High into air are the great New York buildings lifted by a ray whose source no telescope can find.It seemed only fitting and proper that the greatest of all leaps into space should start from Roosevelt Field, where so many great flights had begun and ended. Fliers whose names had rung—for a space—around the world, had landed here and been received by New York with all the pomp of visiting kings. Fliers had departed here for the lands of kings, to be received by them when their journeys were ended. Of course Lucian Jeter and Tema Eyer were disappointed that Franz Kress had beaten them out in the race to be first into the stratosphere above fifty-five thousand feet. There was a chance that Kress would fail, when it would be the turn of Jeter and Eyer. They didn't wish for his failure, of course. They were sports-men as well as scientists; but they were just human enough to anticipate the plaudits of the world which would be showered without stint upon the fliers who succeeded. The warship simply vanished into the night sky. "At least, Tema," said Jeter quietly, "we can look his ship over and see if there is anything about it that will suggest something to us. Of course, whether he succeeds or fails, we shall make the attempt as soon as we are ready.""Indeed, yes," replied Eyer. "For no man will ever fly so high that another may not fly even higher. Once planes are constructed of unlimited flying radius ... well, the universe is large and there should be no end of space fights for a long time."

A F?ld más tájain is élnek tépázott idegzet? és gondterhelt szül?k – err?l hajlamosak vagyunk megfeledkezni, mik?zben probléma- és pelenkahegyeken verekedjük át magunkat nap mint nap… Szül?k, akik pont ugyanannyit aggódnak és bosszankodnak, és persze ugyanolyan büszkék is szemük fényére, mint mi! Mark Woods lebilincsel?en alapos és sziporkázóan szellemes k?tete, a Szül?k bolygója világ k?rüli utazásra hív, hogy F?ldünk kül?nb?z? nevelési módszereivel, hiedelmeivel és szokásaival ismertessen meg. Mit keres a méhlepény a kambodzsai újszül?tt mellett? Mindenhol válogatósak a gyerekek, vagy csak a mienk k?pi a falra a t?kf?zeléket? Tényleg eminensebbek a skandináv és délkelet-ázsiai gyerekek? Hogyan és miért válik feleslegessé oly korán a pelenka egyes helyeken? Valóban csak dicsérettel lehet ?ntudatos és magabiztos porontyokat nevelni? ?s akkor még nem ejtettünk szót a kamaszokról: létezik szül? a F?ld bolygón, aki képes megbirkózni ezekkel a kis ?sz?rnyetegekkel”? Hipermodern tudományos módszerek és ?si rítusok, divattrendek és hagyományok ? mindenki másképp csinálja! Végs? soron mégis mindannyian ugyanazt szeretnénk: életre való és sikeres feln?tteket nevelni gyermekeinkb?l. A paletta széles és sokszín?: szemezgessünk a világ legjobb gyereknevelési módszereib?l, fogadjuk meg más népek jó tanácsait – és ismerjünk ?nmagunkra! Mark Woods újságíró, három gyermek édesapja. Els? fia születése alkalmából két k?nyvet írt az apáknak, felkészítve ?ket gyerekük születésére és a korai id?szakra. Ezt k?vet?en jelent meg a Szül?k bolygója, egy izgalmas barangolás anyák és apák számára egyaránt!

A Trónok harca tévésorozat alkotójának, producerének és forgatók?nyvírójának, New York Times bestseller, díjnyertes, k?zel negyven országban kiadott regénye. A nácik kegyetlen ostromgy?r?jében verg?d? Leningrádban Lev Benyovot letartóztatják fosztogatásért, és egy cellába kerül Koljával, a jókép? fiatal dezert?rrel. Kivégzés helyett azonban elképeszt? ajánlatot kapnak, hogy megmenthessék az életüket: egy tucat tojást kell keríteniük a Belbiztonság nagy hatalmú ezredesének, leánya lakodalmi tortájához. Mivel a városba már jó ideje nem jut be semmilyen utánpótlás, lakói elképzelhetetlen mértékben nélkül?znek, éheznek. Lev és Kolja nekivág a lehetetlennek – Leningrád kíméletlen poklában, s?t még az ellenséges vonalakon túl is kutatják a felbecsülhetetlen kincset. Ebben a megindító, ugyanakkor mulatságos, egyszerre sziporkázó és hátborzongató regényben a második világháborúban átélt kalandok során egy fiú férfivá érésének ízig-vérig modern t?rténete is kibontakozik el?ttünk. A k?tetet a neves m?fordító, Gy. Horváth László (Gépnarancs, Pi élete, Széthullott birodalom trilógia stb.) ültette át magyar nyelvre. David Benioff a k?nyvek mellett forgatók?nyveket ír. Els? regényéb?l, Az utolsó éjjelb?l Spike Lee rendezett emlékezetes filmet Edward Norton f?szereplésével. A Tolvajok tele a második és eddig utolsó regénye, mert a megjelenése után Benioff egy olyan projektbe fogott bele, ami mellett nincs ideje másra: ? az utóbbi évek egyik legsikeresebb tévésorozatának, a Trónok harcának alkotója, producere és forgatók?nyvírója. A feleségével, Amanda Peet színészn?vel és lányukkal Los Angelesben él.

A Riyria krónikák eredetileg magánkiadásban jelent meg, majd felfigyelt rá az Orbit, a világ egyik legjelent?sebb fantasy-sci-fi kiadója, és 2011 végén saját kiadásban kezdte el kiadni a regényeket, amelyek villámgyorsan az utóbbi évek legsikeresebb új fantasy sorozatává váltak. Legalább 15 országba eladták már a kiadás jogait, és ez a szám folyamatosan b?vül. B?B FEJ?RE KER?L A KORONA. AZ IGAZI ?R?K?S REJTVE MARAD. EGY KALANDOR TITKA FELFORGATHAT MINDENT. Háború fenyegeti Melengárt, és h?seink újabb kockázatos megbízást kapnak. Ezúttal sz?vetséget kell k?tniük a nemzetelv?ek csapataival, akik délen a birodalmi elnyomók ellen küzdenek. A Nefronita Birodalom megállíthatatlanul terjeszkedik, és Royce gyanúja egyre er?sebb, hogy Ezrahaddon, a mágus eszk?zként használja ?t és társát saját, kifürkészhetetlen céljaihoz. Ha ki akarja deríteni az igazságot, meg kell fejtenie Hadrian titkát. ?m felfedezése, k?nnyen véget vethet a barátságuknak és kettészakíthatja a Riyriát. A Birodalom születik a magával ragadó Riyria-krónikák harmadik k?tete. A hatk?tetes sorozatot írója egyetlen, eposzi magaslatokra t?r? t?rténetként alkotta meg, amit kül?n epizódokra bontott. A cselekményszálak egybefonódnak, de minden egyes k?tet a saját t?rténetét meséli el, és kül?n, kerek egészként is élvezhet?. Az eredetileg magánkiadásban megjelent sorozatra felfigyelt egy nagy kiadó is, és az új kiadás révén az utóbbi évek legsikeresebb új fantasyjévé vált.

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

A horda megérkezett. Pikk élete ?r?k?s harcból állt, amíg Megváltásban be nem fogadták. A várost azonban k?rülzárták a mutáns korcsok, és fél?, hogy a lány máris elveszíti a nem rég megszerzett biztonságot, új, szeret? családját. Barátaival, Fakóval, Kószával és Tegannal ezért lehetetlen küldetést vállal: titokban elhagyja a települést, hogy segítséget szerezzen és megmentse azokat, akiknek új életét k?sz?nheti. Amikor útnak indulnak, Pikk még nem is sejti, hogy a mindent eld?nt? csata felé száguld. A korcsok már nem azok az értelem nélküli sz?rnyek, amiket az Enklávéban megismert: uralják a vadont, emberek városait rohanják le, felderít?ket küldenek ki. Véres háború k?zeleg, olyan küzdelem, amilyenre évszázadok óta nem volt példa. De az emberiség már elfeledte, hogyan álljon ki magáért. Csak egy valaki képes ?sszefogni ?ket: Pikk. A tét ezúttal nem csupán egy enkláve, egy hely?rség, vagy egy városka. Az egykori vadászn? most a teljes emberi faj túléléséért kénytelen fegyvert rántani, noha ? maga sem tudja, egyetlen lány és maroknyi barát megállíthatja-e a pusztítás hordáját… ?S?tét színek, hátborzongató t?rténet… Ann Aguirre k?nyvét nem lehet letenni!” Gena Showalter, a New York Times sikerszerz?je

Видано 45 мовами! Донна Тартт — лауреат Пул?тцер?всько? прем?? № 1 у списку 100 видатних книжок за верс??ю The New York Times Отямившись п?сля вибуху в музе?, тринадцятир?чний Тео ще не розум??, що там, п?д уламками, залишилися його мат?р ? його дитинство. Пробираючись до виходу, повз кам?ння та т?ла, в?н п?дбира? безц?нну картину фламандського майстра, яку так любила його мати. Дивний старий, вмираючи, в?дда? йому свого персня та просить винести картину зв?дси... Тео буде кидати ?з родини в родину, ?з Нью-Йорка до Амстердама, ?з глибин в?дчаю до ейфор??. Викрадений ?Щиголь? стане його прокляттям та над??ю на порятунок... Vidano 45 movami! Donna Tartt — laureat Pul?tcer?vs'ko? prem?? № 1 u spisku 100 vidatnih knizhok za vers??ju The New York Times Otjamivshis' p?slja vibuhu v muze?, trinadcjatir?chnij Teo shhe ne rozum??, shho tam, p?d ulamkami, zalishilisja jogo mat?r ? jogo ditinstvo. Probirajuchis' do vihodu, povz kam?nnja ta t?la, v?n p?dbira? bezc?nnu kartinu flamands'kogo majstra, jaku tak ljubila jogo mati. Divnij starij, vmirajuchi, v?dda? jomu svogo persnja ta prosit' vinesti kartinu zv?dsi... Teo bude kidati ?z rodini v rodinu, ?z N'ju-Jorka do Amsterdama, ?z glibin v?dchaju do ejfor??. Vikradenij ?Shhigol'? stane jogo prokljattjam ta nad??ju na porjatunok...

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

These tales are translated from a variety of authors. The translator has been chiefly led to the task by the hope of composing an entertaining volume out of materials not generally accessible. The works in which many of them are found, are by no means common, and the indelicacy with which almost all collections of Italian tales are polluted, deservedly excludes them from general perusal. Such care has, however, been employed in the following selection, and such liberties taken with the originals, when they appeared objectionable on this account, that it is hoped this little book will escape the censure too justly cast upon Italian works of humour, in general—a censure which falls heavily upon many of the otherwise admirable tales of Boccaccio. While, however, such trifling alterations have been made as appeared necessary, these tales may still justly be considered as fair specimens of the Italian Novella, and like the celebrated collection already alluded to, furnish us with a very lively idea of the early manners of the Italians. Those tales, from which our great dramatist borrowed parts of his plots, and some of his incidents, have a double interest, both from their own nature, and as they illustrate the process by which his genius, "by happy alchemy of mind," turned all the materials which fell in his way to gold. Two or three of this kind have been purposely selected. ITALIAN TALES: THE TEACHER TAUGHT. THE UNEXPECTED REPLY. WHO AM I? THE DEAD RIDER. THE SKILFUL PHYSICIAN THE POMEGRANATE SEED THE FATAL MISTAKE THE DEAD ALIVE THE FALSE CHAMPION THE MERCHANT OF VENICE THERE IS A SKELETON IN EVERY HOUSE. THE ELOPEMENT. THE FRIAR ENTRAPPED ANTONIO AND VERONICA. BELPHAGOR. THE SLEEPING DRAUGHT THE COUNTERPARTS

Orice asem?nare cu persoane în via?? sau decedate este pur întâmpl?toare... Ce-ai face dac? ai descoperi c? în cartea pe care o cite?ti e vorba despre tine? Când g?se?te o carte misterioas? pe noptier?, via?a lui Catherine Ravenscroft se transform? într-un co?mar. De?i pare o n?scocire, cartea, numit? Str?inul des?vâr?it, recreeaz? veridic ?i în cel mai mic detaliu cumplita zi în care Catherine a devenit prizoniera unui secret teribil, un secret pe care o singur? persoan? îl mai cuno?tea – iar acea persoan? a murit. Pe m?sur? ce trecutul o ajunge din urm?, Catherine simte c? lumea ei se pr?bu?e?te. Singura cale este s?-l înfrunte... chiar dac? adev?rul ?ocant ar putea s? o distrug?. Un debut remarcabil, care aminte?te prin atmosfer? de Înainte s? adorm ?i care se bucur? deja de un succes interna?ional, Avertisment vorbe?te despre o femeie bântuit? de secrete, despre dorin?a mistuitoare de r?zbunare ?i pre?ul dureros pe care trebuie s?-l pl?tim dac? încerc?m s? ascundem adev?rul. Avertisment dozeaz? suspansul psihologic uimitor de bine: exact a?a arat? thrillerul perfect. – Lee Child „Un necunoscut a pus cartea pe noptier?. Cu grij?. Nu a deranjat niciun obiect de la locul lui. Pe partea ei de pat. ?tiuse pe ce parte a patului doarme. A aranjat totul a?a încât s? par? c? ea îns??i pusese cartea acolo. Gândurile i se îngr?m?desc unele peste altele ?i se strivesc între ele pân? când devin chinuitoare ?i dureroase. Vinul ?i nelini?tea sunt o combina?ie periculoas?. Ar trebui s? înve?e deja c? nu e bine s? amestece otr?vurile. Î?i ia în mâini capul care o doare. În ultimele zile o doare constant. Închide ochii ?i vede soarele alb ?i arz?tor de pe copert?. Cum naiba a ajuns cartea asta în casa ei?“ Halucinant ?i tulbur?tor, romanul lui Renée Knight te prinde în mrejele sale de la prima pagin?. –? Kirkus Reviews

Mai poate fi vorba despre dragoste atunci c?nd un b?rbat ?i o femeie se ?nt?lnesc dup? treizeci de ani de la evenimentul inexplicabil care le-a destr?mat iubirea tr?it? cu pasiune timp de cinci ani? E dragostea cea care le une?te privirile, sau doar nostalgia unor vremuri de mult trecute ?n care se reg?sesc tineri ?i ferici?i? Steinn ?i Solrun se re?nt?lnesc la un vechi hotel din fiordurile Norvegiei ?i rememoreaz? trecutul ?i vina de care nu s-au eliberat ?nc?. Fiind fiecare c?s?torit ?i av?nd propriii copii, cei doi ?nlocuiesc intensitatea tr?irilor de alt?dat? cu aprinse discu?ii purtate prin e-mailuri despre sensurile vie?ii ?i despre for?ele care guverneaz? realitatea din jur. Complice cu autorul care orchestreaz? jocurile narative, cititorul este martorul schimburilor tensionate de idei ?ntre agnosticul Steinn ?i mistica Solrun. Dac? cei doi protagoni?ti decid ca fiecare e-mail s? fie ?ters imediat ce e parcurs, cititorul are privilegiul de a avea sub ochi conversa?iile care caut? r?spunsuri la ?ntreb?rile ce domin? romanului lui Gaarder: este via?? dup? moarte? Exist? coinciden?e sau totul este planul bine pus la punct al unei instan?e superioare, fie ea divine sau explicabile ?tiin?ific? ?ntr-o manier? devenit? deja marc? ?nregistrat? Jostein Gaarder, romanul ce poart? titlul unui tablou al lui René Magritte p?streaz? ceva din misterul suprarealist ?i ?mbin? observa?iile filosofice cu o intrig? plin? de suspans ?i o emo?ionant? poveste de dragoste care rezist? timpului. Ce rezult? – un roman care desfat? intelectual ?i estetic.

ntr-o succesiune de oglinzi creatoare de iluzii nesfrite, Sofiei, protagonista celui mai cunoscut roman al norvegianului Jostein Gaarder, i este povestit, treptat, ntreaga filosofie a culturii occidentale. Dac filosofia sau literatura nsi este pretextul acestei cri cititorul va afla pe cont propriu. El va face cunotin, nc de la nceput, cu amestecul dintre fantezie i marile ntrebri ale omenirii. Pentru c nu gsise n biblioteci sau librrii nicio carte n care tinerilor s li se ofere o form accesibil a marilor idei, scriitorul norvegian pune n scen o poveste i imagineaz un personaj inventiv i curios. Jocurile duble sunt specialitatea lui Gaarder: Sofia va fi pus n oglind de Hilde, destinatara real a cursurilor, profesorii i vor schimba identitile, iar ntrebrile nu vor putea primi niciodat rspunsuri unice. Aventura cunoaterii va ncepe de la filosofii greci, va trece prin zorii cretinismului, prin medievalitatea european, va ajunge la Renatere, Iluminism, Romantism i pn la sistemele de gndire ale secolului al XX-lea. Fr a fi o simpl carte de popularizare, Lumea Sofiei este o introducere n filosofia occidental, deschiznd apetitul cititorului pentru cunoatere i meditaie asupra ntrebrilor eseniale. Cci, aa cum Hilde e Sofia, aceasta nu e nimeni altcineva dect imaginea cititorului nsui.

?n timp ce mul?i studen?i americani din anii 1960 participau la mar?uri ?mpotriva r?zboiului, luau droguri halucinogene ?i erau adep?ii amorului liber, Hannah Latham, fiica unui faimos profesor universitar ultraradical ?i al unei pictori?e foarte cultivate, nu vrea dec?t s? se c?s?toreasc? cu iubitul ei, viitor doctor, ?i s? tr?iasc? ?n provincie o via?? conven?ional?. T?n?rul cuplu ?i b?ie?elul lor nou-n?scut se stabilesc ?ntr-un or??el din statul Maine, ?ns? Hannah ajunge s? se simt? cur?nd izolat? ?i plictisit? de visul ei de fat? cuminte. ?ntr-o bun? zi, ?n lipsa so?ului, un t?n?r – veche cuno?tin?? de pe vremea studen?iei – apare ?n ora?, schimb?ndu-i lui Hannah via?a pentru totdeauna... O carte pe care n-o po?i l?sa din m?n?, cu un suspans bine dozat, scris? cu m?iestria unui autor de romane poli?iste. De acela?i autor, la Editura Trei au ap?rut romanele Nu pleca..., O rela?ie special?, Jocurile destinului ?i Tenta?ia. O femeie se treze?te prizoniera unei vie?i prea conven?ionale ?i a micului ei act de rebeliune, ale c?rui consecin?e o h?ituiesc peste zeci de ani. Farmecul discret al vie?ii conjugale este un roman despre limita dintre via?a privat? ?i via?a public?, despre imensa pr?pastie dintre p?rin?i ?i copii ?i despre felul ?n care nu po?i sc?pa niciodat? cu adev?rat de trecutul t?u. De asemenea, constituie ?i o analiz? a moravurilor societ??ii contemporane, ?n care mass-media poate distruge vie?i ?n c?teva ore. “Kennedy este ne?ntrecut ?n a crea personaje feminine pline de rafinament, dar b?ntuite de fr?m?nt?ri. Stilul s?u emo?ioneaz? ?i captiveaz? deopotriv?.“ Daily Mirror

Va putea frumuse?ea s? salveze lumea? este ?ntrebarea ?n jurul c?reia Monique Proulx construie?te pove?tile personajelor sale. ?inutul s?lbatic al Canadei nu va fi doar fundalul ?n care se mi?c? protagoni?tii, ci le va fi refugiul ?i martorul confrunt?rilor furtunoase. Lila Szach este ecoul unui timp trecut ?i simbolul posesiunii. Simon este ?ntruchiparea entuziasmului incurabil, iar Claire p?streaz? echilibrul fragil ?ntre idealism ?i scepticism. Cu aceea?i precizie, Monique Proulx surprinde statornicia naturii ?i instabilitatea emo?iilor umane, trec?nd cu u?urin?? de la triste?e la umor. Champagne ?n titlul s?u original, duc?nd cu g?ndul la vechea form? a fran?uzescului ?campagne“, romanul este un tribut adus naturii, dar ?i un tablou ?n mi?care al rela?iilor dintre oameni.

Nominalizat la Carnegie Award 2009, c??tig?tor al Guardian Children’s Fiction Prize 2008, James Tiptree Junior Award ?i Booktrust Teenage Prize 2008. Todd Hewitt e ultimul b?iat din Prentisstown, un ora? mai pu?in obi?nuit. Oamenii pot auzi ce g?ndesc ceilal?i. Tot timpul. Via?a lor se desf??oar? ?ntr-un cople?itor ?i ne?ncetat Vacarm; nu exist? intimitate, nici secrete. Chiar cu o lun? ?nainte de a ?mplini 13 ani, dat? la care ar urma s? devin? b?rbat, Todd descoper? ?nt?mpl?tor un loc lini?tit. F?r? Vacarm. ?ns? un asemenea loc nu poate exista! ?nseamn? c? locuitorii din Prentisstown l-au min?it. ?i acum va trebui s? fug? ca s? se salveze de la moarte... Dar unde s? fugi dac? cei care te urm?resc pot auzi TOT ce g?nde?ti? Un roman ?n tradi?ia Aventurilor lui Huckleberry Finn ?i a capodoperei De veghe ?n lanul de secar?, despre un adolescent care fuge, ?mpreun? cu c?inele s?u vorbitor, Manchee, spre o lume normal?. Chiar dac? asta ?nseamn? s? mearg? p?n? la cap?tul lumii... ?i mai departe. Ness e un scriitor foarte ?nzestrat, de o imprevizibilitate care-?i d? fiori. – The Times Sf?r?itul plin de suspans are efectul unui glon? tras direct ?n stomac. – Booklist Un roman care curge ?ntr-un ritm furios, ?nsp?im?nt?tor, captivant ?i, uneori, sf??ietor. Este o carte care-?i b?ntuie imagina?ia. –Sunday Telegraph ?Nu exist? nimic pe lumea asta ?n afar? de Vacarm, nimic altceva dec?t g?ndurile permanente ale oamenilor ?i toate lucrurile venind la tine ?i la tine ?i la tine, din clipa ?n care spac?ii au dat drumul virusului Vacarmului ?n timpul r?zboiului, un virus care-a ucis jum?tate din b?rba?i ?i toate femeile, inclusiv pe mama mea, un virus care i-a ?nnebunit pe restul b?rba?ilor ?i care a ?nsemnat sf?r?itul pentru tot neamul spac?ilor ?n momentul c?nd oamenii, ?n nebunia lor, au ridicat armele.“

n 1950 Boris Vian public, sub pseudonimul Vernon Sullivan, Femeile nu-i dau seama, un roman-pasti al prozei i stilului de via american ale mijlocului secolului XX. ntr-un discurs n care se vede clar intenia parodic, Vian povestete aventura ntins pe cteva zilei a tnrului de bani gata Francis Deacon, din care nu lipsesc drogurile, femeile, promiscuitatea fr limite, interveniile FBI, urmririle pe ap i pe uscat, travestiul i toate beneficiile materiale pe care America aflat n plin dezvoltare le poate oferi unui tnr dispus s nu fac nicio economie cnd vine vorba de distracie i senzaii tari.

Un nou thriller din seria Helen Grace Cadavrul unui b?rbat este g?sit ?ntr-o cas? goal?. Inima i-a fost scoas? din piept ?i trimis? so?iei ?i copiilor lui. E prima victim?, iar inspectoarea Helen Grace ?tie c? nu va fi ultima. Dar de ce s-ar afla un b?rbat cu o via?? ?mplinit? departe de cas? ?n toiul nop?ii? Presa ?l nume?te Jack Spintec?torul ?n sens invers: un criminal ?n serie, v?n?nd b?rba?i ?nsura?i care duc vie?i duble. Helen simte furia din spatele crimelor. Dar ceea ce nu poate ea s? prevad? este c?t de schimb?tor e criminalul - sau ce o a?teapt? la cap?tul cursei... ?Alert, tensionat, cu adev?rat impresionant!“ – Sun ?Arlidge creeaz? o poveste ce te captiveaz? ?i te ?nsp?im?nt? ?n acela?i timp.“ – Daily Mail ?Un thriller macabru pe care nu-l po?i l?sa din m?n?!“ – Woman and Home ?Deodat? capul i s-a dus pe spate. L-a s?getat o durere insuportabil? – era tras de p?r foarte str?ns, tras ?napoi cu for?a, tot ?napoi. Deja nu mai putea s? respire – o c?rp? ?i astupa gura ?i nasul. O duhoare ?n?ep?toare i-a inundat n?rile, iar reflexele i s-au declan?at prea t?rziu. Se lupta s? tr?iasc?, dar ??i pierdea deja cuno?tin?a. Apoi s-a f?cut ?ntuneric.“

De la autorul bestsellerurilor Ierusalim ?i ?ntr-o noapte de iarn?. O poveste zguduitoare despre pasiune ?i tr?dare, descoperit? ?n arhivele secrete KGB Iarna lui 1916: Sankt Petersburg. Rusia e ?n pragul revolu?iei. ?n fa?a Institutului Smoln?i pentru Fete din ?nalta Societate, Sa?enka, fiica de doar ?aisprezece ani a baronului Zeitlin, este a?teptat? de c?tre guvernanta sa, dar ?i de poli?ia secret? a ?arului... Frumoas? ?i aprig?, Sa?enka este captivat? de noua ideologie bol?evic? ?i intr? ?n jocul periculos al conspira?iei ?i seduc?iei. Dou?zeci de ani mai t?rziu, e c?s?torit? cu un membru de seam? al partidului comunist ?i are doi copii. ?ns? idila interzis? cu un scriitor are consecin?e devastatoare pentru familia sa. ?Aceast? saga surprinde at?t zbuciumul unei elite bol?evice c?zute ?n dizgra?ie, c?t ?i paradoxurile istoriei pe care avem impresia c? o cunoa?tem.“ – The Independent ?Cu frumuse?ea ireal?, cu distinc?ia care trece dincolo de avere sau clas? social? ?i cu idealurile sale sincere care au costat-o at?t de mult, Sa?enka reu?e?te s? ne cucereasc? definitiv.“ – The Spectator ?Montefiore se dovede?te a fi un povestitor inegalabil, cu un stil precis, care te marcheaz?.“ – Wall Street Journal ?Pe coridoarele acestei aripi a ?nchisorii era un du-te-vino continuu: b?rba?i ?i femei erau arunca?i ?n celulele lor, adu?i la interogatorii, trimi?i ?n lunga c?l?torie din exilul siberian. Unii pl?ngeau cu sughi?uri, al?ii dormeau; ?ntreg spectrul vie?ii era adunat aici. Jandarmul din spa?tele ghi?eului ??i tot ?ndrepta privirea c?tre Sa?enka, de parc? aceasta ar fi fost un p?un ?ntr-o cocin? de porci.“

Mai mult viu dec?t mort, comisarul San-Antonio asist? la propria-nmorm?ntare. Apoi, mai mult cu umor dec?t cu ?nd?rjire, b?ntuie Parisul ?n c?utarea celor care l-au ucis un pic, temporar. Semi-asasinii nu se las? u?or prin?i, p?n? c?nd fac gre?eala s-o supere pe mama semi-victimei. ?i gata, soarta lor e pecetluit?: nu te iei de mama lui San-Antonio ?i speri s? scapi basma curat?! E o b?tr?nic? prea simpatic?. San-Antonio e convins c? ea e mai ?nger dec?t dolofanii ?ia mici, picta?i cu aripioare prin biserici.Vremuri grele! Nimic nu mai e ce pare a fi: trafican?ii de droguri sunt patrio?i, spioanele sunt fiice care ?tiu de frica ta?ilor. Nevestele sunt un fel de amante costisitoare, iar culmea rafinamentului pervers ar fi s?-?i iei o amant? doar ca s? te ui?i la ea cum tricoteaz?, dup? ce ?i-a servit o sup?.San-Antonio e de savurat pe ?ndelete, o delicates? pentru adev?ra?ii degust?tori ai genului, cei care ?tiu c? un roman poli?ist te poate cuceri ?i prin umor, rafinamente de limbaj, inteligen?? ?i cultur?, nu doar prin suspans, urm?riri ?i ?mpu?c?turi, chiar dac? are – din bel?ug chiar – ?i aceste ingrediente.Mai multe detalii pe san-antonio.ro

Ce ai face dac? ai g?si o carte ce te-ar provoca la un joc de-a v-a?i ascunselea cu indicii? Ai accepta provocarea sau ai pune cartea ?napoi ?n raft? ? Lily a l?sat ?n raftul libr?riei preferate din New York un jurnal plin de provoc?ri, care a?teapt? s? fie g?sit de b?iatul potrivi. Acesta este Dash, un adolescent ?n v?rst? de 17 ani, pasionat de c?r?i ?i cu o repulsie nem?rginit? fa?? de tot ce ?nseamn? s?rb?toarea Cr?ciunului. El accept? regulile jocului fetei. Dar sunt ei f?cu?i unul pentru cel?lalt? De?i par a se potrivi perfect ?n ceea ce prive?te exprimarea ?n scris, ?nt?lnirile lor nu sunt lipsite de surprize ?i le pun ?n pericol rela?ia ?nc? dinainte ca aceasta s? se ?nfiripe. ? Rachel Cohn ?i David Levithan au scris o poveste de dragoste care ?i va face pe tineri s? scotoceasc? prin rafturile libr?riilor, c?ut?nd ?i t?njind dup? o iubire (?i un jurnal) care s? fie numai a lor. ? “Cititorii vor fi ?nc?nta?i de limbajul spumos ?i de r?sturn?rile amuzante de situa?ie.“ Publishers Weekly ? “Sim?eam nevoia s?-i absorb numele, ?n timp ce cl?titele absorbeau untul ?i siropul. Abia dac?-mi mai aminteam cum ar?ta; imaginea lui era ?nconjurat? de o p?cl? de culoarea ?ampaniei, dulceag? ?i difuz?, neclar?. ?mi aminteam c? era mai degrab? ?nalt, cu p?rul bine tuns ?i proasp?t piept?nat, c? purta blugi ?i o jachet? marin?reasc? de l?n?, posibil de epoc?, ?i c? mirosea a b?iat, dar la modul pl?cut, nu la cel sc?rbos. ?i mai avea ?i cei mai alba?tri ochi din lume, ?i gene lungi, negre, aproape ca ale unei fete.“

Frica de boal? este resim?it? acut de 15% dintre rom?ni ?i doar teama de ?omaj o dep??e?te ?ntrun top autohton al ?ngrijor?rilor, arat? o anchet? sociologic? din 2014. O dovad? ?n plus a relevan?ei grijii pentru s?n?tate o constituie preocuparea actual? pentru alimenta?ia ?eco" ?i diete, dar ?i cultul corpului s?n?tos ?i zvelt. Totu?i, c?nd grija fireasc? pentru s?n?tate ajunge s? ne domine g?ndurile, tulbur?ndune cursul normal al vie?ii, e semn c? am putea suferi de o ?tulburare hipocondriac?". Mersul frecvent de la un doctor la altul (dublat de ne?ncrederea fa?? de diagnosticul primit), izolarea social?, interpretarea gre?it? semnelor corpului, igiena compulsiv? ?i suspiciunea fa?? de toxicitatea alimentelor afecteaz? considerabil via?a ipohondrului, dar ?i a rudelor sale. Cartea de fa?? arat? cum ia na?tere frica patologic? de boal?, ce consecin?e are ?i cum poate fi dep??it? prin autoanaliz?, sugestii pozitive, tehnici de relaxare, vizualizare ?i gestionare a stresului, ?i, mai ales, prin restructurarea g?ndirii ira?ionale ?i ?magice".