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Jumat, 06 Maret 2015

@ PDF Download Cato: A Tragedy and Selected Essays, by Joseph Addison

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"A day, an hour, of virtuous liberty is worth a whole eternity in bondage."

-Joseph Addison, Cato 1713

Joseph Addison was born in 1672 in Milston, Wiltshire, England. He
was educated in the classics at Oxford and became widely known as an
essayist, playwright, poet, and statesman. First produced in 1713, Cato,
A Tragedy inspired generations toward a pursuit of liberty. Liberty Fund’s
new edition of Cato: A Tragedy, and Selected Essays brings together
Addison’s dramatic masterpiece along with a selection of his essays that
develop key themes in the play.

Cato, A Tragedy is the account of the final hours of Marcus Porcius
Cato (95–46 B.C.), a Stoic whose deeds, rhetoric, and resistance to the
tyranny of Caesar made him an icon of republicanism, virtue, and liberty.
By all accounts, Cato was an uncompromisingly principled man, deeply
committed to liberty. He opposed Caesar’s tyrannical assertion of power
and took arms against him. As Caesar’s forces closed in on Cato, he chose
to take his life, preferring death by his own hand to a life of submission
to Caesar.

Addison’s theatrical depiction of Cato enlivened the glorious image of a
citizen ready to sacrifice everything in the cause of freedom, and it influenced
friends of liberty on both sides of the Atlantic. Captain Nathan
Hale’s last words before being hanged were, “I only regret that I have but
one life to lose for my country,” a close paraphrase of Addison’s “What pity
is it that we can die but once to serve our country!” George Washington
found Cato such a powerful statement of liberty, honor, virtue, and patriotism
that he had it performed for his men at Valley Forge. And Forrest
McDonald says in his Foreword that “Patrick Henry adapted his famous
‘Give me liberty or give me death’ speech directly from lines in Cato.”

Despite Cato’s enormous success, Addison was perhaps best-known as
an essayist. In periodicals like the Spectator, Guardian, Tatler, and Freeholder,
he sought to educate England’s developing middle class in the habits,
morals, and manners he believed necessary for the preservation of a free
society. Addison’s work in these periodicals helped to define the modern
English essay form. Samuel Johnson said of his writing, “Whoever wishes
to attain an English style, familiar but not coarse, and elegant but not
ostentatious, must give his days and nights to the study of Addison.”

Christine Dunn Henderson is a Senior Fellow at Liberty Fund. Prior to joining Liberty Fund in 2000, she was assistant professor of political science at Marshall University.

Mark E. Yellin, also a Fellow at Liberty Fund, received his Ph.D. from
Rutgers University, has taught at North Carolina State University, and edited
Douglass Adair’s Intellectual Origins of Jeffersonian Democracy.

Click here for a pdf of the Cato: A Tragedy brochure

Sales Rank: #1263246 in eBooks
Published on: 2012-09-05
Released on: 2012-09-05
Format: Kindle eBook

About the Author
Yellin teaches at North Carolina State University. He recevied his Ph.D. from Rutgers University in political science. His work concentrates on eighteenth-century British and American political thought.

Forrest McDonald is Distinguished University Research Professor of History at the University of Alabama at Tuscaloosa. He is the author of many books on American history including A Constitutional History of the United States, E Pluribus Unum, and Novus Ordo Seclorum: The Intellectual Origins of the Constitution.

Most helpful customer reviews

13 of 14 people found the following review helpful.
Defeated by Julius Caesar and Yet Is Honored Long Afterwards for Political Virtue
By Michael Wischmeyer
The Roman senator, Cato the Younger (95 BC - 46 BC) stubbornly resisted Julius Caesar's rise to power, but was ultimately defeated by Caesar in north Africa. Addison's play focuses on the last days of Cato's life, as Caesar's forces advanced. Although others urged Cato to come to terms with Julius Caesar, Cato resists to the end, finally committing suicide rather than surrendering. This tragedy has strong political overtones, addressing the conflict between individual liberty and government tyranny and republicanism versus monarchism.

Writing a political play during a period of intense political rivalry in England, Joseph Addison avoided charges of partisanship by having the prologue written by a Tory poet, Alexander Poe, and the epilogue by a Whig poet, Samuel Garth. Although this tragedy was held in high esteem throughout the eighteenth century, today's audience may find Addison's effusive praise of Cato's political virtue tends to be rather one-dimensional, and thus not entirely convincing.

Cato remained popular for decades in England and even longer in the American colonies, becoming a literary inspiration for the American Revolution. George Washington had it performed for the Continental Army at Valley Forge. The famous quotes by Patrick Henry and Nathan Hale were apparently derived from Addison's play.

Addison's characterization of Cato lacks the psychological depth and complexity that is found in Shakespeare's tragedies, or even what we have come to expect in modern biographical films like A Man for All Seasons, Lawrence of Arabia, Patton, and Gandhi. To be fair to Addison, Cato was described by his contemporaries, including his political enemies, as having high moral standards and incorruptible virtue. In contrast, Addison portrays Cato's sons Portius and Marcus, his close friend Lucius, and his protégé Juba, the prince of Numidia, in more realistic fashion, all decidedly loyal to Cato, but subject to private doubts and other emotions.

Cato is considered by many as the best tragedy written in eighteenth century England. I give it four stars, in part for its historical significance.

Note: Individual editions of Cato may not be easy to find, but it is often included in collections of eighteen century English plays. The Everyman edition, titled The Beggar's Opera and Other Eighteenth Century plays (edited by David Lindsay), is a good source.

4 of 4 people found the following review helpful.
Excellent Edition
By Garland J. Thayer
I suppose there is a reason Washington, Adams, Franklin and Adam Smith, among others, thought highly of Joseph Addison's play, Cato, A Tragedy, along with Addison's Spectator essays [Liberty Fund, Inc., 2004, 282 pages]. The play, written in 1713, covers the period during which, in recognizing Caesar's tyrannical overreach, Cato (the younger or of Utica) found himself aligned with Pompey in opposition to Caesar. Following Pompey's defeat in 46BC at Pharsalus, Cato finds himself in North Africa, Utica, facing the reality that his defense of the Roman Senate and liberty were futile as Caesar's forces were too great. Realizing that he would most likely be pardoned by Caesar, Cato told his party to flee, thereafter taking his own life symbolically gesturing the death of Roman Liberty. Also this has been seen as denying Caesar a moral victory, and "one man's refusal to accept a life under tyranny and therefore as a vindication of individual liberty." (pp.xxi) Following Cato's death, Caesar killed the members of the senate he could track down. Cicero had a tendency to call certain things the parent or father of all others. For example, gratitude is not just the greatest virtue, "but the parent of all others." Cicero's On the Ends of Good and Evil, casts Cato of Utica as the "spokesman of Stoicism."(pp.XX). Like his great grandfather, Cato the Censor, Cato the Younger held fast to stoicism's ideals, such as thrift and austerity. Cato was ironically seen as representing both the republic and liberty. The play has an opening by Pope, a Tory, and the epilogue by Samuel Garth, a Whig. This can perhaps be attributed to its timing, following the English civil war. Washington broke with protocol and had the play performed to boost the morale of his troops at Valley Forge, who were engaged against the tyrannical King George III. Stoicism, indifference to pleasure and pain, sees virtue as the highest goal in accord with nature. Fulfilling one's duty for the correct reason - a commitment to high principles. Seneca, Nero's advisor, was also a stoic. The play itself is well written and a quick entertaining read. A few lines of note, "The post of honor is a private station," cited by Washington. "And that which he delights in must be happy," Franklin's handbook autobiography. "Beneath a helmet in your father's battles," again, cited by Washington for mutinous officers at Newburgh. "But chains of conquest, liberty or death," Patrick Henry's give me liberty or give me death. "Better to die ten thousand deaths, than to wound my honor," Demosthenes to Philip II of Macedon. "What virtues grow from ignorance and choice," Aristotle's take that virtue comes from choosing the right action for `the right reasons' (stoicism). "Tis not in mortals to command success," paraphrased by both Adams and Washington in letters. This publication also includes numerous of Addison's essays as written in his Spectator.

Addendum: It should be noted that by and large the appeal of Cato and Demosthemes, three centuries prior, by this nation's founders was not only their non-imperialist, anti-tyrannical take, but their non-expansionary or non-interventionist expoundings which related not simply to defense of liberty but the protection of the public purse, or less theft of the peoples' property through taxes. Non-interventionism and open trade.

[...]

11 of 14 people found the following review helpful.
A seminal and welcome addition to the growing library of literature promoting conservative values
By Midwest Book Review
Collaboratively and expertly co-edited by academicians Christine Dunn Henderson and Mark E. Yellin (both of whom are Fellows at Liberty Fund), Cato: A Tragedy, And Selected Essays is a compilation of the writings of Joseph Addison, beginning with his "Cato: A Tragedy" which is an account of the final hours of Marcus Porcius Cato (95-46 B.C.), a Stoic whose deeds, rhetoric, and resistance to the tyranny of Julius Caesar made him an icon of republicanism, virtue, and liberty to this very day. Although popular in its day (1713), the play had fallen into neglect and this is the first scholarly addition to be made available to the general reading public. The play is then added to in this volume to provide readers with examples of Addison's attempts to educate England's 18th century developing middle class of merchants and tradespeople in the habits, morals, and manners he felt necessary to the preservation of limited government and a free, commercial society. Also available in a hardcover edition (086597442X, $24.00), Cato: A Tragedy, And Selected Essays is a seminal and welcome addition to the growing library of literature promoting conservative values such as liberty, self-government, an opposition to tyranny, the advancement of justice, and the advocacy of honor, patriotism, and integrity.

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Rabu, 04 Maret 2015

** PDF Download Brotherhood of Shades, by Dawn Finch

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From the chaos of Dissolution rises a secret order, a Brotherhood formed to protect the world of the living from the world of the dead.

Growing up on the streets of London, Adam knows nothing of the dark and precarious world that exists just beyond his reality – until he dies, cold and alone, aged 14. Now, after years of abandonment, Adam discovers he is important: an Order that was formed many centuries ago to protect the world of the living from the world of the dead needs him – an Order of ghosts.

Adam finds himself thrown into the spectral world of Toby D’Scover, head of Section One of the Brotherhood of Shades, a mysterious character who believes Adam to be a foretold savior, The Sentinel. Together, Adam and the Brotherhood must battle unseen forces and deadly Elemental spirits to find a coded manuscript and save the world.

Will you join the Brotherhood?

Sales Rank: #500981 in eBooks
Published on: 2012-10-15
Released on: 2012-10-15
Format: Kindle eBook

Review
'A wonderful new fantasy' - Jonathan Stroud, author of the Bartimaeus Sequence 'With Brotherhood of Shades, Finch has proven herself to be an author to watch' The British Fantasy Society

About the Author
Dawn Finch was born in London, and works as a Children's Librarian and Reader Development Consultant.

Most helpful customer reviews

4 of 4 people found the following review helpful.
Solid debut for YA fantasy fans
By Lynne Perednia
When Henry VIII ordered the dissolution of the church in England and wreaked havoc throughout the country as monasteries and other religious communities were pillaged, a small group determined to remain true to traditions they deemed necessary. The foremost tradition was to have three souls to mourn another's passing.

Documents gathered by a monk who saw visions of turmoil to come were given to a boy who had survived the illness that claimed the rest of his family. He made his way to a nunnery where knowledge from across the realm was to be hidden as their world collapsed. Grievously wounded, he was still able to deliver the materials.

Several hundred years later, another young teen dies in a hospital after being found starving on the streets of London. The homeless lad had no one to mourn him. But unlike the others solaced by the Brotherhood of Shades, this boy saw the spirits moving amongst the living. Now the teen, named Adam Street for where he was found, may be the one to fulfill a longstanding Brotherhood prophecy.

This is the setup to Dawn Finch's debut YA novel, a paranormal fantasy that involves the boy wounded during the Dissolution, the boy from the modern streets and a witch whose spirit has survived in her family for generations.

Adam has a guide to help him adjust. Toby D'Scover is the Keeper of the Texts. He takes care of the ancient documents and monitors current spirit activity around the world, and is the one to whom other members of the Brotherhood report unusual phenomenom. The fact there is more activity is but one of the reasons he suspects Adam may be the Sentinel predicted of ages ago. Perhaps he is the one who, with two others to help him, will defeat the resurgence of evil. But first he has a trial to survive.

Finch is superb at world-building in this debut novel, which could serve as the springboard for a series. But for that to happen, the writing will need to be more balanced between the expository writing that threatens to overwhelm the narrative and the action scenes. However, as a bonus, Finch, a children's librarian, adds an afterword with information and links about the real-world objects and places that figure in her story.

D'Scover is a particularly interesting character, with a fully developed past and present. He and Adam work well together. As dead guys, their ability to navigate the world is augmented by the addition of 14-year-old Edie to form a trio. The potential development of a relationship between the dead Adam and living Edie is a problem it would be interesting to see how Finch develops.

A note about the publisher: Authonomy is an online community developed by HarperCollins book editors.

3 of 3 people found the following review helpful.
Brotherhood of Shades
By Cervantes
Dark. Engaging. Descriptive. This book pulled me in and held my attention well. I look forward to Dawn Finch's next release. This is definutely an author to watch!

0 of 0 people found the following review helpful.
Definitely deadly different!
By Splashes Into Books
Rating: 3.5/5

With a riveting, definitely different plot, great characters and plenty of historical intrigue this is a well written, enthralling story. With Henry VIII’s dissolution of the monasteries key documents collected by a monk who foresaw these events, a young boy who survived illness that killed the rest of his family and, several hundred years later, another young boy who could see spirits moving amongst the living even before he died himself this is nothing like any book I’ve read.

The Brotherhood of Shades is formed to protect the living from the dead and believe that they have found the Sentinel in the recently deceased teen, Adam Street. Together he and 14 year old Edie Freedom (who is still living) will battle to solve a prophetic riddle and thus secure the future for the world. Filled with ghosts and other spirits, alongside magic and mystery, add in a slice of history and weave them together to create a gripping new fantasy, potentially the start of a new series?

Thanks to the authors, publisher and NetGalley, too for letting me read an ARC of this book in exchange for an honest review.

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Selasa, 03 Maret 2015

^^ Download Ebook When Johnny Came Marching Home, by William Heffernan

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"A solid historical from Edgar-winner Heffernan."
--Publishers Weekly

“Mystery fans will zip through this, fans of historical fiction will enjoy the fin de guerre mood.”
--Library Journal

“Heffernan swings his vivid tale back and forth between past and present, war and peace—a neat tour de force he pulls off with admirable assurance.”
--Kirkus Reviews

"Moving back and forth in time, the well-paced narrative involves the reader with powerfully vivid descriptions of horrendous battles like the Wilderness and Gettysburg, of terrible raids on civilians, and of great physical and mental anguish suffered by the soldiers. Heffernan skillfully presents a realistic and evocative tale of war and its lingering effects."
--Historical Novels Review

“Heffernan, three times nominated for a Pulitzer Prize and an Edgar Award winner, knows his history and his mysteries . . . This is really a story of war and redemption and what happens to idealistic kids who have to turn into killers.”
--Globe & Mail (Canada)

"Sliding back and forth in time—before, during, and after the Civil War—William Heffernan creates a powerful, intriguing, and complex novel about the intricacies of friendship and the devastating effects of war."
--Jonathan Santlofer, author of The Death Artist

"When Johnny Came Marching Home evokes a young soldier's reluctant relationship to violence and brutality with a chilling realism that brings the reader face-to-face with the moral complexities of even the most noble of wars. Following in the literary tradition of Ernest Hemingway, James Jones, and Larry Heinemann, William Heffernan is able to somehow find grace and beauty amidst the horror of battle."
--Kaylie Jones, author of A Soldier’s Daughter Never Cries

"When Johnny Came Marching Home is a carefully constructed and evocative Civil War–era tale that will hold you from first to last page. The author has a rare gift for transporting the reader in time and place. Put this one at the top of your list. No one does this kind of novel better than Heffernan."
--John Lutz, author of Serial

When Johnny Came Marching Home is a mystery, a love story, and William Heffernan's best book to date. The novel tells the story of three boys who grow up in rural Vermont in a seemingly indestructible friendship, then see their lives ruined as they go off to fight in America's "great and noble war."

Trapped in a what appears to be an endless bloodbath—vividly presented with Heffernan's meticulous historical research—the boys gradually begin to change until their close-knit childhood ties are little more than a fractured memory. By war's end, one boy is dead, one returns a physically crippled and emotionally compromised man, and the third comes home as an unfeeling psychopath.

The novel turns on the subsequent murder of the psychopath, and the offer of redemption for the wounded young man who must investigate the crime. When Johnny Came Marching Home is a story about war and how it affects the lives of all who become a part of it, both directly and peripherally. Although set during the Civil War, this book casts shadows of what we endure today and the horrors to which young soldiers are subjected.

William Heffernan, a three-time Pulitzer Prize nominee, is the author of eighteen novels, including such bestsellers as The Corsincan, The Dinosaur Club (a New York Times bestseller), The Dead Detective, and Tarnished Blue (winner of an Edgar Award). Heffernan lives outside of St. Petersburg, Florida.

Sales Rank: #884170 in eBooks
Published on: 2012-10-02
Released on: 2012-10-02
Format: Kindle eBook

Review
""Heffernan swings his vivid tale back and forth between past and present, war and peace - a neat tour de force he pulls off with admirable assurance."" - Kirkus Reviews
""Sliding back and forth in time - before, during, and after the Civil War - William Heffernan creates a powerful, intriguing, and complex novel about the intricacies of friendship and the devastating effects of war."" - Jonathan Santlofer, author of The Death Artist
""When Johnny Came Marching Home evokes a young soldier's reluctant relationship to violence and brutality with a chilling realism that brings the reader face-to-face with the moral complexities of even the most noble of wars. Following in the literary tradition of Ernest Hemingway, James Jones, and Larry Heinemann, William Heffernan is able to somehow find grace and beauty amidst the horror of battle."" - Kaylie Jones, author of A Soldier's Daughter Never Cries
""A carefully constructed and evocative Civil War-era tale that will hold you from first to last page. The author has a rare gift for transporting the reader in time and place. Put this one at the top of your list. No one does this kind of novel better than Heffernan."" - John Lutz, author of Serial
""Heffernan writes in a way that challenges the mind and the soul."" - Michael Koryta, author of The Silent Hour
""Heffernan is a master of scene, setting, characterizations, plot, and dialogue."" - Nelson DeMille
""William Heffernan is one of the rare mystery writers who cares about soul."" - Martin Cruz Smith

About the Author
William Heffernan, a three-time Pulitzer Prize nominee, is the author of eighteen novels, including such best sellers as The Corsican, The Dinosaur Club (a New York Times bestseller), The Dead Detective, and Tarnished Blue (winner of an Edgar Award). Heffernan lives outside of St. Petersburg, Florida.

READER BIO
R.C. Bray has performed Off-Broadway, at the Edinburgh Fringe Festival, and many stages in between. An accomplished producer and voiceover artist, R.C.'s voice can also be heard in countless TV and radio commercials. He lives with his gorgeous wife and two beautiful daughters in New England.

Most helpful customer reviews

6 of 6 people found the following review helpful.
A look back in time...Remarkable Story Telling
By storyteller
This is a remarkable story that will capture your attention and keep it through to the end. Four kids grow up during the Civil War era--1855--1865. The girl, Rachel, grows into a beautiful young woman with eyes only for Jubal who comes home from the war maimed. Abel, Rachel's brother, never comes home, and Johnny, son of the town's preacher, comes home as a psychopath. The author skillfully unfolds a story beginning in a rural Vermont town and takes the boys through many Civil War battles, Manassas, Antietam, and Gettysburg. The battles are realistic and historically correct, but it is the characters' views that bring out the story of living and dying. And in the background is a love story, freeing of slaves, political unrest, and the brutal affects of raping the land and the people...not only during the war, but in the aftermath. Heffernan's writing ability to slide back and forth in time is remarkable...you are never lost. I am looking forward to reading Heffernan's other works.

4 of 4 people found the following review helpful.
Solid read with a fascinating setting
By Carrie Kilgore
A fascinating peek into the life of a civil war soldier (although admittedly some will find it disturbing), both during the fighting and in trying to adjust back to civilian life--as the central character tries to solve the murder of a man who was once his boyhood friend. The book is obviously well-researched (with an author's note concerning bending of a few historical facts). Engaging reading. The dialect is perhaps a bit overdone--while the flavor is nice, it shouldn't be enough to trip or even slow the reader. Some will not be entirely pleased with the resolution, but it is realistic. The characters are complex, which is to say they act like real people, with conflicting emotions and loyalties. We see a group of boys enter the bloody conflict that changes them all, changes which pursue them as they try to put the war behind them. A good read.

0 of 0 people found the following review helpful.
Strong Historical Murder Mystery
By A. Ross
I had never heard of the author, but as a sucker for Civil War-set mysteries (like the Abel Jones series, or Sweetsmoke, to name the first that pop into my head), I picked this up. Cutting back and forth between three time periods, it tells the story of four Vermont playmates as they grow up to become teenagers in the years leading up to the Civil War, their time as Union soldiers, and immediately after. This kind of time-shifting can be cumbersome or confusing in the wrong hands, but Heffernan weaves back and forth with a minimum of fuss and no loss of narrative pace.

The hero is Jubal, who enlists in the Union Army with his friends, and returns home minus an arm. His father is the town constable and takes him on as his assistant while he tries to come to terms with his injury and the loss of his closest friend, Abel. Jubal is also in love with Abel's little sister, but his guilt at Abel's death and his own injury are holding him back from pursuing her. Meanwhile, their somewhat cruel friend Johnny went off to war and returned to the town as a monster. When he is murdered soon after his return, Jubal tries to untangle which of the many people who disliked Johnny might have done it.

The book does an excellent job at portraying an idyllic small-town childhood, the horrors of war, and the effect the war had on everyone. Scenes are vivid and fully realized, and the murder mystery is well conceived and developed. The battle scenes at places like Antietam and Gettysburg have an immediacy and realism to them, as does the depiction of Union Army life. There are a few minor missteps here and there, for example an unnecessary teary cameo by Lincoln, and the love story that gets a little too schmaltzy, but on the whole, it's a strong historical murder mystery..

After finishing the book, I poked around and learned that Heffernan won three Pulitzers for investigative journalism, wrote a series of police procedurals including an Edgar-winner, and has had books on the NYT bestseller list, so it's no wonder that one feels like they're in the hands of a pro while reading this book. I'd definitely like to see another Jubal book.

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Las leyendas más terroríficas de la tradición española actualizadas manteniendo lo más terrorífico y lo más humano de ellas.

Casi en cada pueblo del norte de España se pueden oír historias de meigas, anxeliños, trasgos, sorginas, basiliscos, corujas o enamorados que vagan penando sin descanso, así de rica es nuestra tradición. Legendarium II. Brujas, duendes y espíritus atormentados recoge estas historias de lugares como Asturias, Ourense o León donde el componente mágico y mistérico está más arraigado y las presenta de un modo accesible a todo el mundo, en un lenguaje actual pero conservando todo el horror de las mismas. Es una antología que nos permitirá viajar por el norte de España y encontrar los lugares en donde aún habita el misterio.

Rubén Serrano y Javier Pellicer recopilan seis relatos terroríficos, escritos por una nómina de autores en los que se mezclan jóvenes promesas con autores ya consagrados del terror nacional. Javier Cosnava, María Delgado, Juan Ángel Laguna Edroso, Ana Morán, Gervasio López y el propio Rubén Serrano han sabido extraer de los relatos el componente atemporal, ese que hace que aún despierten el miedo, para reelaborarlas y que ganen un público nuevo pero manteniendo lo más terrorífico de las mismas y comunicando de un modo claro que estas leyendas, pese a su carácter fantástico, pretenden dar cuenta de algún aspecto de nuestra naturaleza humana.

Razones para comprar la obra:

- El segundo volumen de esta colección recopila relatos referidos a ninfas, duendes, meigas y amantes de piedra repartidos por la zona norte de España.

- Los relatos aúnan a la perfección el terror y la fantasía con el folklore nacional en lugares que pueden ser visitados por cualquier lector.

- El estilo de cada relato varía, contribuyendo a que la lectura se acomode al ritmo de lectura y a los intereses temáticos y estilísticos de cada lector.

- Los compiladores son autores de gran trayectoria en el fantástico nacional y, en este caso, usan su criterio para seleccionar los relatos más terroríficos y de mejor factura.

Una obra dirigida a un público joven que puede disfrutar de una buena dosis de terror con fines puramente lúdicos, pero también a un público más mayor que puede reconocer, en los relatos, las historias tradicionales de su infancia.

“Aun así es agradable poder leer estos casos ambientados en España, cosa que hace que te puedas meter más en el libro si has ido por los sitios que mencionan.”
(Blog Que mas que me da igual)

“Seis relatos pues que siguen incrementando esta visión literaria de las leyendas populares que pueblan la geografía española, y que pronto tendrá continuación con el tercer volumen, donde los protagonistas principales serán los reyes, los caballeros y las doncellas.”
(Blog Tierra de bardos)

“Segundo título de la saga de ficción Legendarium dedicado al mundo imaginario de brujas, duendes y espíritus atormentados magníficamente narradas por sus múltiples autores: Javier Cosnava, María Delgado, Juan Ángel Laguna Edroso, Ana Morán, Gervasio López y Rubén Serrano.”
(Web Cyberdark)

“Esta segunda entrega está compuesta por 6 relatos, y así de buenas a primeras, creo que no me va a defraudar, pues de los seis escritores que componen la compilación, tengo muy buenas referencias.”
(Blog Cruce de caminos)

Sales Rank: #3255966 in eBooks
Published on: 2012-09-04
Released on: 2012-09-04
Format: Kindle eBook

About the Author
Javier Pellicer and Rubén Serrano are the compilers of this anthology. Pellicer has won several literary awards of fantastic story and has been a finalist in some of them, as well as having participated in various anthologies of horror. Rubén Serrano is a writer, journalist and author of works of fantasy, science fiction and horror. He studied journalism at Complutense University of Madrid and has more than twenty years devoted to communication.

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Two Stars
By Jorge Perez
Did not meet my expectations.

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Minggu, 01 Maret 2015

# Free PDF Days That I'll Remember: Spending Time with John Lennon and Yoko Ono, by Jonathan Cott

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Jonathan Cott met John Lennon in 1968 and was friends with him and Yoko Ono until John's death in 1980. He has kept in touch with Yoko since that time, and is one of the small group of writers who understands her profoundly positive influence on Lennon. This deeply personal book recounts the course of those friendships over the decades and provides an intimate look at two of the most astonishing cultural figures of our time. And what Jonathan Cott has to say and tell will be found nowhere else.

Sales Rank: #467995 in eBooks
Published on: 2013-02-12
Released on: 2013-02-12
Format: Kindle eBook

Review
"Cott keeps the proceedings fluid and conversational . . . provides rare, raw and insightful comments from two colorful art personalities. Lennon and Ono as open and naked as on the cover of Two Virgins." ---Kirkus

About the Author
Jonathan Cott, a contributing editor at Rolling Stone magazine, is the author of several books, including Dinner with Lenny, Conversations with Glenn Gould, and Back to a Shadow in the Night, and is co-editor of The Ballad of John and Yoko.

Actor George Newbern has appeared in Father of the Bride, Father of the Bride II, Evening Star, Adventures in Babysitting, and many other films. On television, he has had roles on Friends, Nip/Tuck, Hot in Cleveland, CSI, and more.

Excerpt. © Reprinted by permission. All rights reserved.
Excerpted from the Hardcover Edition

"Welcome to the inner sanctum!” said John Lennon, as he greeted me with high-spirited, mock ceremoniousness at the entrance to Yoko Ono’s office in their ground-floor apartment in the Dakota—the quasi-Gothic, castle-like edifice with its gables, gargoyles, and wrought-iron gates on New York City’s Upper West Side. I removed my shoes and entered an iridescent, high-ceilinged, white-carpeted room, and Yoko, who was seated at a large gold-inlaid desk, got up to say hello.

It was Friday, December 5, 1980. Rolling Stone was preparing a cover story on John and Yoko for its first issue of 1981, and I had come to interview John on the occasion of the release of his and Yoko’s new album, Double Fantasy. It had been a long while since they had talked to the press. With the birth of their son, Sean, in 1975, John and Yoko had undertaken what they called “the Spring Cleaning of our minds” and had ceased stoking what Joni Mitchell once referred to as the “star maker machinery.” For five years, they made no records, created no new music or artworks, and made no public appearances. And while Yoko looked after the family business, John became a self-styled househusband who spent his time taking care of his son and engaging in domestic chores. One thinks of the Greek historian Herodotus’s description of some of the remarkable customs practiced by the Egyptians in the fifth-century B.C.: “Women attend market and are employed in trade, while men stay at home and do the weaving.” The Lenonos—to use the name of John and Yoko’s music-publishing company—seem to have run an ancient Egyptian household! Or a topsy-turvy nursery-rhyme one, where, as John informed us in his song “Cleanup Time,” the queen is in the counting house “counting out the money,” while the king stays in the kitchen “making bread and honey.”

In an interview with journalist Chet Flippo, the media consultant Elliot Mintz—who had developed a close friendship with John and Yoko in 1971—spoke of a night when John phoned him in Los Angeles. “It was very late,” Mintz recalled, “and John said, ‘An incredible thing happened to me today, Elliot,’ and he said it with such reverence that I thought he was going to divulge a really significant spiritual experience. So I propped myself up and said, ‘Yes?’ And John said, ‘I baked my first loaf of bread and you can’t believe how perfectly it rose, and I’ve taken a Polaroid photo of it and I think I can get it out to you by messenger tonight.’ ”

Mintz explained that John and Yoko would use a courier service instead of the mail because people would pocket their letters or packages as souvenirs when they saw either one of their names on them. “So someone would pick up the communication,” Mintz elaborated, “and get on an airplane and fly with the communication wherever it was going, and then hand the communication to the person it was going to.” Mintz received the Polaroid. A week or two later, he flew to New York and stopped by the Dakota. “We were sitting around the kitchen one night,” Mintz said, “and John brought out an object enclosed in silver foil. It was a piece of the bread that he had saved me from his first loaf. And we broke bread together.”

John had stepped outside the inner sanctum for a few minutes, and I sat down next to Yoko on an enormous pearl-white plush couch. In this gently lit, immaculate office, I noticed a black upright piano and, on a wall above it, a painted portrait showing John and Sean, both with shoulder-length hair, sitting on a beach in Bermuda; an ivory-and-jade inlaid oak box resting on a coffee table; and several glass vitrines containing ancient Egyptian artifacts, which Yoko valued for their beauty and magical properties.

Then I looked up, and, as if I were rising—rather than falling—into a dream, I suddenly realized that the entire ceiling was in fact a supernal trompe l’oeil sky filled with floating and drifting gossamer clouds. “Above us only sky.” And I was immediately reminded of the open letter written by John and Yoko and published on the back page of The New York Times on May 27, 1979. Entitled “A Love Letter from John and Yoko to People Who Ask Us What, When, and Why,” it had concluded: “Remember, our silence is a silence of love and not of indifference. Remember, we are writing in the sky instead of on paper—that’s our song. Lift your eyes and look up in the sky . . . and you will see that you are walking in the sky, which extends to the ground. We are all part of the sky, more than of the ground.” And although my head was still in the clouds, ensorcelled by cerulean light, I slowly brought myself back down to earth as Yoko began explaining to me how the album Double Fantasy came to be.

The previous spring, she recounted, John had, with her blessing, chartered the Megan Jaye, a forty-three-foot sloop based in Newport, Rhode Island, and set sail on June 4 with a four-member crew for the 635-mile trip to Bermuda. He had previously learned to sail on Long Island Sound where he and Yoko had a second home in Cold Spring Harbor, and for a long time had harbored a desire to undertake a long sea voyage. He would be turning forty on October 9, and, as he wrote in “Borrowed Time”—a song that he composed after the completion of his trip—“Now I am older / The future is brighter and now is the hour.”

The plan was for Sean to fly with a nanny to Bermuda after John had arrived there, and father and son would then spend a three-week vacation together, swimming and sailing, while Yoko stayed at home “sorting out business,” as she put it. But midway into John’s navigational journey through the Bermuda Triangle, a storm broke out with gale-force winds and twenty-foot-high waves. The captain and crew fell ill, and John, not prone to seasickness, had to take over as helmsman for six hours. Buffeted by the winds and pummeled by water, he later described himself as having felt like a Viking “screaming sea chanteys and shouting at the gods.” Reflecting on his adventure, John would later remark to me: “You get in a fucking boat in a 110-mile-per-hour gale and you really find out what’s real or not.”

He rented a stucco villa in the idyllically named Fairylands on the outskirts of Hamilton, and every day he and Sean would go swimming and build sand castles on the beach. It was here that they ran into a woman artist who mustered the courage to approach them to ask if she could paint John and Sean together. Surprisingly, John agreed. For several days, he and Sean went to her studio to pose for the portrait. When John returned to New York, he presented it to Yoko as a surprise gift, and it was this painting that I had noticed hanging on the wall above the piano in Yoko’s office.

One day, John took Sean to the Bermuda Botanical Gardens where, under a cedar tree, he came across some delicate white-and-yellow flowers called a Double Fantasy. “It’s a type of freesia,” John explained, “but what it means to us is that if two people picture the same image at the same time, that is the secret.” And then one night he wandered into Hamilton and, curious to find out what kind of music people were listening to, he went club-hopping—something he hadn’t done since the mid-1970s in Los Angeles—and ended up at a spot called Disco 40. “Upstairs, they were playing disco,” John would later tell me, “but downstairs I suddenly heard ‘Rock Lobster’ by the B-52s for the first time. Do you know it? It sounds just like Yoko’s music, so I said to meself, ‘It’s time to get out the old ax and wake the wife up!’ ”

John began writing songs at a rapid pace. “Woman” apparently took him about fifteen minutes, and in one of his new songs, “Dear Yoko,” he referred to his harrowing sea voyage, telling her that even in the midst of the tempest, her spirit had been watching over him. Simultaneously, Yoko, in New York, had also started writing songs. As if to confirm her idea that, as she once remarked, “you can assemble a painting with a person in the North Pole over a phone, like playing chess,” she and John began to speak on the phone every day and sang each other what they had composed in between calls. During one of their conversations, John sang her “Beautiful Boy,” and Yoko said, “I wrote a song, too, it’s called ‘Beautiful Boys.’ Let me sing it to you.” And when John came back to New York, Yoko asked him, “Do you want to do it?,” and John answered “Yes.”

•••

John had now returned to the inner sanctum, and Yoko said that she’d be leaving us for a while so that we could chat. As John sat down on the couch, I told him that Yoko had informed me how Double Fantasy had come about, and observed that this was probably the first album ever created over the telephone. “Yeh,” John said, laughing, “and it’s a play. It’s a heart play, with the emphasis on ear in the middle of that word!”

“I’ve heard that you’ve had a guitar hanging on the wall behind your bed for the past five or six years,” I said to him, “and that you only recently took it down to play on Double Fantasy. Is that true?”

“I bought this beautiful electric guitar round about the period I got back with Yoko and had the baby,” he replied. “It’s not a normal guitar, it doesn’t have a body, it’s just an arm and this tubelike, toboggan-looking thing, and you can lengthen the top for the balance of it if you’re sitting or standing up. I played it a little, and then just hung it up behind the bed, but I’d look at it every now and then, because it had never done a professional thing, it had never really been played. I didn’t want to hide it the way one would hide an instrument because it was too painful to look at—like Artie Shaw went through a big thing and never played his clarinet again. But I used to look at it and think, ‘Will I ever pull it down?’

“On top of the guitar I’d placed a wooden number nine that some kid had sent me and a dagger Yoko had given me—a dagger made out of a bread knife from the American Civil War to cut away the bad vibes, to cut away the past symbolically. It was just like a picture that hangs there but you never really see, and then recently I realized, ‘Oh, goody! I can finally find out what this guitar is all about,’ and I took it down and used it in making Double Fantasy.”

“So that guitar wasn’t gently weeping behind you for five years?” I asked.

“Mine never weeped,” he replied. “Mine screams or it’s not on at all!”

“I’ve been playing Double Fantasy a lot,” I started to say to John overexcitedly, “and it’s fantastic, but I’ve only heard it for the past three or four days and I wish I had it before—”

“How are you?” John interrupted, and looked at me with a time- and interview-stopping smile. “You don’t have to rush, we’ve got hours and hours and hours. It’s been like a reunion for us these last few weeks. The record’s already up there, it’s already passed the test of whatever it’s supposed to pass, the public have accepted it and bought it. I’m glad, Yoko’s glad, we’re glad to work together again and talk to the press.”

“You haven’t minded answering all the usual questions?” I asked him.

“It’s a game,” he said, “but the whole of life is a game, isn’t it? But is the implication then that the game is immoral? I mean, are we supposed to be very serious or just a little serious about it? But it is a very serious concern—a lot of money is put into an album, a lot of sweat and blood . . . and then having to put up with the garbage again, right? So we’re doing it because we want to do it, and we think we can have fun with it, and people want a record, obviously, because otherwise they wouldn’t have bought it.

“We recently did a very nice interview with a very nice reporter—I really enjoyed him, and he was an intelligent guy, and I don’t want to hurt him in any way. But when he described me in his article, I realized he hadn’t seen me at all.”

“In what sense?” I asked.

“He described me as wearing wire-rimmed glasses. Now, I haven’t worn wire-rimmed glasses since 1973. You see the glasses I’m wearing? They’re normal, plastic, blue-frame glasses.”

“Just so that I don’t fall into the same trap,” I said to him, “maybe you could describe to the magazine’s readers what you’re wearing right now.”

“O.K.,” John began. “Tell them that he’s wearing needle-cord pants, and the same black cowboy boots he’d had made in Nudie’s in 1973—”

“What’s Nudie’s?” I asked him.

“It’s the famous cowboy shop in Hollywood where Elvis got his gold lamé suit. It’s the place with the bull horns on the front, and everybody knows it.”

“Except me.”

“Now you do . . . And he’s wearing a Calvin Klein sweater and a torn Mick Jagger T‑shirt that he got when the Stones toured in 1970 or so. I think that it belonged to a roadie and someone gave it to me. And around his neck is a small, three-part diamond heart necklace that he bought as a makeup present after an argument with Yoko many years ago and that she later gave back to him in a kind of ritual. Will that do?”

“Thanks! You’ve saved me.”

“Anyway, it’s been fun talking to people, and it’s fun having your picture taken . . . well, not so much having it taken, but it’s fun to see them, and in ten years you still have them. We’ve seen Ethan Russell, who took photos of us in 1969, and Annie Leibovitz was here. She took my first Rolling Stone cover photo, and she’s doing her life. It’s been fun seeing everyone we used to know and doing it all again—we’ve all survived. When did we first meet?”

“I met you and Yoko in London on September 17, 1968,” I told him, remembering the precise date of the first of many encounters.

Most helpful customer reviews

14 of 14 people found the following review helpful.
INTERVIEWS FLESHED OUT A BIT MORE
By Stuart Jefferson
This is a collection of Cott's "complete" interviews with John Lennon and/or Yoko Ono from several different periods. Depending on how you view Lennon and/or Ono, you may rate this book higher or lower-to each his own. There's a 14 page Introduction, 235 pages of text, and 4 pages of Acknowledgements. There's no Index. Sprinkled throughout the book are a few drawings and b&w photos (including a great shot of Lennon sitting on the floor looking at 45 rpm Singles, and a photo of Ono's famous art piece of a ladder with a canvas mounted on the ceiling with the word 'yes' on it that Lennon found so intriguing) and all are printed on the same roughish paper stock that doesn't do justice to the photographs.

These are Cott's complete interviews that have appeared in publications like Rolling Stone magazine, and a portion of an essay that appeared with other writing. The interviews begin in 1968 and continue with Cott's writing of one dinner (among several) he had with Lennon and Ono in New York, and ends (the Lennon portion of interviews) with his last interview with Lennon in 1980, three days before Lennon was shot. The final interview is from 2012 with Ono in Stockholm.

For deep fans of Lennon and/or Ono, there's some additional information that does give more weight to the previously published articles. Cott has fleshed out his truncated interviews with passages that give a bit more insight into both of these artists-their art and their lives. Is there anything truly startling here? Not really. Some will see this book as another attempt to wring $ from the names of both artists. Others will view these full interviews as giving more insight into both people and their lives-both personal and in the music/art worlds. But there's no denying that fans of one or both people will want to read these complete interviews because of the stature and the mystery still surrounding both of these artists. People with less interest in these artists will pass this by and won't feel like they've missed something.

6 of 6 people found the following review helpful.
Nice book but there's an editing error
By psychsound
Nice to read different interviews with John from 1968, the early 1970s and again in 1980, a few days before Lennon was shot and killed, ruminating on life and what he thought would lie ahead.

But I found a significant editing error. When Cott is writing about his conversation with Lennon in 1968 during the recording of the White Album, he tells Lennon that he compares "A Day in the Life" with Jimi Hendrix's "Star Spangled Banner" performance at Woodstock (page 74). But they could not have talked about Woodstock at this time. Woodstock happened in 1969. No indication in the text that Cott was referring to a subsequent conversation with Lennon when he made reference to Woodstock. How did the editors miss this? (During the 1968 interview, Cott also references "All Together Now" (page 70), which was not released until early 1969 on the Yellow Submarine album, another anomaly).

7 of 8 people found the following review helpful.
An Ok read
By Amazon Customer
There's not much new here. The interviews with John and Yoko were good, but there was a lot of superfluous background info that really didn't add anything. The 1980 interview was the highlight of the book. A much stronger book is The Playboy Interviews with John and Yoko written by David Sheff.

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Kamis, 26 Februari 2015

# PDF Ebook A Breath from Elsewhere: Musings on Gardens, by Mirabel Osler

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Mirabel Osler attempts in this work to take the reader beyond her own garden, offering encouragement to all gardeners, especially novices, to ignore books and try whatever appeals to them.

Sales Rank: #2017543 in eBooks
Published on: 2012-10-01
Released on: 2012-10-01
Format: Kindle eBook

Amazon.com Review
"The charm of gardening is that as everything is forever on the move, you can change and alter things as you go along.... Whatever nourishes your impulses should be your launching pad," writes Mirabel Osler, underlining her enthusiasm for "vicarious gardening," an approach she encourages both the novice and the experienced gardener to consider when thinking about their own patches, in her new book, A Breath from Elsewhere.

Offering her wise, witty, and exceedingly insightful views on gardening, Osler (A Gentle Plea for Chaos) winds her way down the garden path, pausing to address the beginners--those individuals tempted, yet still hesitant--and continuing with folks "who have already launched themselves into the unknown region but have not yet found their bearings." The final stop is for those nearing the end of their gardening lives, "for widows and widowers, partners and lovers, who may be struggling to keep the garden going but who can't release themselves from it without being overwhelmed by guilt." With such chapter headings as "There Are No Right Ways to Make a Garden," and "Surfing the Flower Beds," greenhorn gardeners will find comfort as well as inspiration from Osler's candid discussions, while "Dead-Heading the Guilt" allows seasoned gardeners to let go, move on, and make a garden of their own. After all, "by jumping in the deep end rather than treading water, it is possible to do something radical."

Osler's argument--to break the golden rules, follow your instincts, and create the garden that you desire--is made ever stronger by her personal approach, pointed humor, and skillful storytelling, effectively drawing the reader further down the path towards the garden as refuge--a place perfectly suited for "inspiration or freedom, for discovery or surrender." --Stefanie Hargreaves

From Publishers Weekly
Can a garden book succeed without glossy photos and nary a mention of composting and plant rotation? It can if it's written in Osler's exquisite prose, extolling the unusual enchantment of a garden rather than miring readers in the intricacies of soil composition and weed control. Cheerfully admitting her lack of scientific expertise, Osler offers essays nevertheless inspire readers to truly experience gardens. Along the way, she takes to task certain garden visitors: dilettante photographers, for their narrow lens views, and smokers, who miss the myriad garden scents. Since gardening can easily overwhelm the unwary, Osler offers tips for standing firm, such as "buying plants in a nursery that has none of the soliciting-to-buy and the gimcrack tat" of some garden centers where all the flowers have been force-fed to bloom ahead of season. She believes that real gardeners don't "make a garden" but work with plants and nature to help a garden and its mood evolve. Osler (A Gentle Plea for Chaos) also addresses the neglected topic of coping with garden demands when one's gardening partner dies or becomes ill. Drawing on her own experience, she offers suggestions for handling guilt, grief and moving forward in new ways. This book, both imaginative and practical, will stimulate experienced green-thumbers while inspiring novices.
Copyright 1999 Reed Business Information, Inc.

From Library Journal
English garden writer Osler (A Gentle Plea for Chaos, Arcade, 1998) offers contemplations mixed with advice based on practical growing experience. Her forte is the thoughtful expression of the fears and passions gardeners encounter as they tackle the challenge of creating a garden. Inexperienced growers as well as gardeners who have matured along with their gardens will find insights into the personal rewards of growing plants. The book includes thoughts on the smoking visitor in the fragrant garden, the photographer in the garden, and the gardener who is just beginning to grow plants. A pleasant combination of personal observation and sage advice that is perfect for the reader who needs gardening alternatives during the slow-growing winter months; recommended for public libraries.ADale Luchsinger, Milwaukee Area Technical Coll. Lib., WI
Copyright 1999 Reed Business Information, Inc.

Most helpful customer reviews

15 of 15 people found the following review helpful.
Getting on with life....
By Dianne Foster
I like to read something calming just before bed, and Ms. Osler's book struck me as suitable for that purpose. Like a bedtime story, it put me to sleep night after night for several weeks. Her observations left me feeling "God's in his heaven, All's right with the world."
Ms. Osler lives and gardens in England, so her observations are not particularly applicable for most gardeners in the states. However, her book is not meant to be a "how to" book. It is filled with general observations gardeners everywhere can relate to.
Ms. Osler wrote "A Gentle Plea for Chaos" about a garden she built with her husband, who apparently died before that book was published as she dedicated it to him. "Breath" is about her life after his death. In this book, Ms. Osler describes how she settled into a new house and garden and a new life. Although it's ostensibly a gardening book, it could be viewed as a book about getting on with your life when you're on your own.
Ms Osler's books are autobiographical, gentle, and kindly.

4 of 4 people found the following review helpful.
Mirabel Strikes Again
By Richard C. Cornett
For readers who enjoyed "Secret Gardens of France" and the more personal " Gentle Plea for Chaos," Ms. Osler has treated us to the story of the creation of her latest garden. She has opinions about everything and is not shy about sharing them with readers. Often outrageously funny, she forges ahead ignoring established rules of rigid gardiners.
In drawing up an imaginary list of people one would like to have to dinner, Ms. Osler would be first on my list.
Richard Cornett

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Rabu, 25 Februari 2015

# Download La muerte tiene permiso: 0 (Seccion de Obras de Ciencia y Tecnologia) (Spanish Edition), by Edmundo Valadés

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Dieciocho cuentos excelentes de uno de los maestros del género en México. Su prosa, aligerada por la variedad de temas abordados, contiene un estilo conseguido a golpe de escritura cotidiana en el noble ejercicio periodístico y literario que lo ha hecho uno de los grandes de la narrativa corta contemporánea.

Sales Rank: #1397421 in eBooks
Published on: 2012-07-17
Released on: 2010-11-11
Format: Kindle eBook

Language Notes
Text: Spanish

Most helpful customer reviews

0 of 0 people found the following review helpful.
The Death has permission... yes it has.
By A Customer
This is a wonderful story about the justice systems and the XX century latinamerican repression. Valades present us the strong of the people, and the alternatives against repression. We could classified this as black humor, with a magnific burocratic style. The reading is very dinamic and funny, for those of you who are larning spanish. I really liked this story cox it shows a phase on the historic process, but in a ludic way.

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Jumat, 06 Maret 2015

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Free PDF Days That I'll Remember: Spending Time with John Lennon and Yoko Ono, by Jonathan Cott

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Kamis, 26 Februari 2015

PDF Ebook A Breath from Elsewhere: Musings on Gardens, by Mirabel Osler

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