Vastralaya

Evan Shively (Perseus271)

Edgar Colt

Vitor Miguel

Prisma Soulstorm

Serena

Jordan

Bruna Guedes

Husain Kothari

FRNK

Uendi Prifti

Abdul Hasib

Moral allegory and spiritual autobiography, The Little Prince is the most translated book in the French language. With a timeless charm it tells the story of a little boy who leaves the safety of his own tiny planet to travel the universe, learning the vagaries of adult behaviour through a series of extraordinary encounters. His personal odyssey culminates in a voyage to Earth and further adventures.

I don’t know what to do with these stars anymore. I give stars to books and then I think, ‘god, you give five stars to everything, people will think you are terribly undiscriminating’ – so then I give four stars or even three stars to some books. Then I look back and it turns out that that I’ve given four stars to Of Human Bondage and honestly, how could I possibly have thought it was a good idea to give that book less than five stars? It is the absurdity of human conventions that has us doing such things.Now, that is what is called a segue, from the Italian ‘seguire’ – to follow. For the last thirty years I have studiously avoided reading this book. I have done that because for the last thirty years I have known exactly what this book is about and there just didn’t seem any point in reading it. In high school friends (one of them even became my ex-wife) told me it was a great book about a man condemned to die because he was an outsider. Later I was told that this book was a story about something much like the Azaria Chamberlain case. A case where someone does not react in a way that is considered to be ‘socially appropriate’ and is therefore condemned.But after 30 years of avoiding reading this book I have finally relented and read it. At first I didn’t think I was going to enjoy it. It didn’t really get off to the raciest of starts and the character's voice – it is told in first person – was a bit dull. He is a man who lives entirely in the present, how terribly Buddhist of him – although, really there doesn’t seem to be all that much to him.My opinion of the book began to change at his mother’s funeral. I particularly liked the man who kept falling behind in the march to the cemetery and would take short cuts. Okay, so it is black humour, but Camus was more or less French – so black humour is more or less obligatory.I really hadn’t expected this book to be nearly so funny as it turned out. I’d always been told it was a ponderous philosophical text – and so, to be honest, I was expecting to be bored out of my skull. I wasn’t in the least bit bored.A constant theme in my life at present is that I read ‘classics’ expecting them to be about something and they end up being about something completely different. And given I’ve called this a ‘constant’ theme then you might think I would be less than surprised when a read a new ‘classic’ and it turns out to be completely different to my expectations. I’m a little more upset about this one than some of the others, as I’ve been told about this one before, repeatedly, and by people I’d have taken as ‘reputable sources’ – although, frankly, how well one should trust one’s ex-wife in such matters is moot.I had gotten the distinct impression from all of my previous discussions about this book that the guy ends up dead. In fact, this is not the case – he ends up at the point in his life where he has no idea if he will be freed or not. The Priest who comes to him at the end is actually quite certain that he will be freed. Let’s face it, he is only guilty of having murdered an Arab, and as we have daily evidence, Westerners can murder Arabs with complete impunity. The main point of the book to me is when he realises he is no longer ‘free’. He needs this explained to him – because life up until then had been about ‘getting used to things’ and one can 'get used to just about anything'. But the prison guard helpfully informs him that he is being ‘punished’ and the manifestation of that punishment is the removal of his ‘freedom’. Interestingly, he didn’t notice the difference between his past ‘free’ life and his current ‘unfree’ one. The most interesting part of the book to me was the very end, the conversation with the priest. The religious often make the mistake of thinking that Atheists are one thing – I’ve no idea how they ever came to make this mistake, but make it they do. Given that there are thousands upon thousands of different shades of Christians – from Jesuit Catholics to Anti-Disney Episcopalians – it should be fairly obvious that something like Atheism (without any ‘organised’ church or even system of beliefs) could not be in anyway ‘homogeneous’.I am definitely not the same kind of Atheist as Camus. To Camus there is no truth, the world is essentially absurd and all that exists is the relative truth an individual places on events and ideas. This makes the conversation with the priest fascinatingly interesting. To the priest the prisoner who is facing death is – by necessity – someone who is interested in God. You can play around with ideas like the non-existence of God when it doesn’t seem to matter (life is long and blasphemy can seem fun) – but surely when confronted with the stark truth of the human condition any man would turn away from their disbelief and see the shining light.Not this little black duck. Now, if I was in that cell I would have argued with the priest too – but I would not have argued in the same way that Meursault argues. No, I do not believe in God, but I do believe in truth, and so Camus’ arguments are barred to me.Meursault essentially says, “Look, I’m bored, I’m totally uninterested in the rubbish you are talking – now go away”. Now, this is a reasonable response. What is very interesting is that the priest cannot accept this as an answer. The world is not allowed to have such a person in it – if such a person really did exist then it would be a fundamental challenge to the core beliefs of the priest. So, he has to assume Meursault is either lying to him or is trying to taunt him. But it is much worse – he is absolutely sincere, he is not interested in this ‘truth’.I don’t know that the world is completely meaningless, it is conventional rather than meaningless. That those conventions are arbitrary (decided by the culture we grew up in) doesn’t make them meaningless, it makes them conventional. I don’t think I would like to live in a world where people go up and kill Arabs pretty much at random and with impunity, but then again, we have already established this is precisely the world I do live in. My point is that it would be better if we did adhere to some sort of moral principles and that these should be better principles than ‘he should be killed because he didn’t cry at his mum’s funeral’. Camus is seeking to say that all of our ‘moral principles’ in the end come to be as meaningless as that – we judge on the basis of what we see from the framework of our own limited experience. And look, yes, there is much to this – but this ends up being too easy.The thing I like most about Existentialism, though it isn’t really as evident in this book as it is in the actual philosophy – although this is something that Meursault is supposed to have grown to understand (sorry, just one more sub-clause) even though this wasn’t something I noticed at all while reading the book, was the notion of responsibility. I didn’t think in the end Meursault was all that much more ‘responsible’ for his actions than he had been at the start. But I do think that ‘responsibility’ is a key concept in morality and one that seems increasingly to be ignored.Better by far that we feel responsible for too much in our lives than too little – better by far that we take responsibility for the actions of our governments (say) than to call these governments ‘them’. I’m not advocating believing in The Secret - but that if one must err, better to err on the side of believing you have too much responsibility for how your life has turned out, rather than too little.So, what can I say? I enjoyed this much more than I expected – but I’m still glad I waited before reading it, I really don’t think I would have gotten nearly as much out of it at 15 as I did now.

The unforgettable, heartbreaking story of the unlikely friendship between a wealthy boy and the son of his father’s servant, The Kite Runner is a beautifully crafted novel set in a country that is in the process of being destroyed. It is about the power of reading, the price of betrayal, and the possibility of redemption; and an exploration of the power of fathers over sons—their love, their sacrifices, their lies.A sweeping story of family, love, and friendship told against the devastating backdrop of the history of Afghanistan over the last thirty years, The Kite Runner is an unusual and powerful novel that has become a beloved, one-of-a-kind classic.--khaledhosseini.com

Paulo Coelho's masterpiece tells the mystical story of Santiago, an Andalusian shepherd boy who yearns to travel in search of a worldly treasure. His quest will lead him to riches far different, and far more satisfying, listening to our hearts, of recognizing opportunity and learning to read the omens strewn along life's path, and, most importantly, to follow our dreams.

From the pen of Mick Jackson, author of The Underground Man and Five Boys, come these ten acclaimed tales. Featuring undertakers, dark forests, resurrected butterflies and a singularly mean-spirited horse, the stories are nevertheless rooted in the realistic and all too recognisable world of retirement, loneliness, and childhood boredom.By turns funny, scary and heartbreaking, they are always illuminating, and further evidence of one of the most original and brilliant imaginations in contemporary fiction.

The unforgettable novel of a childhood in a sleepy Southern town and the crisis of conscience that rocked it, To Kill A Mockingbird became both an instant bestseller and a critical success when it was first published in 1960. It went on to win the Pulitzer Prize in 1961 and was later made into an Academy Award-winning film, also a classic.Compassionate, dramatic, and deeply moving, To Kill A Mockingbird takes readers to the roots of human behavior - to innocence and experience, kindness and cruelty, love and hatred, humor and pathos. Now with over 18 million copies in print and translated into forty languages, this regional story by a young Alabama woman claims universal appeal. Harper Lee always considered her book to be a simple love story. Today it is regarded as a masterpiece of American literature.

When Jerusha Abbott, an eighteen-year-old girl living in an orphan asylum, was told that a mysterious millionaire had agreed to pay for her education, it was like a dream come true. For the first time in her life, she had someone she could pretend was "family." But everything was not perfect, for he chose to remain anonymous and asked that she only write him concerning her progress in school. Who was this mysterious gentleman and would Jerusha ever meet him?

A classic of Mexican modern literature about a haunted village.As one enters Juan Rulfo's legendary novel, one follows a dusty road to a town of death. Time shifts from one consciousness to another in a hypnotic flow of dreams, desires, and memories, a world of ghosts dominated by the figure of Pedro Páramo - lover, overlord, murderer.Rulfo's extraordinary mix of sensory images, violent passions, and unfathomable mysteries has been a profound influence on a whole generation of Latin American writers, including Carlos Fuentes, Mario Vargas Llosa, and Gabriel García Márquez. To read Pedro Páramo today is as overwhelming an experience as when it was first published in Mexico back in 1955.

“I may have lost my heart, but not my self-control.”Personally, I may have lost my self-control, but not my heart.My motivation to read this book stemmed from J.K. Rowling stating that this was one of her favourite books. A few years ago I read my first Jane Austen, which was Pride and Prejudice, and I really enjoyed it.I thought Emma couldn't be that bad, it's a popular classic and its rating is good. To be honest, it's not bad, exactly, but the fact that it took me one whole month to get through it says a lot. I had lots and lots of problems with this novel.1. Emma Such a vain and arrogant main character. I mean, I know she is supposed to be an unlikeable character for literary reasons. But that doesn't make it any easier.2. Miss Bates Why bother wasting so much ink and paper on nonsense. Numerous pages of nonsense.3. They way people are Wait. Let me guess. That character is - wait for it - pleasant? The nicest person in the world? Of such sweet disposition? So generous, exceptional, kind, satisfactory and pleasant. Please save me.4. The way people talk Hours could go by and Emma and her father could talk about nothing but the pig they owned and had slaughtered, and what they'll make of it for dinner, and how nice it was that they gave some of it to the Bates, and if it was the right part of the pig they gave away, or if they should have given something else, but no it is all fine and pleasant, and that was very generous of them, and they will surely be very gracious, since they gave away such fine piece of pork, and won't dinner be nice and kick me on the shin pleasant.5. The plotScratch 300 pages of nonsense and nervewracking pleasantness and this could have been a book I enjoyed.Find more of my books on Instagram

The hero-narrator of The Catcher in the Rye is an ancient child of sixteen, a native New Yorker named Holden Caulfield. Through circumstances that tend to preclude adult, secondhand description, he leaves his prep school in Pennsylvania and goes underground in New York City for three days. The boy himself is at once too simple and too complex for us to make any final comment about him or his story. Perhaps the safest thing we can say about Holden is that he was born in the world not just strongly attracted to beauty but, almost, hopelessly impaled on it. There are many voices in this novel: children's voices, adult voices, underground voices-but Holden's voice is the most eloquent of all. Transcending his own vernacular, yet remaining marvelously faithful to it, he issues a perfectly articulated cry of mixed pain and pleasure. However, like most lovers and clowns and poets of the higher orders, he keeps most of the pain to, and for, himself. The pleasure he gives away, or sets aside, with all his heart. It is there for the reader who can handle it to keep. J.D. Salinger's classic novel of teenage angst and rebellion was first published in 1951. The novel was included on Time's 2005 list of the 100 best English-language novels written since 1923. It was named by Modern Library and its readers as one of the 100 best English-language novels of the 20th century. It has been frequently challenged in the court for its liberal use of profanity and portrayal of sexuality and in the 1950's and 60's it was the novel that every teenage boy wants to read.

Humbert Humbert - scholar, aesthete and romantic - has fallen completely and utterly in love with Lolita Haze, his landlady's gum-snapping, silky skinned twelve-year-old daughter. Reluctantly agreeing to marry Mrs Haze just to be close to Lolita, Humbert suffers greatly in the pursuit of romance; but when Lo herself starts looking for attention elsewhere, he will carry her off on a desperate cross-country misadventure, all in the name of Love. Hilarious, flamboyant, heart-breaking and full of ingenious word play, Lolita is an immaculate, unforgettable masterpiece of obsession, delusion and lust.

This is Goethe's first novel, published in 1774. Written in diary form, it tells the tale of an unhappy, passionate young man hopelessly in love with Charlotte, the wife of a friend - a man who he alternately admires and detests. 'The Sorrows of Young Werther' became an important part of the 'Sturm und Drang movement, and greatly influenced later 'Romanticism'. The work is semi-autobiographical - in 1772, two years before the novel was published, Goethe had passed through a similar tempestuous period, when he lost his heart to Charlotte Buff, who was at that time engaged to his friend Johann Christian Kestner.

The original Wilde Thing does it again...Seriously...how does one not love on Oscar Wilde when he's throwing down the snarky...in this case, and in proper British fashion, against cocky, adolescent-cultured Americans and their starched-lip, tradition-trapped English cousins? A bounty of clever from start to finish, Wilde's tale is charming, engaging and pitch-perfect. For a story less than 30 pages long, Wilde accomplishes so much, using scalpel-like precision in both his language and his plotting to tell a story with a little bit of everything. The funny is considerable, the sadness and softer emotions are amply represented, and the brilliance is ubiquitous throughout. My sole complaint is that I wish it were a bit longer, as I would have loved for Wilde to give himself more time with these people and this setting. PLOT SUMMARY:Briefly, since this is a short story…A family of flag-flaunting United Staters acquire an historic English mansion from the thoroughly prim, thoroughly British Lord Canterville. Throw in a murderous, aesthetically-minded ghost with a penchant for high drama and theater, and you have a classic, joy-inducing tale of clashing cultures, progress vs. tradition, and Wilde’s self-mockery of his own philosophy of decadent aestheticism. And….as an added bonus that few beyond Wilde could have accomplished in this setting, you also have subtler themes of a deeper nature running through the narrative, such as penance, forgiveness, and redemption. THOUGHTS:I am a Wilde enthusiast, though my knowledge of his work is limited to this piece and The Picture of Dorian Gray, both of which I have loved. His prose speaks to me and I find his comedic orientation and verbal bitchiness to be hand in glove with my own sense of humor. His timing and delivery make me smile, whether he's commenting on his countrymen as having "really everything in common with America nowadays except, of course, language” to the reciting the casual arrogance of Mr. Otis’s response when Lord Canterville tries to dissuade him from acquiring the haunted estate: \
  I will take the furniture and the ghost at a valuation. I have come from a modern country, where we have everything that money can buy; and with all our spry young fellows painting the Old World red, and carrying off your best actors and prima-donnas, I reckon that if there were such a thing as a ghost in Europe, we'd have it at home in a very short time in one of our public museums, or on the road as a show.\
 Wilde’s humor is like a hammer wrapped in silk-covered down. It floats gracefully into your ear and then sucker punches you with its meaning. Here, Wilde even aims his high powered criticism at himself, as the ghost, Sir Simon, is a thinly veiled reflection of the author. Initially, we see Sir Simon, this artisitc spook with flair and panache, as a victim of the boorish Yankees who have invaded his haunt, and who are totally unmoved by any of his scare tactics. They apply stain remover to the recurring blood stains, oil his chains to avoid excessively rattling, and medicate his evil laugh after mistaking it for coughing. For them, he is simply a problem to solve. It seems our artist can't get a break, and Wilde has us sympathizing with the frustrated spectre. But Wilde slowly starts to show us that the ghost is far from innocent. We learn of his previous murders and his complete amorailty and self-centeredness. Wilde slowly closes the trap and we begin to see the truth behind the ghost's genteel facade. One line, in particular, that struck me was when he casually admitted to killed his wife because she "was very plain, never had my ruffs properly starched, and knew nothing about cookery.” It’s almost a throwaway line, but it really drove home for me the character of Sir Simon.Now don’t go thinking based on the above that this is really a serious tale. The humor is steady throughout and I was pretty much smiling from beginning to end reading Wilde's on target wit. \
  ‘What a monstrous climate!’ said the American Minister, calmly, as he lit a long cheroot. ‘I guess the old country is so overpopulated that they have not enough decent weather for everybody.’\
It’s just that Wilde adds enough little splashes of depth, of emotion, to make the entire story more resonant and, ultimately, more enjoyable.\
  ‘Yes, death. Death must be so beautiful. To lie in the soft brown earth, with the grasses waving above one's head, and listen to silence. To have no yesterday, and no to-morrow. To forget time, to forget life, to be at peace.’\
 You can't ask for better than that. I want to make one final comment about Wilde’s skill as it relates to his creative use of the setting. As you read the description of Canterville Chase, you see a litany of characteristics that paint it as the quintessential gothic mansion. Stone gargoyles, secret passageways, paintings of the previous Canterville residents, and even the stereotypical suit of armor as décor-enhancer. Throw in some dark wood and stained glass windows and you have a haunted house cliché that should be gloomy and positively oozing dread.But is it? Of course not…Wilde simply uses this benckmark so he can quickly and effectively turn it on its head. So…I loved this and I thought how Wilde took what started as a satire on the uncouthness of Americans and the stale traditionalism of the English, and turned it into something uplifting by marrying the best attributes of both was inspired.  I just wish it had been longer and the story had had a little more time to breathe. I can’t wait to read more of his work. 4.5 stars. HIGHEST POSSIBLE RECOMMENDATION.

That The Illustrated Man has remained in print since being published in 1951 is fair testimony to the universal appeal of Ray Bradbury's work. Only his second collection (the first was Dark Carnival, later reworked into The October Country), it is a marvelous, if mostly dark, quilt of science fiction, fantasy, and horror. In an ingenious framework to open and close the book, Bradbury presents himself as a nameless narrator who meets the Illustrated Man--a wanderer whose entire body is a living canvas of exotic tattoos. What's even more remarkable, and increasingly disturbing, is that the illustrations are themselves magically alive, and each proceeds to unfold its own story, such as "The Veldt," wherein rowdy children take a game of virtual reality way over the edge. Or "Kaleidoscope," a heartbreaking portrait of stranded astronauts about to reenter our atmosphere--without the benefit of a spaceship. Or "Zero Hour," in which invading aliens have discovered a most logical ally--our own children. Even though most were written in the 1940s and 1950s, these 18 classic stories will be just as chillingly effective 50 years from now. --Stanley WiaterContents:· Prologue: The Illustrated Man · ss * · The Veldt [“The World the Children Made”] · ss The Saturday Evening Post Sep 23 ’50 · Kaleidoscope · ss Thrilling Wonder Stories Oct ’49 · The Other Foot · ss New Story Magazine Mar ’51 · The Highway [as by Leonard Spalding] · ss Copy Spr ’50 · The Man · ss Thrilling Wonder Stories Feb ’49 · The Long Rain [“Death-by-Rain”] · ss Planet Stories Sum ’50 · The Rocket Man · ss Maclean’s Mar 1 ’51 · The Fire Balloons [“‘In This Sign...’”] · ss Imagination Apr ’51 · The Last Night of the World · ss Esquire Feb ’51 · The Exiles [“The Mad Wizards of Mars”] · ss Maclean’s Sep 15 ’49; F&amp;SF Win ’50 · No Particular Night or Morning · ss * · The Fox and the Forest [“To the Future”] · ss Colliers May 13 ’50 · The Visitor · ss Startling Stories Nov ’48 · The Concrete Mixer · ss Thrilling Wonder Stories Apr ’49 · Marionettes, Inc. [Marionettes, Inc.] · ss Startling Stories Mar ’49 · The City [“Purpose”] · ss Startling Stories Jul ’50 · Zero Hour · ss Planet Stories Fll ’47 · The Rocket [“Outcast of the Stars”] · ss Super Science Stories Mar ’50 · Epilogue · aw *

Written in his distinctively dazzling manner, Oscar Wilde’s story of a fashionable young man who sells his soul for eternal youth and beauty is the author’s most popular work. The tale of Dorian Gray’s moral disintegration caused a scandal when it ﬁrst appeared in 1890, but though Wilde was attacked for the novel’s corrupting inﬂuence, he responded that there is, in fact, “a terrible moral in Dorian Gray.” Just a few years later, the book and the aesthetic/moral dilemma it presented became issues in the trials occasioned by Wilde’s homosexual liaisons, which resulted in his imprisonment. Of Dorian Gray’s relationship to autobiography, Wilde noted in a letter, “Basil Hallward is what I think I am: Lord Henry what the world thinks me: Dorian what I would like to be—in other ages, perhaps.

Scottish-born American naturalist and author (1838-1914)

The strange and wonderful tale of man’s experiences on Mars, filled with intense images and astonishing visions. Now part of the Voyager Classics collection.The Martian Chronicles tells the story of humanity’s repeated attempts to colonize the red planet. The first men were few. Most succumbed to a disease they called the Great Loneliness when they saw their home planet dwindle to the size of a fist. They felt they had never been born. Those few that survived found no welcome on Mars. The shape-changing Martians thought they were native lunatics and duly locked them up.But more rockets arrived from Earth, and more, piercing the hallucinations projected by the Martians. People brought their old prejudices with them – and their desires and fantasies, tainted dreams. These were soon inhabited by the strange native beings, with their caged flowers and birds of flame.Contents:Rocket SummerYllaThe Summer NightThe Earth MenThe TaxpayerThe Third Expedition-And the Moon Be Still As BrightThe SettlersThe Green MorningThe LocustsNight MeetingThe ShoreInterimThe MusiciansWay in the Middle of the AirThe Naming of NamesUsher IIThe Old OnesThe MartianThe Luggage StoreThe Off SeasonThe WatchersThe Silent TownsThe Long YearsThere Will Come Soft RainsThe Million Year Picnic

First, there were ten—a curious assortment of strangers summoned as weekend guests to a little private island off the coast of Devon. Their host, an eccentric millionaire unknown to all of them, is nowhere to be found. All that the guests have in common is a wicked past they're unwilling to reveal—and a secret that will seal their fate. For each has been marked for murder. A famous nursery rhyme is framed and hung in every room of the mansion:"Ten little boys went out to dine; One choked his little self and then there were nine. Nine little boys sat up very late; One overslept himself and then there were eight. Eight little boys traveling in Devon; One said he'd stay there then there were seven. Seven little boys chopping up sticks; One chopped himself in half and then there were six. Six little boys playing with a hive; A bumblebee stung one and then there were five. Five little boys going in for law; One got in Chancery and then there were four. Four little boys going out to sea; A red herring swallowed one and then there were three. Three little boys walking in the zoo; A big bear hugged one and then there were two. Two little boys sitting in the sun; One got frizzled up and then there was one. One little boy left all alone; He went out and hanged himself and then there were none."When they realize that murders are occurring as described in the rhyme, terror mounts. One by one they fall prey. Before the weekend is out, there will be none. Who has choreographed this dastardly scheme? And who will be left to tell the tale? Only the dead are above suspicion.

books

Active tastebuds