Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Àííîòàöèÿ: Èñòâèêñêèå âåäüìû (The Witches of Eastwick). Êíèãà äëÿ ÷òåíèÿ íà àíãëèéñêîì ÿçûêå. Óðîâåíü Â1.Æèçíü â Èñòâèêå ñêó÷íà è ðàçìåðåííà, íî íå çðÿ ãîâîðÿò, ÷òî â òèõîì îìóòå ÷åðòè âîäÿòñÿ. Çäåñü îáèòàþò íàñòîÿùèå âåäüìû. Ïðàâäà, îíè íå ëåòàþò â ñòóïå è íå ïðèíîñÿò æåðòâû â ïîëíîëóíèå, íàîáîðîò, çàíÿòû òåì æå, ÷åì è îáû÷íûå ãîðîæàíêè: èçî âñåõ ñèë ïûòàþòñÿ íàéòè ñâî¸ ñ÷àñòüå, íî íà äåëå èõ æèçíè íàïîëíÿþò èíòðèæêè, ñåìåéíûå ïðîáëåìû, çàáîòû î äåòÿõ, áîëåçíè— Ñïîêîéíûé áûò òð¸õ âåäüì è òèõóþ æèçíü âñåãî ãîðîäêà ðàçðóøàåò âíåçàïíîå ïîÿâëåíèå êðàñàâöà ìóæ÷èíû: áîãàòîãî, îáðàçîâàííîãî, ñ ïðåêðàñíûìè ìàíåðàìè. Ãåðîèíè íà÷èíàþò áîðüáó çà ñåðäöå òàèíñòâåííîãî ñîñåäà, è ïðîèñõîäÿùèå â ñâÿçè ñ ýòèì ñîáûòèÿ óáåæäàþò, ÷òî â ñõâàòêå çà ñâîþ ëþáîâü êàæäàÿ æåíùèíà - èñòèííàÿ âåäüìà.Òåêñò ñîêðàù¸í è àäàïòèðîâàí

Àííîòàöèÿ: "Terrorist" is the 22nd novel written by lauded author John Updike. The story centers on an American-born Islamist teenager named Ahmad Ashmawy Mulloy, although Ahmad—s high school guidance counselor, Jack Levy, also plays a central role. The novel seeks to explore the worldview and motivations of religious fundamentalists (specifically within Islam) while at the same time dissecting the morals and lifeways of residents of the decaying fictional New Jersey suburb of "New Prospect

Àííîòàöèÿ: This outstanding collection features short stories by great writers from America, the United Kingdom, Ireland, and Western Europe. Ranging from the 19th to the 20th centuries, writers include Poe, Chekhov, Joyce, Kafka, Faulkner, Pirandello, Mann, and other major writers of world literature. A wonderfully wide-ranging and enjoyable anthology.

Àííîòàöèÿ: John Updike is one of the most prolific and important American authors of the contemporary period, with an acclaimed body of work that spans half a century and a source of inspiration that ranges from American exceptionalism to American popular culture. This Companion's distinguished international team of contributors addresses the major themes in Updike's writing as well as the sources of controversy that it has often provoked. They trace the ways in which historical and cultural changes in the second half of the twentieth century have shaped not only Updike's reassessment of America's heritage, but his reassessment of the literary devices by which that legacy is best portrayed. Includes a chronology and bibliography of Updike's published writings.

Àííîòàöèÿ: Âíèìàíèþ ÷èòàòåëåé ïðåäëàãàåòñÿ ïîëíûé, íåàäàïòèðîâàííûé òåêñò äâàäöàòè èçáðàííûõ ðàññêàçîâ èçâåñòíûõ àìåðèêàíñêèõ ïèñàòåëåé. Èçäàíèå ðàññ÷èòàíî íà ëèö, âëàäåþùèõ îñíîâàìè àíãëèéñêîãî ÿçûêà è ñîâåðøåíñòâóþùèõ ñâîè íàâûêè â íåì.

Àííîòàöèÿ: ×àõëûé çàõîëóñòíûé ãîðîäîê, ÷àõëûå çàõîëóñòíûå ëþäèøêè, ñõîäÿùèå ñ óìà îò áåçäåëüÿ è ìíÿùèå ñåáÿ Áîã çíàþò êåì Ýòîò ðîìàí - èãðà: îí íà÷èíàåòñÿ ñ èãðû, è ïðîäîëæàåòñÿ êàê èãðà, âîò òîëüêî, êòî ðåøèò, ÷òî îñâîèë åå ïðàâèëà, æåñòîêî ïðîñ÷èòàëñÿ

Àííîòàöèÿ: What does it feel like to be a child? Learning how to negotiate with the unpredictable adult world, learning how to pick a path through life's traps and hazards, learning when the time has come to put away childish things. The writers of these short stories show us the world as seen from the far side of the child-adult divide, a gap that is sometimes small, and sometimes an unbridgeable chasm. This collection contains stories by John Updike, Graham Greene, William Boyd, Susan Hill, D. H. Lawrence, Saki, Penelope Lively, Bernard MacLaverty, Frank Tuohy and Morley Callaghan.

Àííîòàöèÿ:  íàñòîÿùåå èçäàíèå âêëþ÷åíû ïîâåñòè - «êîðîòêèå ðîìàíû» - ÷åòûðåõ àìåðèêàíñêèõ ïèñàòåëåé, âèäíûõ ïðåäñòàâèòåëåé ëèòåðàòóðû ÑØÀ ñåðåäèíû XX ñòîëåòèÿ: «Î ìûøàõ è ëþäÿõ» Äæ. Ñòåéíáåêà, «Ïèñòîëåò» Äæ.Äæîíñà, «Äîëãàÿ è ñ÷àñòëèâàÿ æèçíü» Ð.Ïðàéñà è «Ôåðìà» Äæ.Àïäàéêà. Ïðè âñåõ ðàçëè÷èÿõ â ñòèëèñòèêå è îáùèõ òâîð÷åñêèõ óñòàíîâêàõ, âñåõ èõ ñáëèæàåò ñòðåìëåíèå «äîéòè äî ñóòè» ÿâëåíèé ñîöèàëüíîé æèçíè Àìåðèêè.

Àííîòàöèÿ: Writing in the foreword to this collection of criticism, taken from eight years of reviewing, John Updike perhaps underestimates his powers as a literary critic. Hug the shore he may - but what a shoreline this is!

Àííîòàöèÿ: Êíèãà çíàêîìèò ñ òâîð÷åñòâîì èçâåñòíûõ ñîâðåìåííûõ ïèñàòåëåé, êîòîðûå, ïðîäîëæàÿ ðåàëèñòè÷åñêèå òðàäèöèè ëèòåðàòóðû ÑØÀ, îáðàùàþòñÿ ê ïðîáëåìàì ïîâñåäíåâíîé æèçíè ðÿäîâûõ àìåðèêàíöåâ. Èñïîëüçóÿ ðàçíóþ ôîðìó - ôèëîñîôñêîå ïîâåñòâîâàíèå («Êåíòàâð» Äæ. Àïäàéêà) è ñîöèàëüíî-ïñèõîëîãè÷åñêèé ðîìàí («Ñàä ðàäîñòåé çåìíûõ» Äæ. Ê. Îóòñ), - îáà ïðîçàèêà ïîêàçûâàþò ãëóáèíó äóõîâíîãî è íðàâñòâåííîãî êðèçèñà, ïîñòèãøåãî Àìåðèêó â ïîñëåäíèå äåñÿòèëåòèÿ

Àííîòàöèÿ:  ñáîðíèê âîøëè íàèáîëåå èçâåñòíûå îáðàçöû øèðîêî ðàñïðîñòðàíåííîãî â àíãëî-àìåðèêàíñêîé ëèòåðàòóðíîé òðàäèöèè æàíðà ïàðîäèè. ×èòàòåëü ïîçíàêîìèòñÿ êàê ñ ïàðîäèÿìè íà òâîð÷åñòâî èçâåñòíûõ ïèñàòåëåé- Äèêêåíñà, Êóïåðà, Ëîíãôåëëî, Ãîëñóîðñè è äð., òàê è ñ ïàðîäèÿìè íà îòäåëüíûå ëèòåðàòóðíûå æàíðû - äåòåêòèâ, ñåíòèìåíòàëüíûé ðîìàí, ëèòåðàòóðîâåä÷åñêóþ ñòàòüþ è ïð. Ñáîðíèê ñîïðîâîæäàåòñÿ âñòóïèòåëüíîé ñòàòüåé è êîììåíòàðèÿìè.

Àííîòàöèÿ: A brilliant,far-reaching collection of stories from Washington Irving to John Updike

Àííîòàöèÿ: One of our finest novelists now gives us his most dazzling creation -- his own life. In six eloquent and compelling chapters, the author of The Witches of Eastwick and the wonderful Rabbit trilogy gives us an incitingly honest look at the makings of an American writer -- and of an American man.

Àííîòàöèÿ: 'There, in Russia five years ago, when Cuba had been taken out of the oven to cool and Vietnam was still coming to a simmer, Bech did find a quality of life — impoverished yet ceremonial, shabby yet ornate, sentimental, embattled, and avuncular-reminiscent of his neglected Jewish past.' In these two short stories, Updike's brilliant observational acuity is matched by a light, comic touch. The writer Henry Bech travels to Europe on a hapless cultural exchange, first to Russia, where he struggles to spend his money when everything — from his meals to his bugged hotel room — is already paid for, and then to Rumania. This book includes "Rich In Russia", Foreword, Bech in Rumania, Appendix A and Appendix B

Àííîòàöèÿ: On page 156 of John Updike's new novel, "The Centaur," a drunkard, weaving and tottering down a dark street in the Pennsylvania city of Alton, offensively insults two passers by. On page 301 in a "Mythological Index" this unimportant character is identified with the Greek god Dionysos. Some 56 other gods and mythological characters are also identified with modern citizens of Pennsylvania in the year 1947. It is an easy game for a novelist to play. A woman no better than she should be is obviously Venus. A mechanic must be Vulcan. A school principal wielding authority over others is Zeus. How clever of Mr. Updike! How clever of his readers to recognize some of his mythological parallels! But what in the name of artistic common sense does such useless ingenuity have to do with the writing of good novels?

Àííîòàöèÿ: A stunning collection of poems that John Updike wrote during the last seven years of his life and put together only weeks before he died for this, his final book. The opening sequence, —Endpoint,— is made up of a series of connected poems written on the occasions of his recent birthdays and culminates in his confrontation with his final illness. He looks back on the boy that he was, on the family, the small town, the people, and the circumstances that fed his love of writing, and he finds endless delight and solace in —turning the oddities of life into words.— —Other Poems— range from the fanciful (what would it be like to be a stolen Rembrandt painting? he muses) to the celebratory, capturing the flux of life. A section of sonnets follows, some inspired by travels to distant lands, others celebrating the idiosyncrasies of nature in his own backyard.

Àííîòàöèÿ: The hero of John Updike—s first novel, published when the author was twenty-six, is ninety-four-year-old John Hook, a dying man who yet refuses to be dominated. His world is a poorhouse—a county home for the aged and infirm—overseen by Stephen Conner, a righteous young man who considers it his duty to know what is best for others. The action of the novel unfolds over a single summer—s day, the day of the poorhouse—s annual fair, a day of escalating tensions between Conner and the rebellious Hook. Its climax is a contest between progress and tradition, benevolence and pride, reason and faith.

Àííîòàöèÿ: Updike's eighth novel, subtitled "A Romance" because, he says, "People don't act like that any more," centers on the love affair of a married couple in the Connecticut of 1962. Unfortunately, this is a couple whose members are married to other people. Suburban infidelity is familiar territory by now, but nobody knows it as well as Updike, and the book is written with the author's characteristic poetic sensibility and sly wit.

Àííîòàöèÿ: Craig Martin took an interest in the traces left by prior owners of his land. In the prime of his life, when he worked every weekday and socialised all weekend, he had pretty much ignored his land. The minor flaw is the proximity of prior and prime. This gives us a dissonant rime riche on the first syllable; and the two words, besides, are etymological half-siblings, and should never be left alone together without many intercessionary chaperones. And the major flaw? The first sentence ends with the words "his land"; and so, with a resonant clunk, does the second. Mere quibbles, some may say. But we are addressing ourselves to John Updike, who was perhaps the greatest virtuoso stylist since Nabokov - who, in his turn, was perhaps the greatest virtuoso stylist since Joyce.

Àííîòàöèÿ: Harry Rabbit` Angstrom, one time high school sports superstar, is going nowhere. At twenty-six, he is trapped in a second-rate existence - stuck with an alcoholic wife and a futile job. With no way to fix things, he flees from his family and his home in Pennsylvania, beginning a journey that he hopes will free him from his mediocre life.