Media Search

Kurzbeschreibung

Kurzbeschreibung

New York is a city full of strangers. For NYPD detectives Turner and Marcinko, none are harder to figure out than the serial killer on the loose torturing and killing young women. In fact, right now, somewhere in the city, a woman is being held captive in a basement and it is up to the detectives to find her and the killer?before it?s too late.

As pressure mounts on Turner and Marcinko, their prime suspect is screenwriter wannabe Marvin Waller. He is becoming increasingly frustrated by his lack of success and the cops think he might be channeling his anger into murder?but he doesn?t seem to be at all concerned that they are hot on his trail. As Turner and Marcinko close in on Waller they have to wonder: is he the killer? And if he isn?t?who is?

Fusing shifting viewpoints with a growing sense of dread and almost unbearable suspense, the UK?s thriller master Stephen Leather arrives on the shores of the United States with The Basement, his most terrifying work to date.

Kurzbeschreibung

New York is a city full of strangers. For NYPD detectives Turner and Marcinko, none are harder to figure out than the serial killer on the loose torturing and killing young women. In fact, right now, somewhere in the city, a woman is being held captive in a basement and it is up to the detectives to find her and the killer?before it?s too late.

As pressure mounts on Turner and Marcinko, their prime suspect is screenwriter wannabe Marvin Waller. He is becoming increasingly frustrated by his lack of success and the cops think he might be channeling his anger into murder?but he doesn?t seem to be at all concerned that they are hot on his trail. As Turner and Marcinko close in on Waller they have to wonder: is he the killer? And if he isn?t?who is?

Fusing shifting viewpoints with a growing sense of dread and almost unbearable suspense, the UK?s thriller master Stephen Leather arrives on the shores of the United States with The Basement, his most terrifying work to date.

Kurzbeschreibung

Kurzbeschreibung

Smart, socially gifted, and chronically impatient, Adam and Cynthia Morey are so perfect for each other that united they become a kind of fortress against the world. In their hurry to start a new life, they marry young and have two children before Cynthia reaches the age of twenty-five. Adam is a rising star in the world of private equity and becomes his boss's protégé. With a beautiful home in the upper-class precincts of Manhattan, gorgeous children, and plenty of money, they are, by any reasonable standard, successful.But the Moreys' standard is not the same as other people's. The future in which they have always believed for themselves and their children - a life of almost boundless privilege, in which any desire can be acted upon and any ambition made real - is still out there, but it is not arriving fast enough to suit them. As Cynthia, at home with the kids day after identical day, begins to drift, Adam is confronted with a decision that tests how much he is willing to risk to ensure his family's happiness and to recapture the sense that, for him and his wife, the only acceptable life is oneof infinite possibility.The Privileges is an odyssey of a couple touched by fortune, changed by time, and guided above all else by their epic love for each other. Lyrical, provocative, and brilliantly imagined, it is a timely meditation on wealth, family, and what it means to leave the world richer than you found it.

Kurzbeschreibung

Amazon.com

"It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife."

Next to the exhortation at the beginning of Moby-Dick, "Call me Ishmael," the first sentence of Jane Austen's Pride and Prejudice must be among the most quoted in literature. And certainly what Melville did for whaling Austen does for marriage--tracing the intricacies (not to mention the economics) of 19th-century British mating rituals with a sure hand and an unblinking eye. As usual, Austen trains her sights on a country village and a few families--in this case, the Bennets, the Philips, and the Lucases. Into their midst comes Mr. Bingley, a single man of good fortune, and his friend, Mr. Darcy, who is even richer. Mrs. Bennet, who married above her station, sees their arrival as an opportunity to marry off at least one of her five daughters. Bingley is complaisant and easily charmed by the eldest Bennet girl, Jane; Darcy, however, is harder to please. Put off by Mrs. Bennet's vulgarity and the untoward behavior of the three younger daughters, he is unable to see the true worth of the older girls, Jane and Elizabeth. His excessive pride offends Lizzy, who is more than willing to believe the worst that other people have to say of him; when George Wickham, a soldier stationed in the village, does indeed have a discreditable tale to tell, his words fall on fertile ground.

Having set up the central misunderstanding of the novel, Austen then brings in her cast of fascinating secondary characters: Mr. Collins, the sycophantic clergyman who aspires to Lizzy's hand but settles for her best friend, Charlotte, instead; Lady Catherine de Bourgh, Mr. Darcy's insufferably snobbish aunt; and the Gardiners, Jane and Elizabeth's low-born but noble-hearted aunt and uncle. Some of Austen's best comedy comes from mixing and matching these representatives of different classes and economic strata, demonstrating the hypocrisy at the heart of so many social interactions. And though the novel is rife with romantic misunderstandings, rejected proposals, disastrous elopements, and a requisite happy ending for those who deserve one, Austen never gets so carried away with the romance that she loses sight of the hard economic realities of 19th-century matrimonial maneuvering. Good marriages for penniless girls such as the Bennets are hard to come by, and even Lizzy, who comes to sincerely value Mr. Darcy, remarks when asked when she first began to love him: "It has been coming on so gradually, that I hardly know when it began. But I believe I must date it from my first seeing his beautiful grounds at Pemberley." She may be joking, but there's more than a little truth to her sentiment, as well. Jane Austen considered Elizabeth Bennet "as delightful a creature as ever appeared in print". Readers of Pride and Prejudice would be hard-pressed to disagree. --Alix Wilber

Kurzbeschreibung

Kurzbeschreibung

Kurzbeschreibung

Amazon.co.uk

Source of legend and lyric, reference and conjecture, Alice's Adventures in Wonderland is, for most children, pure pleasure in prose. While adults try to decipher Lewis Carroll's putative use of complex mathematical codes in the text, or debate his alleged use of opium, young readers simply dive with Alice through the rabbit hole, pursuing "The dream-child moving through a land / Of wonders wild and new". There they encounter the White Rabbit, the Queen of Hearts, the Mock Turtle and the Mad Hatter, together with a multitude of other characters--extinct, fantastical and commonplace creatures. Alice journeys through this Wonderland, trying to fathom the meaning of her strange experiences. But they turn out to be "curiouser and curiouser", seemingly without moral or sense.

For more than 130 years, children have revelled in the delightfully non-moralistic, non-educational virtues of this classic. In fact, at every turn Alice's new companions scoff at her traditional education. The Mock Turtle, for example, remarks that he took the "regular course" in school: Reeling, Writhing and branches of Arithmetic--Ambition, Distraction, Uglification and Derision. Carroll believed John Tenniel's illustrations were as important as his text. Naturally, Carroll's instincts were good; the masterful drawings, reproduced here, are inextricably tied to the well-loved story. (All ages)

Amazon.com

Source of legend and lyric, reference and conjecture, Alice's Adventures in Wonderland is for most children pure pleasure in prose. While adults try to decipher Lewis Carroll's putative use of complex mathematical codes in the text, or debate his alleged use of opium, young readers simply dive with Alice through the rabbit hole, pursuing "The dream-child moving through a land / Of wonders wild and new." There they encounter the White Rabbit, the Queen of Hearts, the Mock Turtle, and the Mad Hatter, among a multitude of other characters--extinct, fantastical, and commonplace creatures. Alice journeys through this Wonderland, trying to fathom the meaning of her strange experiences. But they turn out to be "curiouser and curiouser," seemingly without moral or sense.

For more than 130 years, children have reveled in the delightfully non-moralistic, non-educational virtues of this classic. In fact, at every turn, Alice's new companions scoff at her traditional education. The Mock Turtle, for example, remarks that he took the "regular course" in school: Reeling, Writhing, and branches of Arithmetic-Ambition, Distraction, Uglification, and Derision. Carroll believed John Tenniel's illustrations were as important as his text. Naturally, Carroll's instincts were good; the masterful drawings are inextricably tied to the well-loved story. (All ages) --Emilie Coulter

Kurzbeschreibung

From Amazon.co.uk

A lush, cautionary tale of a life of vileness and deception or a loving portrait of the aesthetic impulse run rampant? Why not both? After Basil Hallward paints a beautiful, young man's portrait, his subject's frivolous wish that the picture change and he remain the same comes true. Dorian Gray's picture grows aged and corrupt while he continues to appear fresh and innocent. After he kills a young woman, "as surely as if I had cut her little throat with a knife", Dorian Gray is surprised to find no difference in his vision or surroundings. "The roses are not less lovely for all that. The birds sing just as happily in my garden."

As Hallward tries to make sense of his creation, his epigram-happy friend Lord Henry Wotton encourages Dorian in his sensual quest with any number of Wildean paradoxes, including the delightful "When we are happy we are always good, but when we are good we are not always happy." But despite its many languorous pleasures, The Picture of Dorian Gray is an imperfect work. Compared to the two (voyeuristic) older men, Dorian is a bore, and his search for ever new sensations far less fun than the novel's drawing-room discussions. Even more oddly, the moral message of the novel contradicts many of Wilde's supposed aims, not least "no artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style." Nonetheless, the glamour boy gets his just deserts. And Wilde, defending Dorian Gray, had it both ways: "All excess, as well as all renunciation, brings its own punishment."

Amazon.co.uk

A lush, cautionary tale of a life of vileness and deception or a loving portrait of the aesthetic impulse run rampant? Why not both? After Basil Hallward paints a beautiful, young man's portrait, his subject's frivolous wish that the picture change and he remain the same comes true. Dorian Gray's picture grows aged and corrupt while he continues to appear fresh and innocent. After he kills a young woman, "as surely as if I had cut her little throat with a knife", Dorian Gray is surprised to find no difference in his vision or surroundings. "The roses are not less lovely for all that. The birds sing just as happily in my garden."

As Hallward tries to make sense of his creation, his epigram-happy friend Lord Henry Wotton encourages Dorian in his sensual quest with any number of Wildean paradoxes, including the delightful "When we are happy we are always good, but when we are good we are not always happy." But despite its many languorous pleasures, The Picture of Dorian Gray is an imperfect work. Compared to the two (voyeuristic) older men, Dorian is a bore, and his search for ever new sensations far less fun than the novel's drawing-room discussions. Even more oddly, the moral message of the novel contradicts many of Wilde's supposed aims, not least "no artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style." Nonetheless, the glamour boy gets his just deserts. And Wilde, defending Dorian Gray, had it both ways: "All excess, as well as all renunciation, brings its own punishment."

Amazon.com

A lush, cautionary tale of a life of vileness and deception or a loving portrait of the aesthetic impulse run rampant? Why not both? After Basil Hallward paints a beautiful, young man's portrait, his subject's frivolous wish that the picture change and he remain the same comes true. Dorian Gray's picture grows aged and corrupt while he continues to appear fresh and innocent. After he kills a young woman, "as surely as if I had cut her little throat with a knife," Dorian Gray is surprised to find no difference in his vision or surroundings. "The roses are not less lovely for all that. The birds sing just as happily in my garden."

As Hallward tries to make sense of his creation, his epigram-happy friend Lord Henry Wotton encourages Dorian in his sensual quest with any number of Wildean paradoxes, including the delightful "When we are happy we are always good, but when we are good we are not always happy." But despite its many languorous pleasures, The Picture of Dorian Gray is an imperfect work. Compared to the two (voyeuristic) older men, Dorian is a bore, and his search for ever new sensations far less fun than the novel's drawing-room discussions. Even more oddly, the moral message of the novel contradicts many of Wilde's supposed aims, not least "no artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style." Nonetheless, the glamour boy gets his just deserts. And Wilde, defending Dorian Gray, had it both ways: "All excess, as well as all renunciation, brings its own punishment."