Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Àííîòàöèÿ: "Óïðàæíåíèÿ" - ýìîöèîíàëüíàÿ ïñèõîëîãè÷åñêàÿ äðàìà äëÿ íåñïåøíîãî ÷òåíèÿ ñ ýëåìåíòàìè áèîãðàôèè ñàìîãî àâòîðà, ñòðóêòóðíî íàïîìèíàþùàÿ ðàññûïàííûå êóñî÷êè ìîçàèêè.  ñåðåäèíå ÕÕ âåêà, êîãäà ìèð åùå ïîäñ÷èòûâàåò öåíó Âòîðîé ìèðîâîé, æèçíü îäèííàäöàòèëåòíåãî Ðîëàíäà Áåéíñà ïåðåâîðà÷èâàåòñÿ ñ íîã íà ãîëîâó. Îòåö-âîåííûé óâîçèò åãî èç Ëèâèè è îïðåäåëÿåò â àíãëèéñêóþ øêîëó-èíòåðíàò, ãäå åãî óÿçâèìîñòü ïðèâëåêàåò ìîëîäóþ ó÷èòåëüíèöó ôîðòåïèàí, Ìèðèàì Êîðíåëë. Èððàöèîíàëüíàÿ è òðàãè÷íàÿ ïåðâàÿ ëþáîâü êðàñíîé íèòüþ ïðîéäåò ÷åðåç âñþ æèçíü ìàëü÷èêà. Ìíîãî ïîçæå, êîãäà æåíà Ðîëàíäà èñ÷åçíåò, îñòàâèâ åãî îäíîãî ñ ìàëåíüêèì ñûíîì, îí áóäåò èñêàòü îòâåòû è â ñâîåé þíîñòè, è â èñòîðèè ñâîåé ñåìüè. Èýí Ìàêüþýí îïèñûâàåò õðîíèêó ïîâîðîòíûõ ñîáûòèé â èñòîðèè Åâðîïû ñ XX äî XXI âåêà ÷åðåç ïðèçìó æèçíè Ðîëàíäà, õàðàêòåðíîãî ïðåäñòàâèòåëÿ ñâîåãî ïîêîëåíèÿ.

Àííîòàöèÿ: When the world is still counting the cost of the Second World War and the Iron Curtain has descended, young Roland Baines's life is turned upside down. Stranded at boarding school, his vulnerability attracts his piano teacher, Miriam Cornell, leaving scars as well as a memory of love that will never fade. Twenty-five years later Roland`s wife mysteriously vanishes, and he is left alone with their baby son. Her disappearance sparks of journey of discovery that will continue for decades, as Roland confronts the reality of his rootless existence and attempts to embrace the uncertainty - and freedom - of his future

Àííîòàöèÿ: "Òåì óòðîì Äæèì Ñàìñ — íå ãåíèé, íî ñ óñàìè — ïðîñíóëñÿ ïîñëå íåëåãêîãî ñíà è îáíàðóæèë, ÷òî ïðåâðàòèëñÿ â ãèãàíòñêîå ñóùåñòâî".  ïðîøëîé æèçíè îí áûë ïðåçèðàåì ìíîãèìè, íî â ñâîåì íîâîì âîïëîùåíèè îí ñàìûé ìîãóùåñòâåííûé ÷åëîâåê â Áðèòàíèè. Îí ïðèáûë, ÷òîáû èñïîëíèòü âàæíåéøóþ ìèññèþ, è íè÷òî íå ñìîæåò åãî îñòàíîâèòü — íè îïïîçèöèÿ, íè ÷ëåíû åãî ñîáñòâåííîé ïàðòèè, íè äàæå ïðèíöèïû äåìîêðàòèè. Óìíî, îñòðî, ñàòèðè÷åñêè: âñïîìèíàÿ îäíî èç ñàìûõ èçâåñòíûõ ïðîèçâåäåíèé Êàôêè — "Ïðåâðàùåíèå", Ìàêüþýí ðàññêàçûâàåò î ñîâðåìåííîñòè, êîòîðàÿ êàæåòñÿ ñëèøêîì áåçóìíîé, ÷òîáû áûòü ïðàâäîé

Àííîòàöèÿ: Trudy has betrayed her husband, John. She's still in the marital home a dilapidated, priceless London townhouse — but not with John. Instead, she's with his brother, the profoundly banal Claude, and the two of them have a plan. But there is a witness to their plot: the inquisitive, nine-month-old resident of Trudy's womb.

Àííîòàöèÿ: Èýí Ìàêüþýí - îäèí èç "ïðàâÿùåãî òðèóìâèðàòà" ñîâðåìåííîé áðèòàíñêîé ïðîçû (íàðÿäó ñ Äæóëèàíîì Áàðíñîì è Ìàðòèíîì Ýìèñîì), ëàóðåàò Áóêåðîâñêîé ïðåìèè çà ðîìàí "Àìñòåðäàì". "Íåâûíîñèìàÿ ëþáîâü" - ýòî èñòîðèÿ îäåðæèìîñòè, ðóêîâîäñòâî äëÿ âûæèâàíèÿ ëþäåé, â óþòíóþ æèçíü êîòîðûõ âòîðãëàñü îïàñíàÿ, èððåàëüíàÿ ìàíèÿ. Ñòàâ ñâèäåòåëåì, à â íåêîòîðîì ñìûñëå è ñîó÷àñòíèêîì íåñ÷àñòíîãî ñëó÷àÿ ïðè çàïóñêå âîçäóøíîãî øàðà, ãåðîé ðîìàíà ïûòàåòñÿ ñîâëàäàòü ñ ÷óæîé ëþáîâüþ - áåçîòâåòíîé, áåçîñíîâàòåëüíîé è áåñïðåäåëüíîé. Êàê óäåðæàòü ïîä êîíòðîëåì îñòàòêè ñîáñòâåííîãî ðàññóäêà, åñëè â ñõâàòêå çà òâîþ äóøó ñîøëèñü òåìíûå äåìîíû áåçóìèÿ è òÿãà ê íåäîñòèæèìîìó áîæåñòâó?

Àííîòàöèÿ: The year is 1962. Florence, the daughter of a successful businessman and an aloof Oxford academic, is a talented violinist. She dreams of a career on the concert stage and of the perfect life she will create with Edward, the earnest young history student she met by chance and who unexpectedly wooed her and won her heart. Edward grew up in the country on the outskirts of Oxford where his father, the headmaster of the local school, struggled to keep the household together and his mother, brain-damaged from an accident, drifted in a world of her own. Edward—s native intelligence, coupled with a longing to experience the excitement and intellectual fervour of the city, had taken him to University College in London. Falling in love with the accomplished, shy and sensitive Florence — and having his affections returned with equal intensity — has utterly changed his life.

Àííîòàöèÿ: On the hottest day of the summer of 1934, thirteen-year-old Briony Tallis sees her sister Cecilia strip off her clothes and plunge into the fountain in the garden of their country house. Watching her is Robbie Turner, her childhood friend who, like Cecilia, has recently come down from Cambridge. By the end of that day, the lives of all three will have been changed for ever. Robbie and Cecilia will have crossed a boundary they had not even imagined at its start, and will have become victims of the younger girl's imagination. Briony will have witnessed mysteries, and committed a crime for which she will spend the rest of her life trying to atone.

Àííîòàöèÿ: The short story has become one of the major forms of modern literary expression - in some ways the most modern of them all'. The story of the British short story since the Second World War is one of change and revolution and this powerful and moving collection brilliantly demonstrates the evolution of the form. Containing thirty-four of the most widely regarded postwar British writers, it features tales of love and crime, comedy and the supernatural, the traditional as well as the experimental. This many-storied, many-splendored collection is a brilliant portrait of the generation of writers who have immediately influenced the brightest, sharpest and most intriguing writers who continue to emerge today

Àííîòàöèÿ: Ó äåòñêîãî ïèñàòåëÿ Ñòèâåíà Ëüþèñà ïðÿìî èç ñóïåðìàðêåòà íåîæèäàííî è íåîáúÿñíèìî èñ÷åçàåò òðåõëåòíÿÿ äî÷ü. Ýòà ïîòåðÿ ïåðåâîðà÷èâàåò âñþ æèçíü Ñòèâåíà, íàãëÿäíî äåìîíñòðèðóåò åìó, ÷òî äî÷ü áûëà åäèíñòâåííûì ñìûñëîì åãî æèçíè. Ëè÷íàÿ äðàìà Ñòèâåíà ðàçâîðà÷èâàåòñÿ íà ôîíå íåïðåêðàùàþùåãîñÿ òå÷åíèÿ âðåìåíè, çàòåÿâøåãî ñòðàííóþ áîðüáó ñ ãëàâíûì ãåðîåì. Ëèøü ïîñòåïåííî Ñòèâåí ïîíèìàåò, ÷òî íå ÷åëîâåê âëàäååò ñâîèì âðåìåíåì, íî âðåìÿ âëàñòâóåò íàä ëþäüìè - âðåìÿ çà÷àòèÿ è âðåìÿ ðîæäåíèÿ, âðåìÿ ðîñòà è âðåìÿ âîçìóæàíèÿ, ñëîâîì - âðåìÿ êàê çàãàäî÷íàÿ, íå ïåðñîíèôèöèðîâàííàÿ è âñåìîãóùàÿ ñèëà, êîòîðóþ íåâîçìîæíî ïðîâåñòè, íî êîòîðóþ ìîæíî ïîïûòàòüñÿ ïðåîäîëåòü, ëèøü ïðåîäîëåâ ñåáÿ.

Àííîòàöèÿ: Call them transcripts of dreams or deadly accurate maps of the tremor zones of the psyche, the seven stories in this collection engage and implicate us in the most fearful ways imaginable. A two-timing pornographer becomes an unwilling object in the fantasies of one of his victims. A jaded millionaire buys himself the perfect mistress and plunges into a hell of jealousy and despair.

Àííîòàöèÿ: Misfits, freaks, perverts and outcasts populate the grisly world and strange, macabre tales of obsession, sex and death in Ian McEwan s short stories.

Àííîòàöèÿ: On the hottest day of the summer of 1935, thirteen-year-old Briony Tallis sees her older sister Cecilia strip off her clothes and plunge into the fountain in the garden of their country house. Watching Cecilia is their housekeeper's son Robbie Turner, a childhood friend who, along with Briony's sister, has recently graduated from Cambridge. By the end of that day the lives of all three will have been changed forever. Robbie and Cecilia will have crossed a boundary they had never before dared to approach and will have become victims of the younger girl's scheming imagination. And Briony will have committed a dreadful crime, the guilt for which will color her entire life. In each of his novels Ian McEwan has brilliantly drawn his reader into the intimate lives and situations of his characters. But never before has he worked with so large a canvas: In Atonement he takes the reader from a manor house in England in 1935 to the retreat from Dunkirk in 1941; from the London's World War IImilitary hospitals to a reunion of the Tallis clan in 1999. Atonement is Ian McEwan's finest achievement. Brilliant and utterly enthralling in its depiction of childhood, love and war, England and class, the novel is at its center a profound - and profoundly moving - exploration of shame and forgiveness and the difficulty of absolution.