Elizabeth Cleghorn Gaskell née Stevenson (1810–1865), often referred to simply as Mrs. Gaskell, was an English novelist and short story writer during the Victorian era. She is perhaps best known for her biography of Charlotte Brontë. Her novels offer a detailed portrait of the lives of many strata of society, including the very poor, and as such are of interest to social historians as well as lovers of literature. She married William Gaskell, the minister at Cross Street Unitarian Chapel in Manchester. They settled in Manchester, where the industrial surroundings would offer inspiration for her novels. Her first novel, Mary Barton: A Tale of Manchester Life, was published anonymously in 1848. The best known of her remaining novels are Cranford (1853), North and South (1855), and Wives and Daughters (1866). She became popular for her writing, especially her ghost story writing, aided by her friend Charles Dickens, who published her work in his magazine Household Words. Her other works include: The Grey Woman (1865), Lois the Witch (1861) and The Old Nurse's Story (1852)

Перед вами финальный том проклятого квартета книг Либер Хаотики. Для начала стоит сказать, что собирание материалов этого тома было чудовищным испытанием мне. Бог Хаоса, которому посвящён этот том, — это повелитель обмана и лжи, и я полагаю, что Рихтер был всего лишь марионеткой в его руках, когда он писал эту книгу. Уже одного этого факта достаточно, чтобы сжечь все эти книги, ибо они — орудия Хаоса, созданные им посредством Рихтера. Править их было истинным кошмаром. Я вновь был вынужден рассматривать те ужасные иллюстрации, что украшают их страницы: отвратительных чудовищ, преступления против естества, искажённые игрушки жестокого и капризного бога. Просмотрев страницы вновь, я заметил странные метки, что появились поверх печатного текста, слова, состоящие из странных символов, что я никогда прежде не видел. Однако ложь есть ложь, вне зависимости от того на каком языке она написана. Читая примечания Рихтера, которые он посчитал целесообразным вставлять на полях страниц, я видел, как этот человек трещит по швам. Его разум, неспособный справится с напряжением, сломлен. Каждую ночь я молюсь за его душу, равно как и за души всех нас

Эрика с рождения была увита историями о неведомом и чудесном. Она черпала их из книг, шума дождя, лучиков света… Отец называл это богатой фантазией, мать – магическим мышлением. Вот только Эрика и представить не могла, что однажды сама станет героиней истории. Всё меняется, когда она получает на день рождения необычную книгу – без автора, названия, но со своим голосом, рассказывающем жуткую жуть… Теперь ей придётся пуститься в опасные приключения, чтобы узнать тайны семьи и заглянуть за изнанку мира. Для широкого круга читателей

It’s as if we’re living in an episode of The Twilight Zone. Every day we are inundated by news reports, trending topics on social media, and new political movements promoting such bizarre beliefs about race, gender, sexuality, and life in general, that it’s impossible in many cases to distinguish whether such ideas are serious or if they’re a parody of what liberalism has become. The political differences between liberals and conservatives used to be pretty well established, but recently the tug of war between the Left and the Right took a dramatic and disturbing turn. Modern liberalism has been replaced with new mind-boggling agendas promoting the adoption of unscientific, authoritarian, and sociologically disastrous ideologies. In attempts to accomplish their plans, the Left are conspiring to end freedom of speech, traditional families, long-cherished holidays, and hope to implement a new world order. Who is behind this madness? What is their ultimate goal? How far are they willing to go to achieve it? And what can we do to stop them? Bestselling author and media analyst Mark Dice takes you on a tour inside the minds of those constructing this new social landscape in his groundbreaking investigation: Liberalism: Find a Cure

The latest survivalist thriller from the New York Times bestselling author and founder of survivalblog.com gives readers an unprecedented look into a post-apocalyptic world resulting from an all-too-real disaster scenario. When looting and rioting overwhelm all the major US cities, Afghanistan War vet Ray McGregor makes his way from Michigan’s Upper Peninsula to his parents’ cattle ranch in Bella Coola, British Columbia, in remote western Canada. Joining him is his old friend Phil Adams, a Defense Intelligence Agency counterintelligence case officer based in Washington State. Reckless banking practices, hyperinflation, and government negligence have led to an unprecedented socioeconomic collapse in America that quickly spreads throughout the world. Lightly populated Bella Coola is spared the worst of the chaos, but when order is restored it comes in the form of a tyrannical army of occupation. Ray and Phil soon become key players in the resistance movement, fighting the occupiers in a war that will determine not only their own personal survival, but also the future of North America. Liberators depicts a world that is all too conceivable and terrifyingly familiar. Fastpaced and packed with authentic information on outdoor survival, self-sufficiency, and small-unit tactics, James Wesley, Rawles’s latest thriller will resonate with his dedicated fanbase and encourage new readers to prepare for anything from lesser disasters to the dreaded worst-case scenario

Cela commença par une sensation de vacances. Quand Maigret descendit du train, la moitié de la gare d'Antibes était baignée d'un soleil si lumineux qu'on n'y voyait les gens s'agiter que comme des ombres. Des ombres portant chapeau de paille, pantalon blanc, raquette de tennis. L'air bourdonnait. Il y avait des palmiers, des cactus en bordure du quai, un pan de mer bleue au-delà de la lampisterie. Et tout de suite quelqu'un se précipita. - Le commissaire Maigret, je pense ? Je vous reconnais grâce à une photo qui a paru dans les journaux... Inspecteur Boutigues... Boutigues ! Rien que ce nom-là avait l'air d'une farce ! Boutigues portait déjà les valises de Maigret, l'entraînait vers le souterrain. Il avait un complet gris perle, un œillet rouge à la boutonnière, des souliers à tiges de drap. - C'est la première fois que vous venez à Antibes ? [http://www.amazon.fr/Maigret-Liberty-Bar-Georges-Simenon/dp/2253142522](http://www.amazon.fr/Maigret-Liberty-Bar-Georges-Simenon/dp/2253142522)

Alma Zusāne Liberālisma vaibsti Politiska dienasgrāmata (2007. 2009.) Demokrātijas teorija apgalvo, ka valstī vara netiek sagrābta ar spēku. Un netiek dota no Dieva. Valsts varu izvēlas pati tauta. Tauta, kā valsts varas avots un apliecinājums, izvēlas pašus cienījamākos, kuriem uztic varu. Lai demokrātija nekļūtu par diktatūru, vara tiek uzticēta uz fiksētu laiku, pēc kura tā tiek nodota nākošajam izvēlētajam. Ja izvēlētais neattaisno uzticību, tauta izvēlas citu. Tā ir demokrātijas būtība. No pirmā acu skatiena viss saprātīgi. Bet ir viens liels „BET". Lieta tā, ka, lai veiktu apzinātu izvēli ir nepieciešamas zināšanas. Ne daļējas un virspusīgas, bet gan dziļas zināšanas. Aicinot vēlēt „pēc sirdsapziņas" vēlēšanu rīkotāji atzīst faktu, ka tautai nav šādu zinašanu. Bez zināšanām izvēle nav iespējama.. Visas tautas vēlēšanas tiek pārvērstas par klaju dumjību! Tauta kā bērns, vienmēr dod priekšroku konfekšu papīriņam nevis tā saturam. Tautas izvēle balsojot „ar sirdi", vienmēr noved pie formas, nevis būtības. failu izveidojis Imants Ločmelis imantslochmelis@inbox.lv Drukātava 2011

Так устроен человек — постоянно выясняет, кто в доме хозяин

For a few years, this book was everywhere-if by everywhere one means used bookstore shelves and remainder tables-a very visible reminder of what happens when the publishing industry misjudges a print run. I bought three or four copies of the book, not because I didn't remember buying it but because every six months the price would be even lower. The copy I read was a two dollar paperback, but I'm sure there's the dollar hardcover still on my shelves, probably right next to where the three dollar and four dollar hardcovers used to sit. Stupidly, I assumed that this meant Libra was a bad book, an assumption my seven dollar copy of Infinite Jest should have disproved. But even after reading and enjoying White Noise, I didn't think of reading Libra. Only recently, scrambling around on my shelves for prose that would actually inspire me, did I pick it up. I'm ashamed to admit I was desperate, yet the shame is mitigated by the rewards I received. Libra is proof that the best authors can do anything they want. A book about Lee Harvey Oswald, Libra manages to get into Oswald's head and yet leave him a mystery because DeLillo knows the degree to which some men are enigmas even to themselves. A book about the history of event, and the John F. Kennedy assassination, Libra is also a study of the men who shape history, and the men who record history. And best of all, a book about society and the forces sweeping through it, Libra feels like a personal statement, an honest challenge to measure oneself, an expression of intimacy in recounting an event in which so many have lost themselves by creating paranoid spirals that are both joyous and dreadful celebrations of the helplessness of the self. DeLillo accomplishes this by doing what I believe is a fairly radical act: daring to empathize with Lee Harvey Oswald (I can't help but think this is what led George Will to denounce Libra as "an act of literary vandalism and bad citizenship"). I barely know anything about DeLillo, and yet even to me, the very first section, In The Bronx, a section that opens with an anonymous "he" riding the subway to the ends of the city ("There was so much iron in the sound of those curves he could almost taste it, like a toy you put in your mouth when you are little."), seems an acknowledgment of equivalency-DeLillo grew up in the Bronx, and generously gives young Oswald, who is living there at the book's opening, the keenly observed details only a longtime resident or a talented artist might notice. From this, DeLillo measures Oswald's meandering grasping life in terms with which any struggling artist, feeling adrift and alone in the grip of a desire to accomplish something great, could identify. (Until finally, after the shooting of Kennedy, Oswald making his way through the poor section of Dallas avoiding police, there is this: "A dozen old hair-drying machines stood along the curbside. A mattress on a lawn. He wanted to write short stories about contemporary American life.") By the end, DeLillo gives us Oswald as someone almost like Kafka's hunger artist ("He is commenting on the documentary footage even as it is being shot. Then he himself is shot, and shot, and shot, and the look becomes another kind of knowledge. But he has made us part of his dying."), revealing the horror of art and its motivations when they cannot escape into art's abstract realm. Libra also considers the men who might have been involved in the plot to kill a president, moving inside the heads of George de Mohrenschildt, crime lord Carmine Latta, Jack Ruby, Agency spook T.J. Mackey and most stunningly David Ferrie, the odd hairless man somehow always at the center of everything. Ferrie was a man who might have been famously eccentric on his own, what with his rare disease that rendered him completely hairless, and resultant crazy wigs and glued on eyebrows, and pilot's uniforms, and open homosexuality, and links to crime figures, gunrunners, and other figures not normally given to mingling with openly gay wig-wearing hairless men. He feels fully like a literary creation, endlessly chattering on about death, about cancer, about fear, about ESP and hypnotism and astrology, but David Ferrie was a very real figure-one whom DeLillo manages to recreate so completely it feels like an act of utter invention. And so, mirroring DeLillo, there's Win Everett, a CIA man disgraced by his role in the Bay of Pigs disaster, who hatches the Kennedy assassination plot and similarly finds himself creating a man who already exists. (Everett creates forged documents and fake items to cast Oswald's life in a strangely ambiguous light, so that investigators will continue to follow all the twisting paths to the truths Everett wishes them to discover. But he finds that Oswald, independently of Everett, is creating such a life already, following Everett's plans without actually knowing them.) In the shadow of retirement, Everett plans to refire his countrymen's passion for a democratic Cuba by using a failed assassination attempt on Kennedy; an attempt that, in the following investigation, will also throw light on the CIA's role (and his own) in the overthrow of Cuba. Everett is the artist at another extreme, safely installed in American culture (married, with a young daughter, teaching at Texas Women's University), and yet also plotting to change the way Americans see America, with a plan that, like the best literature, mixes the deeply personal with the sweepingly resonant. It is Everett that observes: "Plots carry their own logic. There is a tendency of plots to move toward death. He believed that the nature of death is woven into the nature of every plot. A narrative plot no less than a conspiracy of armed men." It is, of course, the observation of a writer. Everett's twin is Nicholas Branch, a present-day senior analyst of the CIA, hired by them on contract to write the secret history of the assassination of President Kennedy. Branch is thus both a writer and literary critic of historic event: "Let's devote our lives to understanding this moment, separating the elements of each crowded second. We will build theories that gleam like jade idols, intriguing systems of assumption, four-faced, grateful." Throughout most of the book, a section on Branch usually immediately follows or precedes a section on Everett, joining them in the reader's mind, and it is Branch who gets the lines Kennedy conspiracy theorists (of which I could consider myself, if there is a weight division below "piker") will find the richest, such as referring to the Warren Report as "the megaton novel James Joyce would have written if he'd moved to Iowa City and lived to be a hundred" and commenting on how different Oswald looks from one photo to the next. (I laughed out loud at the description of a famous photo of Oswald as a marine, with a group of fellow marines on a rattan mat under palm trees: "Four or five men face the camera. They all look like Oswald. Branch thinks they look more like Oswald than the figure in profile, officially identified as him." This was doubly funny to me having just seen the photo on the web, the day before I read that section, and, without registering it, having thought the same thing.) (Of course, now, just a few days later, I can't find that photo online anymore.) And it is through Branch, I think, that DeLillo writes the lines emphasizing how the creation of event and the creation of fiction are conjoined. Referring to Branch's paper-laden workroom, there is this: "This is the room of dreams, the room where it has taken him all these years to learn that his subject is not politics or violent crimes but men in small rooms." The men in Libra, including Lee Harvey Oswald, are such men, as are all writers. But Libra is all too aware of how such men, like Branch himself (in his small room seeing his subject as men in small rooms), and perhaps like all men, are ultimately only capable of writing on the vast skein of reality not what they do know, but merely tacit admissions of everything they don't know-about themselves and about the world, and about the strange vector where the two unknown variables meet, creating the ambiguous equations of history

For the last year, Library Cat – the resident cat of Edinburgh University Library – has been watching. As a Human, you may not feel that watching is a particularly extraordinary thing for a cat to do. But Library Cat is different. Because not only was Library Cat watching, he was also thinking. Library Cat is a thinking cat. Thinking cats are rare. Look closely, though, and maybe you’ll spot one… The canny glint to the eye? The arched, disdainful whiskers? The unrelenting interest in books and piles of paper? That’s a thinking cat! This is a story about Library Cat, about his favourite turquoise chair in the library and his favourite food (bacon-rind). But, more importantly, this is a story about Library Cat’s thoughts and his own search for completeness in this fractured world. And it’s about us Humans, too. You see, with his black and white head bobbing a foot off the ground, Library Cat has seen us Humans from a very different angle… …and he’s seen it all; from shame to sandwiches, from litter to love, from aeroplanes to Lord Byron. And he has some news: he thinks us Humans have it all wrong. And he’s going to show us why. LIBRARY CAT is a funny, witty and irreverent look at the world, seen through the unusually observant eyes of Edinburgh University Library’s resident cat

Time is running out for the Peculiar Children. With a dangerous madman on the loose and their beloved Miss Peregrine still in danger, Jacob Portman and Emma Bloom are forced to stage the most daring of rescue missions. They'll travel through a war-torn landscape, meet new allies, and face greater dangers than ever. . . . Will Jacob come into his own as the hero his fellow Peculiars know him to be? This action-packed adventure features more than 50 all-new Peculiar photographs

"The debut of a startling new talent. Here is a story both incandescent and explosive. A seamless blend of modern-day thriller and historical mystery with an ending that left me breathless." – James Rollins *** A murderer is on the loose on the streets of New York City: nicknamed the Doomsday Killer, he's claimed six victims in just two weeks, and the city is terrified. Even worse, the police are mystified: the victims have nothing in common, defying all profiling, and all that connects them is that each received a sick postcard in the mail before they died – a postcard that announced their date of death. In desperation, the FBI assigns the case to maverick agent Will Piper, once the most accomplished serial killing expert in the bureau's history, now on a dissolute spiral to retirement. Battling his own demons, Will is soon drawn back into a world he both loves and hates, determined to catch the killer whatever it takes. But his search takes him in a direction he could never have predicted, uncovering a shocking secret that has been closely guarded for centuries. A secret that once lay buried in an underground library beneath an 8th Century monastery, but which has now been unearthed – with deadly consequences. A select few defend the secret of the library with their lives – and as Will closes in on the truth, they are determined to stop him, at any cost…

El libro del desasosiego, que presentamos traducido íntegramente por vez primera en lengua castellana, nació en 1913 y Pessoa trabajó en él durante toda su vida. Esta es una obra inacabada e inacabable: un universo entero en expansión cuya pluralidad -literaria y vital-es infinita

“Una de las novelas más importantes de nuestro tiempo” – The Times Literary Supplement “El libro que usted estaba esperando desde que leyó ‘En busca del tiempo perdido’ o ‘La montaña mágica’ – The New Republic