rziu, Four este preg?tit s? ac?ioneze, dar cursul lucrurilor este ?nc? neclar. Totu?i, prima novice care sare ?n plas? ar putea schimba totul. Al?turi de ea, calea de a salva lumea ar putea deveni limpede. Al?turi de ea, el ar putea fi din nou Tobias. Veronica Roth completeaz? seria DIVERGENT cu un volum adiacent palpitant, relatat din perspectiva ?ndr?gitului ?i celebrului personaj Tobias. Cele patru povestiri incluse ?n aceast? edi?ie – TRANSFERATUL, NOVICELE, FIUL ?i TR?D?TORUL –, al?turi de trei scene inedite, ofer? cititorilor o privire electri-zant? asupra trecutului ?i sentimentelor lui Tobias, preg?tind totodat? terenul c?tre saga trilogiei DIVERGENT.

The electrical problems of the present day lie largely in the economical transmission of power and in the radical improvement of the means and methods of illumination. To many workers and thinkers in the domain of electrical invention, the apparatus and devices that are familiar, appear cumbrous and wasteful, and subject to severe limitations. They believe that the principles of current generation must be changed, the area of current supply be enlarged, and the appliances used by the consumer be at once cheapened and simplified. The brilliant successes of the past justify them in every expectancy of still more generous fruition.??The present volume is a simple record of the pioneer work done in such departments up to date, by Mr. Nikola Tesla, in whom the world has already recognized one of the foremost of modern electrical in-vestigators and inventors. No attempt whatever has been made here to emphasize the importance of his researches and discoveries. ??Great ideas and real inventions win their own way, determining their own place by intrinsic merit. But with the conviction that Mr. Tesla is blazing a path that electrical development must follow for many years to come, the compiler has endeavored to bring together all that bears the impress of Mr. Tesla's genius, and is worthy of preservation. Aside from its value as showing the scope of his inventions, this volume may be of service as indicating the range of his thought. There is intellectual profit in studying the push and play of a vigorous and original mind.?

ALEXANDER the Great died when he was quite young. He was but thirty-two years of age when he ended his career, and as he was about twenty when he commenced it, it was only for a period of twelve years that he was actually engaged in performing the work of his life. Napoleon was nearly three times as long on the great field of human action.??Notwithstanding the briefness of Alexander's career, he ran through, during that short period, a very brilliant series of exploits, which were so bold, so romantic, and which led him into such adventures in scenes of the greatest magnificence and splendor, that all the world looked on with astonishment then, and mankind have continued to read the story since, from age to age, with the greatest interest and attention.??The secret of Alexander's success was his character. He possessed a certain combination of mental and per-sonal attractions, which in every age gives to those who exhibit it a mysterious and almost unbounded ascendency over all within their influence. Alexander was characterized by these qualities in a very remarkable degree. He was finely formed in person, and very prepossessing in his manners. He was active, athletic, and full of ardor and enthusiasm in all that he did.

ALFRED THE GREAT figures in history as the founder, in some sense, of the British monarchy. Of that long succession of sovereigns who have held the scepter of that monarchy, and whose government has exerted so vast an influence on the condition and welfare of mankind, he was not, indeed, actually the first. ??There were several lines of insignificant princes before him, who governed such portions of the kingdom as they individually possessed, more like semi-savage chieftains than English kings. Alfred followed these by the principle of hereditary right, and spent his life in laying broad and deep the foundations on which the enormous superstructure of the British empire has since been reared. If the tales respecting his character and deeds which have come down to us are at all worthy of belief, he was an honest, conscientious, disinterested, and farseeing statesman. ??If the system of hereditary succession would always furnish such sovereigns for mankind, the principle of loyalty would have held its place much longer in the world than it is now likely to do, and great nations, now republican, would have been saved a vast deal of trouble and toil expended in the election of their rulers.

KING CHARLES THE SECOND was the son and successor of King Charles the First. These two are the only kings of the name of Charles that have appea-red, thus far, in the line of English sovereigns. Nor is it very probable that there will soon be another. The reigns of both these monarchs were stained and tarnished with many vices and crimes, and darkened by national disasters of every kind, and the name is thus connected with so many painful associations in the minds of men, that it seems to have been dropped, by common consent, in all branches of the royal family.??The reign of Charles the First, as will be seen by the history of his life in this series, was characterized by a long and obstinate contest between the king and the people, which brought on, at last, a civil war, in which the king was defeated and taken prisoner, and in the end beheaded on a block, before one of his own pala-ces. During the last stages of this terrible contest, and before Charles was himself taken prisoner, he was, as it were, a fugitive and an outlaw in his own dominions. His wife and family were scattered in various foreign lands, his cities and castles were in the hands of his enemies, and his oldest son, the prince Charles, was the object of special hostility. The prince incurred, therefore, a great many dangers, and suffered many heavy calamities in his early years. He lived to see these calamities pass away, and, after they were gone, he enjoyed, so far as his own personal safety and welfare were concerned, a tranquil and prosperous life. The storm, however, of trial and suffering which enveloped the evening of his father's days, darkened the morning of his own. ??The life of Charles the First was a river rising gently, from quiet springs, in a scene of verdure and sunshine, and flowing gradually into rugged and gloomy regions, where at last it falls into a terrific abyss, enveloped in darkness and storms. That of Charles the Second, on the other hand, rising in the wild and rugged mountains where the parent stream was engulfed, commences its course by leaping frightfully from precipice to precipice, with turbid and foaming waters, but emerges at last into a smooth and smiling land, and flows through it prosperously to the sea.

Dup? Aurul spartanilor ?i Imperiul pierdut, so?ii Sam ?i Remi Fargo se ?ntorc ?ntr-o nou? aventur? extraordinar?.Mae?tri ai v?n?torilor de comori, Sam ?i Remi Fargo nu sunt deloc obi?nui?i cu v?n?toarea de oameni. Dar un baron texan al petrolului apeleaz? la ei cu o rug?minte personal?: un detectiv particular angajat s?-i g?seasc? tat?l disp?rut s-a pierdut f?r? urm? ?i el. Dat fiind c? detectivul le este prieten, ar fi dispu?i Sam ?i Remi s?-i caute pe am?ndoi? ?n ciuda suspiciunilor, cei doi accept? noua provocare, iar ceea ce vor descoperi va fi mai mult dec?t ?i-ar fi putut imagina. ?n c?l?toria care ?i poart? prin Tibet, Nepal, Bulgaria, India ?i China, Sam ?i Remi Fargo se trezesc implica?i ?n traficul cu fosile de pe pia?a neagr?, descoper? un cuf?r vechi de secole, un regat tibetan disp?rut, un dirijabil inventat cu secole ?naintea vremii sale… ?i un schelet care ar putea transforma complet ?ntreaga istorie a evolu?iei umane.Plin de imagina?ie ?i cu un suspans care-?i taie r?suflarea, Regatul dovede?te ?nc? o dat? de ce Clive Cussler este considerat ?unul dintre cei mai buni autori contemporani de thriller“. – New York PostRomanele lui Cussler sunt publicate ?n peste 40 de limbi, ?n mai bine de o sut? de ??ri ale lumii.

N?scut ?ntr-o clopotni??, ?ntr-un sat din Alpii Elve?ieni, Moses, fiul unei s?rmane surdo-mute este ?nzestrat cu un auz remarcabil ?i cu o voce la fel de limpede precum sunetul uria?elor clopote sub care a v?zut lumina zilei. Sunetele ?i vor fi harta cea mai de ?ncredere pe parcursul vie?ii sale marcate de muzic?, la ?nceput ?n corul unei m?n?stiri ?i, ?n cele din urm?, pe scenele celor mai de seama teatre din Viena ?i din Vene?ia. Binecuv?ntare, dar ?i blestem, vocea sa angelic? este vocea unui musico, castrat ?mpotriva propriei voin?e, pentru a-i p?stra puritatea ?i limpezimea. Moses ??i va tr?i iubirea pentru o t?n?r? nobil? din Sankt Gallen cu intensitate fidel? ?i tragism, p?n? la cap?t, asemenea lui Orfeu, ?n opera cu care ??i face nea?teptat debutul pe scena, la premiera dirijat? de celebrul Gluck.Adev?ruri sf??ietoare, frumuse?e, arta, ur?, conspira?ii, z?mbete printre lacrimi ?i mai ales sunete care s? exprime emo?ii ?ntr-un limbaj universal… romanul lui Harvell ?nf??i?eaz? o poveste str?lucitoare ?i grav?, c? b?taia ?n amurg a marelui Pummerin, din Catedrala Sf?ntul ?tefan.Roman publicat ?n 12 ??ri.

Prin?i ?ntr?o capcan?, un pu? ?n mijlocul p?durii, doi copii, fratele cel Mare ?i fratele cel Mic, ?ncearc? s? supravie?uiasc? ?i s? g?seasc? o cale de salvare. Timp de s?pt?m?ni ?ntregi, asupra lor se abat suferin?e greu de imaginat: foame, sete, frig, spaim?, o lent? degradare a s?n?t??ii fizice ?i a celei mintale. Limbajul urmeaz? traiectoria acestei degrad?ri, pornind de la concizia rece a ?ocului ini?ial ?i ajung?nd la completa destr?mare a sensului caracteristic? delirului, la poezie desc?tu?at?, la strig?t pur ?n numele tuturor celor prin?i ?n capcan?. Eliberarea din capcan? este prilejul unei izbucniri de violen?? care aduce ?i lumin? asupra situa?iei ini?iale, r?mas? neexplicat? pe tot parcursul calvarului ?ndurat de cei doi copii, dar ?i o bre?? spre realitatea lumii ?n care tr?im. ?– C?nd ie?im afar?, facem o petrecere. – O petrecere? – Da. – Din?aia cu baloane, cu lumini ?i cu pr?jituri? – Nu, din?aia cu pietre, cu tor?e ?i cu e?afoade.“