Seria celor şase volume cu sucubul Georgiana Kincaid este catalogată, în Wikipedia, ca literatură pentru adulţi. Totuşi scenele fierbinţi din aventurile Georgianei sunt scrise cuminte, mai degrabă pentru un public adult foarte apropiat de vârsta majoratului. În nici un caz nu se apropie de zona „hard” a genului, precum „Fifty shades of Grey”. Sunt doar aventurile cu iz de policier ale unui sucub şi altor nemuritori ce-şi fac veacul în lumea noastră.
Georgiana Kincaid este un sucub, adică o creatură infernală, angajată permanentă a iadului, cu principala sarcină din fişa postului de a corupe suflete pentru corporaţia I.A.D. Dar Georgiana este un sucub cu principii, pentru că ea stă departe de cei pe care-i numeşte „băieţi de treabă”. De ce? Pentru că fiecare „zbenguială” cu sucubul implică diminuarea energiei vitale, cu efecte dezastruase asupra corpului muritor, cât şi reducerea proporţională a vieţii nefericitului. În plus, prin pângărirea sufletului, acesta se alege şi cu un bilet numai dus către infern.
Şi totuşi Georgiana a reuşit să se îndrăgostească de un muritor, scriitorul de succes Seth Mortensen. Relaţia lor este departe de a se desfăşura liniar: culmi şi adâncimi, ca o electrocardiogramă. S-au despărţit, de teamă să nu-şi facă rău unul altuia, însă ceva mai puternic decât chiar şi voinţa unei entităţi supranaturale, precum sucubul, i-a adus din nou împreună. În ultimul roman din serie, „Dezvăluiri de sucub”, acţiunea se desfăşoară după ce Seth a rupt logonda cu Maddie Sato, iar forţele neştiute ale Universului i-au adus din nou împreună. Premise pentru o perioadă plină de tandreţe între cei doi, dacă Departamentul de resurse umane al Iadului nu i-ar fi trimis Georgianei un ordin de trasfer din Seattle în Los Angeles, adică o nouă separare de cel pe care-l iubeşte. Însă, în spatele acestui transfer, se află o întragă maşinaţiune a Iadului. Se pare că în contractul prin care Georgiana şi-a vândut sufletul cu un mileniu şi jumătate în urmă, sunt unele nereguli.
An artist in glass and light, Angel has loved with passion and fire – and learned the true depths of sadness when what she loved was taken from her. When she first meets Miles Hawkins – a solitary, distant man – their mutual mistrust seems insurmountable. Hawk has never known what Angel has freely enjoyed, having experienced only cruelty and betrayal from the women in his life. But Angel is willing to risk everything that proud, silent Hawk cannot, as she strives to bring truth and love to a tormented soul who believes in neither. Yet giving her heart again could be a gamble with stakes too high and too painful for her to endure – for she fears that, by loving Hawk, she will surely lose him.
Mind games of the deadly kind: Telepaths to the left of them, telepaths to the right of them. And danger is all around Commander Susan Ivanova and Security Chief Michael Garibaldi when a Psi Corps Convention is held on Babylon 5. Someone will turn this meeting of mind readers into a real blast… as a bomb makes Babylon 5 a death trap.
Voices: the prime suspect is resident telepath Talia Winters. With Talia’s old foes, thought-cops Bester and Gray, calling for her head, Ivanova and Garibaldi can’t openly help her. Now she’s running for her life through a perilous universe, and her psychic talent is her only weapon when her path is blocked by staggering intergalactic horrors: psi-cops closing in… and a killer waiting.
Gabrielle Cody is a paladin—God's enforcer on earth. But she's not sure she can endure the life of a holy warrior. Her relationship with Detective Luther Cross is under constant strain already, and its going to get worse.
There is a monster feeding off of human blood, flesh, and souls and Gaby must stop him. But her passion for Luther distracts her from the terrible connection she has with her quarry—and the creature's desire to devour her.
Porównywana z „Imperium słońca” szokująca wizja naszego świata i ludzi wkraczających w wiek XXI.
Mała rewolucja jest tak skromna i grzeczna, że początkowo prawie nikt jej nie zauważa. Ale już wkrótce lekarze, inżynierowie, menedżerowie podpalają swoje domy, przewracają swoje volva i bmw, a w końcu podkładają bomby. Dlaczego stateczni obywatele postanowili zniszczyć swoje dotychczasowe życie? Dlaczego sięgnęli po terror? Odpowiedzi szukamy razem z narratorem, psychologiem Davidem Markhamem, w londyńskiej dzielnicy klasy średniej. Wraz z nim ulegamy stopniowo fascynacji anarchią, uwodzi nas charyzmatyczny pediatra, fanatyczny guru buntu, i z niedowierzaniem przyjmujemy jego wyjaśnienie: przyczyną przemocy może być brak przyczyny.
Nie ma silniejszej motywacji od nudy, sugeruje Ballard, terror jako protest przeciwko przyszłości, w której nic się nie będzie działo. „Ludzie millenium” to wizja absurdalna, groteskowa, ale i niepokojąca. Czy wiemy, czego naprawdę chcemy? Potrzebujemy poczucia bezpieczeństwa czy tęsknimy za napięciem, stresem, niepewnością? Przepowiadany przez autora „Imperium słońca” symboliczny scenariusz destrukcji wyrasta z wyobraźni pisarza zafascynowanego nieuchronnością katastrofy, ale jest też precyzyjną i beznamiętną analizą społeczeństwa u progu kryzysu, ludzkości u progu nowego tysiąclecia. Czy nasz bunt dla samego buntu jest rzeczywiście tylko kwestią czasu? Cóż, nie wszystkie przepowiednie się sprawdzają.
Snakefish, California, is rich in the currency of post-holocaust America. Gasoline.
Almost leveled by the soviet missiles that annihilated most of the West Coast, Snakefish is in the midst of a reconstruction, financed by a commodity far more valuable than the usual Deathlands jack.
But greed and man's lust for power threaten to shatter the hard won peace and tranquillity of this fledgling community as disparate factions that fight for control of the substance that will give them wealth beyond their wildest dreams.
Ryan Cawdor and his companions emerge from a gateway and step into the path of a smoldering war for power.
Diana, księżna Arradale jest kobietą piekną i niekonwencjonalną – jeździ konno, strzela z pistoletu, fechtuje się, a co więcej – pisze do króla list z prośbą o przyznanie jej miejsca w Izbie Lordów,Monarcha postanawia położyć kres fanaberiom bogatej arystokratki. Za pośrednictwem markiza Rothgarda przekazuje książnej wezwanie do szybkiego powrotu na dwór. W czasie wspólnej podróży do Londynu markiz i książna odkrywają, że nie są sobie obojętni, choć żadne z nich nie zamierza wstępować w związki małżeńskie. Dopiero pewne dramatyczne wydarzenia sprawiają, że i książna i markiz muszą ponownie zastanowić się nad swoją przyszłością…
Eine Kriminalgeschichte, bei der niemand zu Schaden kommt außer dem Verbrecher selbst, in der es oft noch nicht mal eine Leiche gibt – das ist das Kennzeichen vieler Geschichten um den katholischen Priester und unkonventionellen Ermittler Father Brown. Und doch sind G. K. Chestertons Detektiverzählungen spannend und fesselnd, wie es das Genre verspricht: Mit reiner Menschenkenntnis statt mit kriminalistischem Know-how schafft es Father Brown immer wieder, die kniffligsten Fälle zu lösen.
Erstmals werden die packendsten Erzählungen um Father Brown in einem Band veröffentlicht – ein Muß für jede Spürnase.
Gilbert Keith Chestertons Detektiverzählungen um Father Brown, ursprünglich in Zeitschriften von 1911 bis 1935 erschienen, handeln meist von einem moralischen, psychologischen oder theologischen Problem. Seine Geschichten sind kaum blutrünstig, und Leichen treten in gut einem Drittel nicht in Erscheinung, denn Chesterton geht es weniger um die Enthüllung als um die moralischen und religiösen Beweggründe eines Verbrechers. So meistert der kleine, rundliche, sanftmütige und scheinbar zerstreute Priester Father Brown seine Fälle auch nicht mit kriminalistischem Know-how, sondern mit purer Menschenkenntnis. Vorurteilslosigkeit, Mitgefühl, Toleranz, Beobachtungsgabe und Intuition sind dabei seine wichtigsten Hilfsmittel, mit denen er auch die schwierigsten Fälle auf spannende Weise löst.
Mit den Geschichten um Father Brown verlieh Chesterton der Gattung der Detektivgeschichte gekonnt neue Züge: Dank seiner detailreichen und bildhaften Schilderung von Landschaften, Behausungen und Naturereignissen erhält der englische Alltag einen Hauch von märchenhafter, meist morbider Fremdartigkeit, vor deren Hintergrund der sympathische Privatdetektiv mit seinem Charme und Witz die Sympathien der Leser gewinnt.
Gilbert Keith Chesterton (1874–1936) hat sich als Romancier, Literaturhistoriker, Historiker, Essayist und Pamphletist einen Namen gemacht. Außer seinen Detektivgeschichten, die sich überwiegend um Father Brown drehen, schrieb er Essays, Bücher zur Verteidigung des Christentums (»Orthodoxy« und »The Everlasting Man«), phantastische Romane (»Der Mann, der Donnerstag war«), literaturkritische Arbeiten (z. B. über Charles Dickens) sowie Biographien (»Thomas von Aquin«), Gedichte und Bühnenstücke. Durch die Verfilmung der Father-Brown-Romane mit Heinz Rühmann als »Pater Braun« wurde Chesterton in den fünfziger Jahren auch in Deutschland berühmt.
Titel der englischen Originalausgaben:
The Innocence of Father Brown (1911)
The Wisdom of Father Brown (1914)
The Incredulity of Father Brown (1926)
Chairman Mao Would Not Be Amused – Fiction From Today
From Publishers Weekly
In contrast to the utopian official literature of Communist China, the stories in this wide-ranging collection marshal wry humor, entangled sex, urban alienation, nasty village politics and frequent violence. Translated ably enough to keep up with the colloquial tone, most tales are told with straightforward familiarity, drawing readers into small communities and personal histories that are anything but heroic. "The Brothers Shu," by Su Tong (Raise the Red Lantern), is an urban tale of young lust and sibling rivalry in a sordid neighborhood around the ironically named Fragrant Cedar Street. That story's earthiness is matched by Wang Xiangfu's folksy "Fritter Hollow Chronicles," about peasants' vendettas and local politics, and by "The Cure," by Mo Yan (Red Sorghum; The Garlic Ballads), which details the fringe benefits of an execution. Personal alienation and disaffection are as likely to appear in stories with rural settings (Li Rui's "Sham Marriage") as they are to poison the lives of urban characters (Chen Cun's "Footsteps on the Roof"). Comedy takes an elegant and elaborate form in "A String of Choices," Wang Meng's tale of a toothache cure, and it assumes the burlesque of small-town propaganda fodder in Li Xiao's "Grass on the Rooftop." Editor Goldblatt has chosen not to expand the contributors' biographies or elaborate on the collection's post-Tiananmen context. He lets the stories speak for themselves, which, fortunately, they do, quietly and effectively.
From Library Journal
The 20 authors represented here range from Wang Meng, the former minister of culture, to Su Tong, whose Raise the Red Lantern has been immortalized on screen.
Chinese literature has changed drastically in the past thirty years. During the Cultural Revolution (1966-1976) arts and literature of all sorts were virtually nonexistent since they were frowned upon by official powers so that attempts to produce any were apt to cause one’s public humiliation and possibly even death by the Red Guards and other unofficial arms of the government. After 1976, in the wake of Mao’s death, literature slowly regained its importance in China, and by the mid-1980s dark, angry, satirical writings had become quite prominent on the mainland.
In the wake of Tiananmen Square, dark literature faded somewhat, but never vanished. Now Howard Goldblatt, a prominent translator of Chinese fiction and editor of the critical magazine Modern Chinese Literature, has compiled a representative collection of contemporary Chinese fiction entitled Chairman Mao Would Not Be Amused. Even with my limited knowledge of modern China I feel certain the title of the book is fairly accurate.
Mo Yan is one of my favorite contemporary writers. His dark, no-holds-barred satires Red Sorghum and The Garlic Ballads detailed what he sees as the failings of both Chinese peasants (of which he was born as one) and the Chinese leaders. His short story "The Cure" is in the same vein, detailing how a local government representative-probably self-appointed during the Cultural Revolution, although that is never made quite clear in the story-leads a lynching of the village’s two most prominent leaders and their wives. But, as in most Mo Yan stories, the bitterness directed at the lyncher is double-edged with the bitter look at a local peasant who sees the deaths of the two village leaders as a desperate chance to possibly rescue his mother from impending blindness. The story is coldly realistic and totally chilling in the rational way it treats the series of events.
Su Tong is the author of the novella "Raise The Red Lantern", the basis of the wonderful movie. His "The Brothers Shu" is a bitter look at some traditional character weaknesses of Chinese people, and particularly how they affect family life. The Shu family is incredibly dysfunctional. The father nightly climbs up the side of his two-family house to have sex with the woman upstairs until her husband bolts her windows shut. So the woman sneaks downstairs to have sex in the younger son’s bedroom while the son is tied to his bed, gagged and blindfolded. Meanwhile the elder son abuses the girl upstairs until she falls in love with him. When she becomes pregnant, they are both so shamed they form a suicide pact, tie themselves together and jump into a river, where the boy is rescued in time but the girl dies. The younger son so hates his older brother-somewhat deservedly considering the abuse heaped on him by the brother-that he pours gasoline through his bedroom and sets it ablaze.
And so on, complete with beatings and torments worthy of the most dysfunctional American families. While not a particularly likeable cast of characters, the story is strong and thoughtful.
Perhaps the most moving part about "First Person", by Shi Tiesheng is in the brief author description in the back of the book. Shi is described as “crippled during the Cultural Revolution”. So many lives were needlessly destroyed during that tumultuous decade, it is easy to feel that the arrest and subsequent conviction of the notorious Gang of Four was not nearly sufficient punishment for them.
"First Person" tells the story of a man with a heart condition-Shi frequently writes about the lives of handicapped people, according to his description-who is visiting his new 21st floor apartment for the first time. While climbing the stairs very slowly, taking frequent rests, he notices a cemetery separated from the apartment building by a huge wall. On one side of the wall is sitting a woman, while on the other side stands a man. As the man climbs the stairs he fantasizes about why the couple are there, and why they are separated by the wall. Perhaps the man is having an affair, and the wife is spying on him as he rendezvous with his lover?
But then the man notices a baby lying on a gravesite, being watched from a distance by the man, and he realizes that the couple is abandoning the child. An interesting story about the fanciful delusions a person can have, but with no real depth beyond that.
Two stories involve fear of dentists in completely different ways. Wang Meng’s "A String of Choices" is a very funny story that combines a bitter look at both Eastern and Western medicine with perhaps the most extreme case of fear of dentists imaginable. Chen Ran’s "Sunshine Between the Lips" tells of a young girl whose adult male friend exposes himself to her. If that were not traumatic enough, after he is arrested for exposing himself to a complete stranger, he sets his apartment on fire and dies a brutal death. This event, combined with a near-fatal bout of meningitis, creates in the girl a deep fear of phallic objects such as needles and penises. So imagine her trauma when she develops impacted wisdom teeth at the same time as she gets married. While this description might sound a bit ludicrous, this story is very serious and very well-executed.
A strong satire on how history can be rewritten to suit the writers’ needs is Li Xiao’s "Grass on the Rooftop". When a peasant’s hut goes on fire, he is rescued by a local student. The rescue is written up for an elementary school newspaper by a local child, but the story is picked up by other papers, changing radically with each reprinting until the rescuing student becomes a great hero of the Maoist revolution because of his supposed attempt to rescue a nonexistent portrait of Mao on the wall of the hut. While this story is uniquely Chinese in many ways, it resonates in all societies in which pride and agenda is often more important than the truth.
Anybody interested in a look at contemporary Chinese society should enjoy this collection immensely.
For the first time ever, legendary editor Otto Penzler has handpicked some of the most respected and bestselling thriller writers working today for a riveting collection of spy fiction. From first to last, this stellar collection signals mission accomplished.
* Lee Child with an incredible look at the formation of a special ops cell.
* James Grady writing about an Arab undercover FBI agent with an active cell.
* Joseph Finder riffing on a Boston architect who's convinced his Persian neighbors are up to no good.
* John Lawton concocting a Len Deighton-esque story about British intelligence.
* Stephen Hunter thrilling us with a tale about a WWII brigade.
Full list of Contributors:
James Grady, Charles McCarry, Lee Child, Joseph Finder, John Lawton, John Weisman, Stephen Hunter, Gayle Lynds, David Morrell, Andrew Klavan, Robert Wilson, Dan Fesperman, Stella Rimington, Olen Steinhauer
Meet Lucifer Box: Equal parts James Bond and Sherlock Holmes, with a twist of Monty Python and a dash of Austin Powers, Lucifer has a charming countenance and rapier wit that make him the guest all hostesses must have. And most do.
But few of his conquests know that Lucifer is also His Majesty's most daring secret agent, at home in both London's Imperial grandeur and in its underworld of despicable vice. So when Britain's most prominent scientists begin turning up dead, there is only one man his country can turn to for help.
Following a dinnertime assassination, Lucifer is dispatched to uncover the whereabouts of missing agent Jocelyn Poop. Along the way he will give art lessons, be attacked by a poisonous centipede, bed a few choice specimens, and travel to Italy on business and pleasure. Aided by his henchwoman Delilah; the beautiful, mysterious, and Dutch Miss Bella Pok; his boss, a dwarf who takes meetings in a lavatory; grizzled vulcanologist Emmanuel Quibble; and the impertinent, delicious, right-hand-boy Charlie Jackpot, Lucifer Box deduces and seduces his way from his elegant townhouse at Number 9 Downing Street (somebody has to live there) to the ruined city of Pompeii, to infiltrate a highly dangerous secret society that may hold the fate of the world in its clawlike grip-the Vesuvius Club.