The first in the Honor series, Above All, Honor introduces single-minded Secret Service Agent Cameron Roberts and the woman she is sworn to protect—Blair Powell, the daughter of the President of the United States. Cam’s duty is her life -- and the only thing that keeps her from self-destructing under the unbearable weight of her own deep personal tragedy. However, she hasn’t counted on the fact that the beautiful, willful first daughter will do anything in her power to escape the watchful eyes of her protectors, including seducing the agent in charge. Both women struggle with long-hidden secrets and dark passions as they are forced to confront their growing attraction amidst the escalating danger drawing ever closer to Blair. From the dark shadows of rough trade bars in Greenwich Village to the elite galleries of Soho, each must balance duty with desire and, ultimately, choose between love and honor.

Kora Adams doesn't believe in curses, but she has known nothing but bad luck all of her life. Until the night a handsome stranger knocks on her front door. Winter McQuillen has inherited a sprawling Texas ranch-but the only way he can claim it is to have a wife-this very night. Now, Kora has to make a choice-turn Winter out of her home or take a chance on the possibility of love.

Wilhelmina Brewster has been a college music professor for 41 years, devoting her life to her career and never marrying. Now, after her forced retirement at age 65, she is mourning her loss and searching for something to fill the empty hours. Widower Mike Dolan is a pilot and World War II veteran who has always lived life to the fullest. When medical tests confirm that his cancer has returned, he makes plans to take a final flight in his airplane rather than become a burden to his family. Wilhelmina accidently learns of Mike's final plans, and when she discovers that he isn't a believer, she knows it's her Christian duty to talk with him about her faith. But although she has been a lifelong Christian, she feels totally inadequate for the task of witnessing to an unbeliever. Mike and Wilhelmina are two very different people—one figuring out how to live, the other how to die. Yet they will find themselves journeying together as they search for answers to life, loss and faith in God.

The Magnificent Ambersons, by Booth Tarkington, is part of the Barnes & Noble Classics series, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of Barnes & Noble Classics:All editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes & Noble Classics pulls together a constellation of influences—biographical, historical, and literary—to enrich each reader's understanding of these enduring works. Largely overshadowed by Orson Welles’s famous 1941 screen version, Booth Tarkington’s novel The Magnificent Ambersons was not only a best-seller when it first appeared in 1918—it also won the Pulitzer Prize.Set in the Midwest in the early twentieth century—the dawn of the automobile age—the novel begins by introducing the richest family in town, the Ambersons. Exemplifying aristocratic excess, the Ambersons have everything money can buy—and more. But George Amberson Minafer—the spoiled grandson of the family patriarch—is unable to see that great societal changes are taking place, and that business tycoons, industrialists, and real estate developers will soon surpass him in wealth and prestige. Rather than join the new mechanical age, George prefers to remain a gentleman, believing that “being things” is superior to “doing things.” But as his town becomes a city, and the family palace is enveloped in a cloud of soot, George’s protectors disappear one by one, and the elegant, cloistered lifestyle of the Ambersons fades from view, and finally vanishes altogether.A brilliant portrayal of the changing landscape of the American dream, The Magnificent Ambersons is a timeless classic that deserves a wider modern audience.Nahma Sandrow has written extensively about theater and cultural history, including the books Vagabond Stars: A World History of Yiddish Theater and Surrealism: Theater, Arts, Ideas. For many years a professor at Bronx Community College of the City University of New York, she has lectured at Oxford University, Harvard University, the Smithsonian, and elsewhere.

A rare and beautifully produced "accordion" book by renowned novelist and poet Anne Michaels and acclaimed artist and writer Bernice Eisenstein that will cause a stir for both its form and its content.Anne Michaels's resonant book-length poem--which unfolds on one side of the pages of this accordion book--ranges from the universal to the intimate, as she writes of historical figures for whom language was the closest thing to salvation; on the other side, we have Bernice Eisenstein's luminous portraits of and quotes from such twentieth-century writers and thinkers as Paul Celan, Nelly Sachs, W. G. Sebald, Anna Akhmatova, Primo Levi, and Albert Einstein. The poetry and portraits join together in a dialogue that can be read in any direction and any order, in a format that perfectly reflects the thematic interconnectedness of this collaboration: "an alphabet of spirits and spirit; an elegy of remembrance" (Eisenstein); "just as a conversation becomes the third side...

Praise for André Alexis's previous books:"Astonishing . . . an irresistible, one-of-a-kind work."—Quill & Quire"Alexis [has an] astute understanding of the madly shimmering, beautifully weaving patterns created by what we have agreed to call memory."—Ottawa CitizenThere were plans for an official welcome. It was to take place the following Sunday. But those who came to the rectory on Father Pennant's second day were the ones who could not resist seeing him sooner. Here was the man to whom they would confess the darkest things. It was important to feel him out. Mrs Young, for instance, after she had seen him eat a piece of her macaroni pie, quietly asked what he thought of adultery.André Alexis brings a modern sensibility and a new liveliness to an age-old genre, the pastoral.For his very first parish, Father Christopher Pennant is sent to the sleepy town of Barrow. With more sheep than people, it's...

Цикл о Крае Времени весьма необычен. Это не фэнтези, это не научная фантастика в обычном смысле этого термина, это - нечто иное. Край Времени - это когда "дни вселенной были сочтены". Герои этого цикла - люди, хотя человеческого в них не сильно много. Они всемогущи, а если их настигает смерть, то они легко могут возродиться, а главное - они не живут, они скорее играют в жизнь. Играют в любовь, в страдания, играют во что угодно, лишь бы занять время. Беспрерывные развлечения - вот смысл их жизни. Цикл полон языковых изысков, необычных способов построения речи и сюжета, странных имен героев, но при этом читается просто отлично. Повесть Эльрик на Краю Времени , как по замыслу, так и по содержанию, представляется ответом читателям, которые в то время закидывали Муркока письмами с просьбами написать еще что-нибудь про Эльрика. Это не героика, как большая часть книг об Эльрике, это - фарс. Сюжетная фабула понятна из названия, но дело не в сюжете - дело в том издевательстве, через которое проходит Эльрик в течении всей повести, начиная от его встречи с Вертером и до разговора с Джеггедом - Ариохом. И этот разговор - очередная самопародия на общение с Ариохом. В общем, повесть получилась весьма своеобразной. "Танелорн: Всё о Майкле Муркоке" http://www.moorcock.narod.ru/

In these ten stories, Ford mines literary gold from the wind-scrubbed landscape of the American West - and from the guarded hopes and gnawing loneliness of the people who live there. A refugee from justice driving across Wyoming with his daughter; an unhappy girlfriend and a stolen Mercedes; a boy watching his family dissolve in a night of tragicomic violence; two men and a woman swapping hard-luck stories in a frontier bar as they try to sweeten their luck. Rock Springs is a masterpiece of taut narration, cleanly chiselled prose, and empathy so generous that it feels like a kind of grace.

After more than a decade, Richard Ford revives Frank Bascombe, the beloved protagonist from The Sportswriter and Independence Day. Fans will be scrambling for The Lay of the Land, a novel that finds Bascombe contending with health, marital, and familial issues wake of the 2000 presidential election. We asked Richard Ford to tell us a little more about what it's like to create (and share so much time with) a character like Frank. Read his short essay below. --Daphne Durham Richard Ford on Frank BascombeI never think of the characters I write as exactly people, the way some writers say they do, letting their characters "just take over and write the book;" or for that matter, in the way I want readers to think of them as people, or even as I think of characters in novels I myself read (and didn't write). In my own books I do all the writing--the characters don't. And for me to think of them as people, instead of as figures made of language, would make my characters less subject to the useful and necessary changes that occur as I grow in my own awareness about them as I make them up. Writing a character for twenty-five years and for three novels, as I have written about Frank Bascombe, has meant that Frank has, of course, become a presence in my life (and a welcome one). When I wrote Independence Day I began with the belief that Frank was pretty much the same character and presence he was in The Sportswriter. But when I went back later and read parts of The Sportswriter, I found that the sentences Frank "spoke" and that filled that second book were longer, more complex, and actually contained more nitty experience than the first book. This has also been true of The Lay of the Land: longer sentences, more experience to reconcile and transact, more words required to make lived life seem accessible. You could say that Frank had simply changed as we all do. But practically speaking--as his author--what this makes me think is that I've had to make up Frank up newly each time, and have not exactly "gone back" and "found" him--although Frank's history from the previous books has certainly needed to be kept in sight and made consistent. What is finally consistent to me about Frank is that I "hear" language I associate with him, and it is language that pleases me, with which I and he can (if I'm a good enough writer) represent life in an intelligent and hopeful and buoyant spirit a reader can make use of. --Richard Ford