Smart and precocious, endearing but uncompromising, she fights against ingrained chauvinism to find her place in a world run by lesser men.When Olga falls in love with her neighbor, Herbert, the son of a local aristocrat, her life is irremediably changed. While Herbert indulges his thirst for exploration and adventure, Olga is limited by her gender and circumstance. Her love for Herbert goes against all odds and encounters many obstacles, but even when they are separated, it endures.Unfolding across decades—from the late nineteenth to the early twenty-first century—and across continents—from Germany to Africa and the Arctic, from the Baltic Sea to the German south-west—Olga is an epic romance, and a wrenching tale of a woman’s devotion to a restless man in an age of constant change. Though Olga exists in the shadows of others, she pursues life to the fullest and her magnetic presence shines—revealing a woman complex, fascinating, and unforgettable. Told in three distinct parts, brilliantly shifting from different points of view and narrative formats, Bernhard Schlink’s magnificent novel is a rich, full portrait of a singular woman and her world.Translated from the German by Charlotte Collins

    The men blow the glass, and the women decorate and pack it. But when Joost Steinmann passes away unexpectedly one September night, his three daughters must learn to fend for themselves. While feisty Johanna takes a practical approach to looking for work, Ruth follows her heart, aiming to catch the eye of a handsome young villager. But it is dreamy, quiet Marie who has always been the most captivated by the magic—and sparkling possibilities—of the craft of glassblowing. As the spirited sisters work together to forge a brighter future for themselves on their own terms, they learn not only how to thrive in a man’s world, but how to remain true to themselves—and their hearts—in the process.

    He now shares them in this jewel of a book.

    

    This volume collects many of his most famous short works and is a fitting compendium of his literary achievements for newcomers or longtime Hawthorne fans alike.

    The latter, originally a commission for BBC Radio, rendered the classical tale with all the flare, wit and engagement that we have come to expect from this most distinctive of contemporary authors, and in so doing brought Odysseus's return from the Trojan War memorably to life.

    Another year, and he'll be out of the department completely. That's the plan, at least, until his niece's body is found in the guest home of one of his city's most wealthy citizens. The coroner calls it an overdose, but the case doesn't add up. Against orders, Ash begins a danger-filled investigation to find his niece's murderer, but the longer he searches, the more entangled he becomes in a case that hits increasingly close to home. If he doesn't solve it fast, his niece won't be the only family member he has to bury.

    On this, Bierce creates the most surprising story of his career. With dramatic force, the situation is established. The man's nature and mission are quickly revealed in a moving encounter with his wife and two daughters. Then in one of the most exciting short scenes in literature, the audience is taken into the mind of the man at the moment of his execution.

    Boxed set collecting Poetry For The Beat Generation (1959), Blues and Haikus (1959), and Readings By Jack Kerouac On The Beat Generation (1960), remastered with bonus tracks.

    Washing up on these plagued shores is Ghisla, an orphaned stowaway nursed back to health by a blind cave dweller. Named for a mysterious god, the boy, Hod, is surrounded by prophecy. To Ghisla, he’s a cherished new friend. To Hod, the girl is even more so. For when Ghisla sings, Hod can see.Unable to offer safe shelter, Hod urges Ghisla onward to become a daughter of the temple, where all the kingdom’s girl children have been gathered. But because of a magical rune, the two cannot be separated, no matter the time or the distance.Now, subject to a ruthless king, Ghisla enters a desperate world of warring clan chieftains and catastrophic power struggles. Who among them can be trusted is unknowable. So are the sacrifices Ghisla and Hod must make to defeat the cursed forces that could destroy a kingdom and the fated bond between two souls.

    And why wouldn't they? Valedictorian of her class and a Texas beauty queen, she's well on her way to Princeton after kissing everyone goodbye at graduation.Until the day she cracks wide open in front of the entire school.Leo Tate is a tattooed bad boy who's sworn to never fall in love, especially with a high school girl.But she keeps showing up at his gym, wearing short skirts and tempting him with her list of bad things.He wants to resist her, but with one touch of her lips, forbidden love has never tasted so sweet.Welcome to Briarwood Academy . . . where sometimes, the best things in life are Very Bad Things.*Mature Content**Author’s note: Each book in the BW series is written as a stand-alone love story following a new couple, but you’ll enjoy reading the other titles and seeing familiar faces return.1: VERY BAD THINGS (Nora and Leo)2: VERY WICKED THINGS (Dovey and Cuba)3. VERY TWISTED THINGS (Violet and Sebastian)

    Fans of dark fairy-tales like The Hazel Wood and The Cruel Prince will relish this atmospheric and absorbing book based on Guillermo del Toro’s critically acclaimed movie.Oscar winning writer-director Guillermo del Toro and New York Times bestselling author Cornelia Funke have come together to transform del Toro’s hit movie Pan’s Labyrinth into an epic and dark fantasy novel for readers of all ages, complete with haunting illustrations and enchanting short stories that flesh out the folklore of this fascinating world.This spellbinding tale takes readers to a sinister, magical, and war-torn world filled with richly drawn characters like trickster fauns, murderous soldiers, child-eating monsters, courageous rebels, and a long-lost princess hoping to be reunited with her family.A brilliant collaboration between masterful storytellers that’s not to be missed.

    It had its premiere at La Fenice in Venice in 1853 and has gone on to become one of the most performed and greatly loved of all operas. This guide contains articles about Verdi's preparations for the first performances, a musical commentary, an overview of the opera's social background, and an examination of how the libretto was adapted from Dumas's play. Also included are a survey of important performances and performers, 16 pages of illustrations, a musical thematic guide, the full libretto and English translation, a discography, bibliography, DVD, and website guides.

    In a critical preface, Bentley finds all four works to be a Gogolian treatment of love - or the lack of love - and by the same token, thoroughly original works of dramatic art. Also includes a piece on Gamblers by the eminent Polish critic Jan Kott.

    Consisting of a series of episodes in the story of the English outlaw Robin Hood and his band of Merry Men, the novel compiles traditional material into a coherent narrative in a colorful, invented "old English" idiom that preserves some flavor of the ballads, and adapts it for children. The novel is notable for taking the subject of Robin Hood, which had been increasingly popular through the 19th century, in a new direction that influenced later writers, artists, and filmmakers through the next century.[1]Pyle had been submitting illustrated poems and fairy tales to New York publications since 1876, and had met with success. The Merry Adventures of Robin Hood was the first novel he attempted. He took his material from Middle Age ballads and wove them into a cohesive story, altering them for coherence and the tastes of his child audience. For example, he included "Robin Hood and the Curtal Friar" in the narrative order to reintroduce Friar Tuck. He needed a cooperative priest for the wedding of outlaw Allan a Dale (Pyle's spelling of the original Alan-a-Dale) to his sweetheart Ellen. In the original "A Gest of Robyn Hode", the life is saved of an anonymous wrestler who had won a bout but was likely to be murdered because he was a stranger. Pyle adapted it and gave the wrestler the identity of David of Doncaster, one of Robin's band in the story "Robin Hood and the Golden Arrow." In his novelistic treatment of the tales, Pyle thus developed several characters who had been mentioned in only one ballad, such as David of Doncaster or Arthur a Bland. Pyle's book continued the 19th-century trend of portraying Robin Hood as a heroic outlaw who robs the rich to feed the poor; this portrayal contrasts with the Robin Hood of the ballads, where the protagonist is an out-and-out crook, whose crimes are motivated by personal gain rather than politics or a desire to help others.[1] For instance, he modified the ballad "Robin Hood's Progress to Nottingham", changing it from Robin killing fourteen foresters for not honoring a bet to Robin defending himself against a band of armed robbers. Pyle has Robin kill only one man, who shoots at him first. Tales are changed in which Robin steals all that an ambushed traveler carried, such as "Robin Hood and the Bishop of Hereford", so that the victim keeps a third and another third is dedicated to the poor. Pyle did not have much concern for historical accuracy, but he renamed the queen-consort in the story "Robin Hood and Queen Katherine" as Eleanor (of Aquitaine). This made her compatible historically with King Richard the Lion-Hearted, with whom Robin eventually makes peace. The novel was first published by Scribner's in 1883, and met with immediate success,[1] ushering in a new era of Robin Hood stories. It helped solidify the image of a heroic Robin Hood, which had begun in earlier works such as Walter Scott's 1819 novel Ivanhoe. In Pyle's wake, Robin Hood has become a staunch philanthropist protecting innocents against increasingly aggressive villains.[1] Along with the publication of the Child Ballads by Francis James Child, which included most of the surviving Robin Hood ballads, Pyle's novel helped increase the popularity of the Robin Hood legend in the United States. The Merry Adventures also had an effect on subsequent children's literature. It helped move the Robin Hood legend out of the realm of penny dreadfuls and into the realm of respected children's books.[2] After Pyle, Robin Hood became an increasingly popular subject for children's books: Louis Rhead's Bold Robin Hood and His Outlaw Band (1912) and Paul Creswick's Robin Hood (1917), illustrated by Pyle's pupil N. C.