Mikhail Sadovsky is a writer well-known in Russia for his short stories and poetry, for his plays,musicals and operas that have been performed on the Russian stage, radio and television (this hasfrequently meant periods of close artistic co-operation with prominent contemporary composers),and especially for the many books he has now written for two generations of Russian children.Because of the restrictions on freedom of expression during the Soviet period, many of his criticallyacclaimed works were not able to be published before the 1990s, including four major poetrycollections: Zavtrashnee solntse (Tomorrow's sun, 1992), Bobie Leie (1993), Doverie (Trust, 1998)and Unisony (Unisons, 2001). His stories and essays have appeared in many prominent literaryjournals and newspapers, including the celebrated Russian-language paper Novoe Russkoe Slovo inNew York. His first novel, Pod chasami (Under the clock) was published in January 2003. Mr.Sadovksy emigrated to America in 2000 and now lives with his wife in New Jersey. This collectionrepresents the first appearance of his work in English translation
From the unique perspective of the executive who discovered them, One Step Closer reveals how Brad Delson’s college internship was a catalyst for a group of young musical visionaries, led by Mike Shinoda, which gave rise to a band that survived countless rejections, exceeded everyone’s expectations but their own, and became the voice of a generation. This against-all-odds story chronicles the early days of Linkin Park, from their first demo and Whisky a Go Go performance as Xero, through their tireless efforts to perfect their iconic sound and the discovery of Chester Bennington. Jeff Blue was there when no one else believed—first as their publisher, then as their A&R guy. This is his memoir of that incredible journey. Riveting and inspiring, One Step Closer is a testament to perseverance, as well as a detailed behind-the-scenes account of the building of a dream and what it takes to make it.
The protagonist of these stories is the maddening, irascible and fascinating Professor George Edward Challenger. In these collected tales he faces adventures such as that high above the Amazon rain forest in "The Lost World" and the challenges of"The Land of Mist."
From Thunder Road: I don’t know why we stared at that dead pterodactyl chick so long—there wasn’t anything particularly striking or even gross about it; there were no flies, for example, no maggots—just a couple of butterflies, one white and the other burnt orange, which matched the fading sunlight. Maybe it was our nonstop ride all the way from Biggs Junction near the Washington border to Multnomah Falls, which was closer to Portland (I mean, it’s a lot of work, peddling a BMX bicycle some 70-plus miles, even across level terrain). Or maybe it was how paper-thin the creature’s exsanguinous, oyster-white skin was, how almost translucent, or the way its little talons weren’t really talons at all but little hands, like a baby’s hands. All I remember for certain is how contemplative everyone seemed to get while looking down at it—how funereal; even elegiac—like we were saying goodbye to one of our own. All I remember for certain is something akin to holding vigil for a fellow traveler; which, in a very real sense, we were. “For him, the war is over,” I whispered—although I doubt anyone heard me over the crash and roar of the falls. “I wonder where Mom is …” “Not here, that’s for sure,” said Quint. “There are no nests.” I followed his gaze into the treetops and beyond, to the waterfall itself, which dashed and cascaded down the cliffs. “Weird. I mean—where the hell could it have come from?” “Maybe it came from up there,” said Jesse. “From the very top. There’s—there’s a platform up there, a wooden observation deck. We came here on a field trip once and hiked up to it. Be a good place to build a nest—real stable. And defensible.” I looked from one end of the concrete bridge—“Benson Bridge,” the sign had called it—which was closed off with cyclone fencing, to the other. “Speaking of which, this bridge looks pretty defensible—don’t you think?” I peered off the way we had come. “Only one side to protect; we can take turns standing watch … I mean, it may not be the Ritz but—what do you say?” We looked around and then at each other. “Hell, I’m in,” said Quint. “We can even build a fire and maybe eat something—something hot, I mean. It’ll be just like—it’ll be just like Camp Courage!” I couldn’t help but to notice he’d stopped short of saying “home,” and a quick glance at Jesse confirmed he’d noticed it too; although whether he’d done so because his own home life had sucked or because he’d understood—in that moment—that, because of the Flashback, we’d never see home again, I don’t know. “Sure, why not,” said Jesse. “We can heat up that beef stew, the one we were saving for Portland. We’re close enough.” He shrugged off his pack and spear and laid down his bike. “And besides, it’ll lighten my load.” He dug out the can of Dinty Moore stew and paused, looking at it. “Seems … almost wasteful, though … doesn’t it? I mean … you’d like to think, you’d like to think nothing was born … just to lay there and rot, you know?” We all turned to look at the bird. “Yeah,” said Quint. “I mean, it’s like God laid it out there just for us, and here we are wanting to eat something from a can.” I got off my bike and reached for my pocketknife—touched its smooth, imitation-wood handle. “We’re going to have to learn how to hunt eventually, I suppose. I mean—” “I already know how to hunt,” said Quint. “And to clean and dress a—” “I know how to do that, too.” He held out his hand for my knife—which I gave over to him: slowly, reluctantly. “And since both you pussies missed man-school; I guess I’ll be the one to have to show you.” Jesse looked at me and then back to Quint. “Let me guess. Because—attributes.” “Because—attributes,” said Quint, and got off his bike.
Kenji Miyazawa (1896-1933) is one of Japan's most beloved writers and poets, known particularly for his sensitive and symbolist children's fiction. This volume collects stories that focus on Miyazawa's love of space and his use of the galaxy as a metaphor for the concepts of purity, self-sacrifice, and faith, which were near and dear to his heart. "The Nighthawk Star" follows a lowly bird as he struggles to transform himself into something greater, a constellation in the night sky; "Signal & Signal-less" depicts a pair of star-crossed train signals who dream of eloping to the moon; and "Night on the Galactic Railroad," Miyazawa's most famous work, tells the story of two boys as they journey upon a train that traverses the Milky Way, learning the true meaning of friendship, happiness, and life itself along the way.
"Love After Marriage; and Other Stories of the Heart" by Caroline Lee Hentz Hentz was an, at times, controversial figure in literature. Her campaigns for women's liberation were often seen to be against social norms, but are what made her an enduring writer to this day. This collection contains:Love After Marriage, The Victim Of Excitement, The Blind Girl's Story, The Parlour Serpent, The Shaker Girl, A Rainy Evening, Three Scenes In The Life Of A Belle, The Fatal Cosmetic, The Abyssinian Neophyte, The Village Anthem, The Bosom Serpent, My Grandmother's Bracelet, and The Mysterious Reticule.
Honoring his practice of tackling the taboo, esteemed author D.H Lawrence created a collection of evocative short fiction in The Prussian Officer and Other Stories. With themes of feminism and sexuality, The Prussian Officer and Other Stories examines varying levels and types of the abuse of power so common among men and government officials, especially in the 20th century. The Daughters of the Vicar depicts the aftermath of an unstable family as it follows Mary and Louisa, who are both sisters and best friends. Due to their father’s poor financial position and their parent’s loveless marriage, Mary and Louisa’s family is severely struggling. The women work as teachers to offer financial support, but when that proves to be too little, Mary is forced to marry a hideous an uncultured rich man. Miserable and dreading the rest of her life, Mary tries to warn Louisa from doing the same. Exploring similar topics, Second Best follows two sisters struggling with their identity and love life. Odour of Chrysanthemums depicts a later narrative of marriage than the aforementioned, as it portrays a woman’s emotional journey after being drained by her marriage. Separated into three parts, Odour of Chrysanthemums begins with the woman and her children waiting for her husband to return home, assuming he was at a pub. However, as the wait continues, they begin to suspect something more sinister may have occurred. Finally, the title story, The Prussian Officer stars a single military captain who feels that he has wasted his youth. In contrast, his orderly is young and in a happy relationship, making his captain jealous. Desiring his youth and feeling sexually attracted to the young man, the captain tries to ruin the orderly’s relationship and starts to abuse him, driving the young man to a dangerous decision. This collection of sentimental and compelling stories depicts sinister human truths and the depths of the despair societal expectations force upon people. With this careful and brutally honest portrayal, modern audiences are able to both observe the culture of 20th century England as well as consider dark human truths that are still prevalent today. This edition of The Prussian Officer and Other Stories by D.H Lawrence features a new, eye-catching cover design and is printed in a modern and easy-to-read font, crafting an accessible experience for contemporary readers.
