Dos Passos J., The Big Money. U.S.A. — ñîð.1979

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Dos Passos J., The 42nd Parallel. U.S.A. — ñîð.1979

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Ôèöäæåðàëüä Ô.Ñ., Íî÷ü íåæíà — ñîð. 2013 (Àóäèîêíèãà)

Ôðàíöóçñêàÿ Ðèâüåðà 30-õ ãîäîâ. Ìåñòî âñòðå÷è áîãàòûõ è êðàñèâûõ. Ñðåäè íèõ Äèê è Íèêîëü Äàéâåð. Îí - ìîëîäîé, îáðàçîâàííûé, óñïåøíûé ïñèõèàòð. Îíà - áîãàòàÿ, óìíàÿ, ñîáëàçíèòåëüíàÿ àðèñòîêðàòêà. Èõ îêðóæåíèå, òàê íàçûâàåìàÿ áîãåìà, ÷àñòî ãîñòèò íà èõ ñêðîìíîé âèëëå.  èõ ÷èñëå ìèëîâèäíàÿ àêòðèñà Ðîçìýðè. Þíàÿ è òùåñëàâíàÿ, îíà ðåøèëà âî ÷òîáû òî íè ñòàëî ñîáëàçíèòü õîçÿèíà äîìà. Äåâóøêà äàæå íå ïîäîçðåâàåò êàêèå òàéíû, òàê òùàòåëüíî ñêðûâàåìûå óñïåøíîé ñ âèäó ñåìåéíîé ïàðîé, îòêðîþòñÿ èç-çà åå íåîáäóìàííîãî ïîñòóïêà.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Ãåíðè Î., Íîâåëëû. Âûïóñê 1 — ñîð. 2010 (Àíòîëîãèÿ þìîðà è ñàòèðû) (Àóäèîêíèãà MP3)

Î. Ãåíðè (Óèëüÿì Ñèäíè Ïîðòåð) [1862-1910] - àìåðèêàíñêèé ïèñàòåëü þìîðèñò. Òùàòåëüíî âûïèñàííûå þìîðèñòè÷åñêèå íîâåëëû, ïðîíèêíóòûå ëþáîâüþ ê "ìàëåíüêîìó" àìåðèêàíöó, îòëè÷àþòñÿ çàíèìàòåëüíûì ñþæåòîì, ïàðàäîêñàëüíîé ðàçâÿçêîé, áîãàòñòâîì õóäîæåñòâåííîé ðå÷è

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Ïîäðîáíàÿ èíôîðìàöèÿ

Õåìèíãóýé Ý., Ïî êîì çâîíèò êîëîêîë — ñîð. 2007 (Ñîâðåìåííàÿ ëèòåðàòóðà)

Ýòî ðîìàí î íàñòîÿùåé ëþáâè è èñòèííîé îòâàãå. Ýòî ðàññêàç î ÷åëîâåêå, êîòîðûé ðåøèë ïîæåðòâîâàòü ñîáîé, ðàäè ñïàñåíèÿ äðóãèõ.  íàøè äíè "Ïî êîì çâîíèò êîëîêîë" Õåìèíãóýÿ çâó÷èò òàê æå âîëíóþùå è òðåâîæíî, êàê è ïÿòüäåñÿò ëåò íàçàä.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Ëîíäîí Ä., Äîì Ìàïóè. Ðàññêàçû Âûï. 2 — 2006 (Ïðèêëþ÷åíèÿ) (1Ñ: Àóäèîêíèãè)

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Ïîë Ô., Ñîáðàíèå ñî÷èíåíèé. Ò. 3. Ïîõîäêà ïüÿíèöû. ×óìà ïèòîíîâ. Ðàññêàçû — Ñèãìà-ïðåññ (Àíãëî-àìåðèêàíñêàÿ ôàíòàñòèêà XX âåêà)

Ñîäåðæàíèå: Ïîõîäêà ïüÿíèöû; ×óìà ïèòîíîâ; Ðàññêàçû

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Êèíã Ñ., Âîëêè Êàëüè. èç öèêëà "Òåìíàÿ Áàøíÿ". [ðîìàí] — ïå÷. 2014 (Ñåðèÿ "Êîðîëü íà âñå âðåìåíà") (Ñåðèàë "Òåìíàÿ Áàøíÿ". êí. 5)

Ñòðàíñòâèå Ðîëàíäà Äèñêåéíà è åãî äðóçåé ïðîäîëæàåòñÿ... È òåïåðü íà ïóòè èõ ëåæèò ìàëåíüêèé ãîðîäîê Êàëüÿ Áðèí Ñòåðäæèñ, æèòåëè êîòîðîãî ðàç â ïîêîëåíèå ïëàòÿò ñòðàøíóþ äàíü ïîñëàííèêàì Òüìû - Âîëêàì Êàëüè! ×èòàéòå ïÿòóþ êíèãó ëåãåíäàðíîãî ñåðèàëà «Òåìíàÿ Áàøíÿ»! Ëèòåðàòóðíî-õóäîæåñòâåííîå èçäàíèå.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë õóäîæåñòâåííîé ëèòåðàòóðû è èñêóññòâà

Ïîäðîáíàÿ èíôîðìàöèÿ

Òâåí Ì., . Èçáðàííûå ïðîèçâåäåíèÿ Ò. 1 — 1992

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Ïîäðîáíàÿ èíôîðìàöèÿ

Âèëüÿìñ À., Äíåâíèêè Áåðèè. [ïåð. ñ àíãë.] — Á. ã.

Ïîäðîáíàÿ èíôîðìàöèÿ

Chbosky S., Imaginary Friend — 2019

Christopher is seven years old. Christopher is the new kid in town. Christopher has an imaginary friend. The epic work of literary horror from the #1 bestselling author of "The perks of being a wallflower". We can swallow our fear or let our fear swallow us.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Ellmann L., Ducks, Newburyport — 2019

Latticing one cherry pie after another, an Ohio housewife tries to bridge the gaps between reality and the torrent of meaningless info that is the United States of America. She worries about her children, her dead parents, African elephants, the bedroom rituals of 'happy couples', Weapons of Mass Destruction, and how to hatch an abandoned wood pigeon egg. Is there some trick to surviving survivalists? School shootings? Medical debts? Franks 'n' beans? A scorching indictment of America's barbarity, past and present, and a lament for the way we are sleepwalking into environmental disaster, Ducks, Newburyport is a heresy, a wonder — and a revolution in the novel.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

King S., The Institute — 2019

Deep in the woods of Maine, there is a dark state facility where kids, abducted from across the United States, are incarcerated. In the Institute they are subjected to a series of tests and procedures meant to combine their exceptional gifts — telepathy, telekinesis — for concentrated effect. Luke Ellis is the latest recruit. He's just a regular 12-year-old, except he's not just smart, he's super-smart. And he has another gift which the Institute wants to use— Far away in a small town in South Carolina, former cop Tim Jamieson has taken a job working for the local sheriff. He's basically just walking the beat. But he's about to take on the biggest case of his career. Back in the Institute's downtrodden playground and corridors where posters advertise 'just another day in paradise', Luke, his friend Kalisha and the other kids are in no doubt that they are prisoners, not guests. And there is no hope of escape. But great events can turn on small hinges and Luke is about to team up with a new, even younger recruit, Avery Dixon, whose ability to read minds is off the scale...

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Simon F., Grozni Gasper in nocna mora — 2013

Gaper je grozen otrok. To pravijo vsi, celo njegova mama. Karkoli porednega si lahko zamislite, Gaper je to zagotovo naredil. In vendar si nih½e ne more pomagati, da ga ne bi imel rad. Pa saj je .e ve½krat poskual biti priden, a kaj ko ...

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Bazell J., Beat the reaper. a novel — 2009

Dr. Peter Brown is an intern at Manhattan's worst hospital, with a talent for medicine, a shift from hell, and a past he'd prefer to keep hidden. Whether it's a blocked circumflex artery or a plan to land a massive malpractice suit, he knows what evil lurks in the hearts of men. Pietro "Bearclaw" Brnwna is a hitman for the mob, with a genius for violence, a well-earned fear of sharks, and an overly close relationship with the Federal Witness Relocation Program. More likely to leave a trail of dead gangsters than a molecule of evidence, he's ...

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Barnes V., A foreign affair. a passionate life in four languages — 2004

'Walking along the drab, grey streets past bomb craters and piles of rubble, I daydreamed about a more romantic world where people spoke exotic languages, played music, sang and danced with passion.' Trapped in the austerity of post-war London, 20-year-old Valerie Barnes yearned for the good times promised by the wartime songs. Then two chance meetings catapulted her into a high-flying career at the newly formed United Nations in Geneva and the arms of a glamorous Frenchman... Joining an elite breed of independent women who travelled the world in the 1950s and 1960s, Valerie lived a jet-setting life as one of the first simultaneous interpreters, working in exotic locales and rubbing shoulders with prime ministers and presidents. In those days, United Nations was new and its staff were convinced that if they got everything right there would be no more war. There were no precedents, no protocols in place - everything had to made up as they went along. Valerie worked long hours, sometimes starting at 9 a.m. and not finishing work until 3 o'clock the following morning but it was in the interest of getting agreement on a resolution so it was worth the effort. At the same time she was juggling a Swiss chalet home, three children and an unfaithful husband. But whatever Valerie did, she threw herself into it with zest. From dancing the flamenco to being kidnapped in Cairo, wooed by an African President who wanted her to become his fourteenth wife or falling for a passionate Slav, Valerie's gift for storytelling makes this book a lively, funny, utterly delightful memoir. Her marriage started with a wedding in Geneva on a cold, dismal, rainy morning, the French family, in muddy, damp clothes trying to pull their coat collars up and their hats down to hide their bruises - the bridegroom had driven them from their home in France to Geneva at high speed causing a collision so that they had all ended up in a muddy beetroot field - and ended with a wild summer evening divorce garden party complete with a jazz band, the planting of a tree, a firework display and a midnight balloon release.

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Ïîäðîáíàÿ èíôîðìàöèÿ

Gilman C.P., The Yellow Wallpaper — 2002 (A literary masterpiece)

The Yellow Wallpaper is a short story by American writer Charlotte Perkins Gilman, first published in January 1892 in The New England Magazine. It is regarded as an important early work of American feminist literature, illustrating attitudes in the nineteenth century toward women's physical and mental health. The story also has been classified as Gothic fiction and horror fiction. "The Yellow Wallpaper" is written in epistolary style, specifically as a collection of first person journal entries written by a woman whose physician husband has confined her to the upstairs bedroom of a house that he has rented for the summer. She is forbidden from working, and has to hide her journal entries from him, so that she can recuperate from what he calls a "temporary nervous depression;a slight hysterical tendency," a diagnosis common to women in that period. Her husband controls her access to the rest of the house. A key locks the door. The story depicts the effect of confinement on the narrator's mental health, and her descent into psychosis. With nothing to stimulate her, she becomes obsessed by the pattern and color of the wallpaper.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Prince L., Appointment in Jerusalem — 1975

Ïîäðîáíàÿ èíôîðìàöèÿ

The Boys' life book of football stories — 1963

Ïîäðîáíàÿ èíôîðìàöèÿ

Morley C., Parnassus on Wheels — 1955

Ïîäðîáíàÿ èíôîðìàöèÿ