The moving, beautifully illustrated story of a little lost dog and his search for a place to call home. Poor Perdu is all alone as he journeys from the countryside to the city in search of a home. The city is a big place when you are very small, but is it possible that someone is looking out for Perdu? Perdu is the first picture book to be both written and illustrated by Richard Jones — the illustrator of the internationally bestselling The Snow Lion. This poignant gem, with an important message about kindness at its heart, deserves to become a modern classic. Other books from Richard Jones: The Snow Lion, written by Jim Helmore Paper Planes, written by Jim Helmore
Monsieur Perdu can prescribe the perfect book for a broken heart. But can he fix his own? Monsieur Perdu calls himself a literary apothecary. From his floating bookstore in a barge on the Seine, he prescribes novels for the hardships of life. Using his intuitive feel for the exact book a reader needs, Perdu mends broken hearts and souls. The only person he can't seem to heal through literature is himself; he's still haunted by heartbreak after his great love disappeared. She left him with only a letter, which he has never opened. After Perdu is finally tempted to read the letter, he hauls anchor and departs on a mission to the south of France, hoping to make peace with his loss and discover the end of the story. Joined by a bestselling but blocked author and a lovelorn Italian chef, Perdu travels along the country’s rivers, dispensing his wisdom and his books, showing that the literary world can take the human soul on a journey to heal itself. Internationally bestselling and filled with warmth and adventure, The Little Paris Bookshop is a love letter to books, meant for anyone who believes in the power of stories to shape people's lives.
L’urgentiste Kimberly Williams pensait qu'elle avait tout pour elle: une carrière en plein essor, un avenir prometteur et une relation passionnée avec le Docteur Stefan Armani. Jusqu’au jour où Stefan disparaît sans laisser de trace pour revenir seulement six mois plus tard, juste au moment où Kimberly commence à se remettre de son cœur brisé. Lorsque l'hôpital décide de les envoyer à un symposium médical à Londres, en Angleterre, les deux ex-amants doivent faire face à leur relation tendue. Il n'en faut pas beaucoup pour que leur ancienne flamme se rallume. Alors que tout semble aller pour le mieux, un tragique accident se produit et plonge Stefan dans un triangle amoureux inattendu. Leur amour pourra-t-il y survivre? Une aventure émouvante qui vous embarquera dans une montagne russe d'émotions fortes et de rebondissements surprenants, le tout au sein d'une histoire inspirée du ballet intemporel du Lac des cygnes.
This volume seeks to offer a new way of reading A la Recherche du Temps Perdu, using a fluid manner of interpretation which suggests process rather than product. This study contends that everything in Proust's work is threefold. The middle term is the common ground shared by the two terms of comparison that constitute a metaphor.
Evariste-Désiré de Parny, though largely forgotten now, was well known in the nineteenth century for his lyric poems, especially the Poésies Erotiques (1778-81), and the prose-poems in Chansons Madécasses (1787). He also wrote much humorous verse, including the anti-religious La Guerre des Dieux (1799) and Le Paradis perdu (1805). The latter is a parody of Milton's Paradise Lost in four relatively short cantos. It gives a central place to the War in Heaven, casting Satan as a revolutionary. It is highly entertaining in itself, and also an important example of parody as critical response to an original text.
For forty years, scholars have had access to a vast array of documents that reveal the stages by which a few modest episodes grew into the vast and complex structure the world reveres as Marcel Proust's unique novel, A la recherche du temps perdu. Although many soundings have been made in this corpus, which comprises manuscript pages, exercise books, typescripts, and publisher's proofs, Anthony Pugh's study is the first attempt to provide a comprehensive view of the story that the documents reveal, at least in the years before the outbreak of war in 1914. A crucial feature of the research is the rigorous establishment of the chronological sequence of the documents, a task complicated by Proust's habit of returning to sketches already written, amplifying them with extensive additions in the margins and on the facing pages, often reorganizing them, and finally reworking them in another form, sometimes physically intercalating pages of the first version into the new one. Anthony Pugh analyses with scrupulous care every document, facing all the multi-faceted problems they present, and showing why many solutions, some of them widely accepted by Proust scholars, have to be questioned. It emerges from this investigation that however unsystematic Proust was in his method of composing, there is an inner logic in the way he oscillates between writing new incidents and editing texts already extant. Now, for the first time, the whole story of the way in which A la recherche du temps perdu grew during the first six years of its gestation is told in full, both in its general thrust and in its fine details.
