This Magic Moment The Girl With Green Eyes Tulips For Augusta The Fortunes Of Francesca

Chapter I. Rain is responsible for a great deal more than the mere growth of vegetables--it is a controller, if a somewhat capricious controller, of man's destiny. It was mainly, if not entirely, owing to rain that the French lost the Battle of Agincourt; whilst, if I mistake not, Confucius alone knows how many victories have been snatched from the Chinese by the same factor. It was most certainly rain that drove Leon Hamar to take refuge in a second-hand bookshop; for so deep-rooted was his aversion to any literature saving a financial gazette or the stock and shares column of a daily, that nothing would have induced him to get within touching distance of a book save the risk of a severe wetting. Now, to his unutterable disgust, he found himself surrounded by the things he loathed. Books ancient--very ancient, judging by their bindings--and modern--histories, biographies, novels and magazines--anything from ten dollars to five cents, and all arrayed with most laudable tact according to their bulk and condition. But Hamar was neither to be tempted nor mollified. He frowned at one and all alike, and the colossal edition of Miss Somebody or Other's poems--that by reason of its magnificent cover of crimson and gold occupied a most prominent position--met with the same vindictive reception as the tattered and torn volumes of Whittier stowed away in an obscure corner. Backing still further into the entrance of the store for a better protection from the rain, which, now falling heavier and heavier, was blown in by the wind, Hamar collided with a stand of books, with the result that one of them fell with a loud bang on the pavement. A man, evidently the owner of the store, and unmistakably a Jew, instantly appeared. Picking up the book, and wiping it with a dirty handkerchief, he thrust it at Hamar... Chapter II. Chapter III. Chapter IV. Chapter V. Chapter VI. Chapter VII. Chapter VIII. Chapter IX. Chapter X. Chapter XI. Chapter XII. Chapter XIII. Chapter XIV. Chapter XV. Chapter XVI. Chapter XVII. Chapter XVIII. Chapter XIX. Chapter XX. Chapter XXI. Chapter XXII. Chapter XXIII. Chapter XXIV. Chapter XXV. Chapter XXVI.

Notwithstanding the popularity which several of Hoffmann's tales have obtained in many different countries, we are not aware of any complete or accurate translation of his works. In England they have become known in a very partial form, chiefly by the appearance of a few isolated tales in association with those of other writers, as in the 'Specimens of German Romance,' or in Gillies' 'German Stories,' which were published about 1830. Others are familiar only through the medium of a translation from a previous French version, as is the case with the well-known 'Nutcracker,'--and in this process of double dilution the Author's name has sometimes disappeared altogether. The most important attempt to present this writer to English readers is the recent publication of two volumes entitled 'Hoffmann's Weird Stories,' which contain eleven tales seven being from the Serapions-Brüder, two from the Nachtstücke, and two from other parts of his works. These stories are all separated from the setting in which, as in the present volume, they for the most part appeared, and the translator has not aimed at any completeness or method in their selection. The first attempt to give English readers a satisfactory idea of Hoffmann's work in its completeness is inaugurated by the present volume, which will be followed by the remaining portion of the Serapion Brethren, and in due course it is hoped by other portions of his works. Musicians will be interested by the fulness with which the Author's views on musical subjects so much in advance of his age, and so just and accurate are developed in many places, such as the dialogue called "The Poet and the Composer," and the conversation which precedes the tale "Master Martin." It would be of much interest could any of Hoffmann's numerous musical compositions be brought to light at the present day; they appear to have been considerably in advance of their period, although Weber's critique on one of Hoffmann's operas is full of high praise. A.

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In these powerful and stylishly written essays, Maria Manuel Lisboa dissects the work of Paula Rego, the Portuguese-born artist considered one of the greatest artists of modern times. Focusing primarily on Rego's work since the 1980s, Lisboa explores the complex relationships between violence and nurturing, power and impotence, politics and the family that run through Rego's art.Taking a historicist approach to the evolution of the artist's work, Lisboa embeds the works within Rego's personal history as well as Portugal's (and indeed other nations') stories, and reveals the interrelationship between political significance and the raw emotion that lies at the heart of Rego's uncompromising iconographic style. Fundamental to Lisboa's analysis is an understanding that apparent opposites - male and female, sacred and profane, aggression and submissiveness - often co-exist in Rego's work in a way that is both disturbing and destabilising.This collection of essays brings together both unpublished and previously published work to make a significant contribution to scholarship about Paula Rego. It will also be of interest to scholars and students of contemporary painting, Portuguese and British feminist art, and the political and ideological aspects of the visual arts. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.

Clotilde Collins has worked with Dr. James Thackery at busy St. Alma's Hospital in London for three years, but she's never considered their relationship as anything more than solidly professional. Then tragedy strikes and James steps in to take charge of Clotilde's shattered world, offering her his unhesitating comfort and support. How easy it would be to fall in love with him. Except he's already committed to another woman….