Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Ôðåíêåëü Ë., Â äîìå íà õîëìå. õðàíèòå òàéíû ó âñåõ íà âèäó — 2022

Óîëøè ïåðååõàëè â Ñèýòòë ñ äðóãîãî êîíöà ñòðàíû, ÷òîáû íà÷àòü âñå çàíîâî. Î÷àðîâàòåëüíàÿ ñåìüÿ ñ ïÿòüþ äåòüìè òóò æå ïîäðóæèëàñü ñî âñåìè ñîñåäÿìè â îêðóãå. Íèêòî è ïîäóìàòü íå ìîã, ÷òî îíè óåõàëè èç ðîäíîãî ãîðîäà... èç-çà òðàâëè âñåé ñåìüè.  ýòîò ðàç ó íèõ âñå ñëîæèòñÿ. Îíè áóäóò îáû÷íûìè è ìèëûìè. Îñòîðîæíûìè. Îíè áóäóò äåðæàòüñÿ ñòîëüêî, ñêîëüêî ïîëó÷èòñÿ. Èëè ïîêà îäèí èç íèõ íå ñïðîñèò ñåáÿ: "Ãîòîâ ëè ÿ äàëüøå ïðèòâîðÿòüñÿ ðàäè âàñ?" È ñ ýòîãî ìîìåíòà âñå èçìåíèòñÿ íàâñåãäà..

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Ëîðè Õ., Òîðãîâåö ïóøêàìè. [ðîìàí] — 2016

Çíàìåíèòûé áðèòàíñêèé àêòåð Õüþ Ëîðè, âîîäóøåâèâøèñü ëèòåðàòóðíûìè óñïåõàìè ñâîåãî äðóãà è êîëëåãè Ñòèâåíà Ôðàÿ, íàïèñàë ïàðîäèéíûé áîåâèê. ëåãàíòíûé ñëîã, òîíêèå øóòêè, îáàÿòåëüíûå ãåðîè è äàëåêî íå áàíàëüíûå íàáëþäåíèÿ áûëè ïî äîñòîèíñòâó îöåíåíû êàê âçûñêàòåëüíûìè ÷èòàòåëÿìè, òàê è êðèòèêîé. Íè÷åãî óäèâèòåëüíîãî â ýòîì íåò — òàêîé êíèãîé, êàê «Òîðãîâåö ïóøêàìè», ìîã áû ãîðäèòüñÿ è ñàì Ï. Ã. Âóäõàóç.Òîìàñ Ëýíã — â ïðîøëîì øòàòíûé âîåííûé è ïðîôåññèîíàëüíûé áîðåö ñ òåððîðèçìîì. À ñåé÷àñ îí — áðîäÿãà è àâàíòþðèñò, êîòîðîìó íå÷åãî òåðÿòü, êðîìå ñâîåãî ñåðäöà, è íà êîòîðîãî ìîæåò ïîëîæèòüñÿ êòî óãîäíî, êðîìå íåãî ñàìîãî. Áåäà Òîìàñà â òîì, ÷òî îí íå ëþáèò óáèâàòü ëþäåé, äðóãàÿ åãî áåäà — ÷åñòíîñòü, à â ìèðå íàåìíûõ óáèéö è òîðãîâöåâ îðóæèåì ÷åñòíîñòü è ãóìàííîñòü íå â õîäó. Íî èìåííî â ýòîò ìèð çëîäåéêà-ñóäüáà çàáðàñûâàåò ãåðîÿ. Òîìàñó áû ïðîäàâàòü ñòåêëî-ïàêåòû, ãóáíóþ ïîìàäó èëè ïûëåñîñû. Ðàáîòà, êîíå÷íî, òîñêëèâàÿ, íî ïîíÿòíàÿ. Çâîíèøü â äâåðü è óëûáàåøüñÿ âî âåñü ðîò. Íî âñå èíà÷å, åñëè íóæíî âòþõàòü áîåâîé âåðòîëåò, ñïîñîáíûé ñäåëàòü ïÿòüñîò ìèëü â ÷àñ è òûñÿ÷ó òðóïîâ â ìèíóòó. À åñëè òû åùå õî÷åøü ïðè ýòîì âûæèòü, ñïàñòè ëþáèìóþ äåâóøêó è ÷åñòíî îòðàáîòàòü ãîíîðàð, òî çàäà÷à óñëîæíÿåòñÿ âî ñòî êðàò—

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Ëîðè Õ., Òîðãîâåö ïóøêàìè. [ðîìàí] — 2011 (Pocket book. ñîñòàâèòåëü À. Æèêàðåíöåâ)

Áåñïå÷íàÿ æèçíü áûâøåãî âîåííîãî îôèöåðà Òîìàñà Ëàíãà, ëþáèòåëÿ âèñêè è ìîòîöèêëîâ, â îäíî÷àñüå ïîëåòåëà â òàðòàðàðû, êîãäà íåêòî çàêàçàë åìó óáèéñòâî àìåðèêàíñêîãî áèçíåñìåíà Àëåêñàíäðà Âóëüôà. Ïîïûòêè ñïàñòè íàìå÷åííóþ æåðòâó ïðèâîäÿò Òîìàñà â ëàãåðü òåððîðèñòè÷åñêîé ãðóïïèðîâêè «Ìå÷ Ñïðàâåäëèâîñòè». È òîãäà óáèéñòâî ãîëëàíäñêîãî ïîëèòèêà è çàõâàò àìåðèêàíñêîãî ïîñîëüñòâà â Êàñàáëàíêå ïîêàæóòñÿ ãëàâíîìó ãåðîþ âñåãî ëèøü ìåëêèìè íåïðèÿòíîñòÿìè, èç êîòîðûõ åìó ïðèäåòñÿ âûïóòûâàòüñÿ, ÷òîáû äîáðàòüñÿ äî èñòîêîâ ìåæäóíàðîäíîãî çàãîâîðà òîðãîâöåâ îðóæèåì.  ñâîåì äåáþòíîì ðîìàíå «Òîðãîâåö ïóøêàìè» Õüþ Ëîðè ñ èñòèííî àíãëèéñêèìè îñòðîóìèåì è êîëêîñòüþ ïàðîäèðóåò ìíîãî÷èñëåííûå øïèîíñêèå äåòåêòèâû è áîåâèêè.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Blass L., Writers at Work. From Sentence to Paragraph. Teacher s Manual — 2010

The Teacher s Manual provides an introduction to the course. It contains teaching suggestions for each activity and a complete answer key.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Mankell H., A bridge to the stars — 2005

One of the world`s bestselling authors has written this moving story about a teenager`s life in Northern Sweden. Illustrated and translated by Laurie ThompsonÝòî îäíà èç ÷åòûðåõ êíèã ïðî ìàëü÷èêà Þýëÿ èçâåñòíîãî øâåäñêîãî ðîìàíèñòà è äðàìàòóðãà Õåííèíãà Ìàíêåëÿ.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Laurie H., The gun seller — 1997

Cold-blooded murder just isn't Thomas Lang's cup of tea. Offered a tidy sum to assassinate an American industrialist, he opts to warn the intended victim instead - a good deed that soon takes a bad turn. Quicker than he can down a shot of his favourite whiskey, Lang is bashing heads with a Buddha statue, matching wits with evil billionaires, and putting his life (among other things) in the hands of a bevy of femmes fatales. Up against rogue CIA agents, wanna-be terrorists, and an arms dealer looking to make a high-tech killing, Lang's out to save the leggy lady he has come to love...and prevent an international bloodbath to boot.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

The Christmas Reader — 1986

The wonderful anthology of verse and prose, short stories, reminiscences and diary entries, ranging from the traditional to the subversive, the whimsical to the sinister, the ironic to the tragic. Exquisitely illustrated with black and white drawings from many periods, The Christmas Reader is a perfect source-book for reading aloud to family and friends.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Lee L., Cider With Rosie — 1983

The England of Cider with Rosie is one 'of silence...of white roads, rutted by hooves and cartwheels, innocent of oil and petrol'. It is the rich, sensuous world of Lauree Lee's childhood and youth in a remote Cotswold village, a world that has mostly vanished. Described by H. E. Bates as 'a prose poem that flashes and winks like a prism', this loving and intimate record stands as both testament and elegy.

Ïîäðîáíàÿ èíôîðìàöèÿ

English Poetry. 1918-60 — 1983 (The Penguin Poets)

This collection now contains 175 poems by 86 poets and ranges chronologically from W.B.Yeats to Geoffrey Hill.The character of the anthology can be simply indicated.It is a representative collection of English verse written between 1918 and 1960.The present collection, which was first published under the title THE PENGUIN BOOK OF CONTEMPORARY VERSE in 1950 and has been frequently reprinted, has been widely acclaimed and remains one of the best known and most constantly used anthologies of modern poetry to have appeared

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Lee L., As I Walked Out One Midsummer Morning — 1981

It was 1934 and a young man walked to London from the security of the Cotswolds to make his fortune. He was to live by playing the violin and by labouring on a London building site. Then, knowing one Spanish phrase, he decided to see Spain. For a year he tramped through a country in which the signs of impending civil war were clearly visible. Thirty years later Laurie Lee captured the atmosphere of the Spain he saw with all the freshness and beauty of a young man's vision, creating a lyrical and lucid picture of the beautiful and violent country that was to involve him

Ïîäðîáíàÿ èíôîðìàöèÿ

Lee L., I Can t Stay Long — 1978

In it Laurie Lee has collected all of his occasional writing that he cares to preserve, and proves himself to be as much a magician in essay form as he is in his full-length prose works. Some of these pieces come from a world which is now well known and loved by almost everyone: that of the Gloucestershire childhood celebrated in Cider with Rosie. One is tragic and deeply moving, inspired by a visit to Aberfan a year after the disaster there. Many were brought home by Laurie Lee the traveller, from Holland, Tuscany, Mexico, Ireland, the West Indies, a film festival in Cannes. In all of them he displays the gifts that make him one of the best-loved writers now at work in Britain. This is a collection to buy in pairs - one for the bedside, and one to give to a friend.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

The Penguin Book of Contemporary Verse. 1918-60 — 1977

The present collection, which was first published in 1950 and has been reprinted seventeen times, has been widely acclaimed and remains one of the best known and most constantly used anthologies of modern poetry to have appeared.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Lee L., A Rose For Winter — 1977

Andalusia is a passion - and fifteen years after his last visit Laurie Lee returned.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Lee L., As I Walked Out One Midsummer Morning — 1976

It was 1934 and a young man walked to London from the security of the Cotswolds to make his fortune. He was to live by playing the violin and by labouring on a London building site. Then, knowing one Spanish phrase, he decided to see Spain. For a year he tramped through a country in which the signs of impending civil war were clearly visible. Thirty years later Laurie Lee captured the atmosphere of the Spain he saw with all the freshness and beauty of a young man's vision, creating a lyrical and lucid picture of the beautiful and violent country that was to involve him

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Rigler L.V., Rude Awakenings of a Jane Austen Addict. A novel — 2009

s there always another chance at happiness? Are we bound to our past, or do —we all have the power to create heaven on earth, right here, right now?— Important questions heroine Jane Mansfield must come to acknowledge and understand in Rude Awakenings of a Jane Austen Addict, Laurie Viera Rigler—s parallel story to her best selling novel, Confessions of a Jane Austen Addict.This time around, it is Jane Mansfield, a gentleman—s daughter, from 1813 who is transported into the body of twenty-first century Los Angelean Courtney Stone. Jane awakens with a headache, but it will take more than aromatic vinegar to solve her problems. Where is she? Her surroundings are wholly unfamiliar to the usual comforts of her parent—s palatial Manor house in Somerset. Is she dreaming? She remembers a tumble off her horse Belle, but nothing after that point. She looks in the mirror and the face reflected back is not her own. How can this be? A young man named Wes arrives who calls her Courtney. Is he a servant? Who is Courtney? Ladies arrive for a visit concerned by her odd behavior. Why is she acting like a character in a Jane Austen novel?

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Ëîðè Õ., Òîðãîâåö ïóøêàìè. [ðîìàí] — 2010 (The Best of Phantom)

Çíàìåíèòûé áðèòàíñêèé àêòåð Õüþ Ëîðè, âîîäóøåâèâøèñü ëèòåðàòóðíûìè óñïåõàìè ñâîåãî äðóãà è êîëëåãè Ñòèâåíà Ôðàÿ, íàïèñàë ïàðîäèéíûé áîåâèê. ëåãàíòíûé ñëîã, òîíêèå øóòêè, îáàÿòåëüíûå ãåðîè è äàëåêî íå áàíàëüíûå íàáëþäåíèÿ áûëè ïî äîñòîèíñòâó îöåíåíû êàê âçûñêàòåëüíûìè ÷èòàòåëÿìè, òàê è êðèòèêîé. Íè÷åãî óäèâèòåëüíîãî â ýòîì íåò — òàêîé êíèãîé, êàê «Òîðãîâåö ïóøêàìè», ìîã áû ãîðäèòüñÿ è ñàì Ï. Ã. Âóäõàóç.Òîìàñ Ëýíã — â ïðîøëîì øòàòíûé âîåííûé è ïðîôåññèîíàëüíûé áîðåö ñ òåððîðèçìîì. À ñåé÷àñ îí — áðîäÿãà è àâàíòþðèñò, êîòîðîìó íå÷åãî òåðÿòü, êðîìå ñâîåãî ñåðäöà, è íà êîòîðîãî ìîæåò ïîëîæèòüñÿ êòî óãîäíî, êðîìå íåãî ñàìîãî. Áåäà Òîìàñà â òîì, ÷òî îí íå ëþáèò óáèâàòü ëþäåé, äðóãàÿ åãî áåäà — ÷åñòíîñòü, à â ìèðå íàåìíûõ óáèéö è òîðãîâöåâ îðóæèåì ÷åñòíîñòü è ãóìàííîñòü íå â õîäó. Íî èìåííî â ýòîò ìèð çëîäåéêà-ñóäüáà çàáðàñûâàåò ãåðîÿ. Òîìàñó áû ïðîäàâàòü ñòåêëî-ïàêåòû, ãóáíóþ ïîìàäó èëè ïûëåñîñû. Ðàáîòà, êîíå÷íî, òîñêëèâàÿ, íî ïîíÿòíàÿ. Çâîíèøü â äâåðü è óëûáàåøüñÿ âî âåñü ðîò. Íî âñå èíà÷å, åñëè íóæíî âòþõàòü áîåâîé âåðòîëåò, ñïîñîáíûé ñäåëàòü ïÿòüñîò ìèëü â ÷àñ è òûñÿ÷ó òðóïîâ â ìèíóòó. À åñëè òû åùå õî÷åøü ïðè ýòîì âûæèòü, ñïàñòè ëþáèìóþ äåâóøêó è ÷åñòíî îòðàáîòàòü ãîíîðàð, òî çàäà÷à óñëîæíÿåòñÿ âî ñòî êðàò—

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Lee L., Cider With Rosie — 1982

The England of Cider with Rosie is one 'of silence...of white roads, rutted by hooves and cartwheels, innocent of oil and petrol'. It is the rich, sensuous world of Lauree Lee's childhood and youth in a remote Cotswold village, a world that has mostly vanished. Described by H. E. Bates as 'a prose poem that flashes and winks like a prism', this loving and intimate record stands as both testament and elegy.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Lee L., Cider With Rosie — 1973

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Stoff L. S., They Fought For the Motherland. Russia s Women Soldiers in World War I and the Revolution — 2006

University Press of Kansas. Modern War Studies. Women have participated in war throughout history, but their experience in Russia during the First World War was truly exceptional. Between the war s beginning and the October Revolution of 1917, approximately 6,000 women answered their country s call. These courageous women became media stars throughout Europe and America, but were brushed aside by Soviet chroniclers and until now have been largely neglected by history. Laurie Stoff draws on deep archival research into previously unplumbed material, including many first-person accounts, to examine the roots, motivations, and legacy of these women. She reveals that Russia was the only nation in World War I that systematically employed women in the military, marking the first time that a government run by men had organized women for combat. And although they were originally envisioned as propaganda--promoting patriotism and citizenship to inspire the thousands of males who had been deserting or refusing to fight - Russian women.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Colwin L., Shine on,Bright and Dangerous Object — 1984

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ