英语小说网

在作为"兔子四部曲"的最后一部《兔子休息了》发表10年以后,厄普代克又出人意料地推出了中篇小说为他的"兔子"系列作结.小说同时也通过"兔子"留在世上的亲人们的一段故事表现了他对家庭的肯定、对生活的信心和对未来的期望.

In William Godwin's dark psychological novel of paranoia and persecution, the eponymous hero is a guileless young servant who enters the employment of Ferdinando Falkland, a cosmopolitan and benevolent country gentleman. Falkland is subject to fits of unexplained melancholy, and Caleb becomes convinced that he harbors a dark secret. His discovery of the truth leads to false accusations against him, and a vengeful pursuit as suspenseful as any thriller. The novel is also a powerful political allegory, inspired by the events of the decade following the French Revolution. This is the first paperback edition to reproduce the first edition (1794), restoring the original, highly topical novel written during the political crisis of 1793-4 when the British government clamped down on the burgeoning reform movement. The edition is further enhanced by Pamela Clemit's comprehensive introduction outlining the novel's contemporary reception, its historical and literary contexts, and its alternate endings; three appendices highlighting selected variants between the second and third editions; Godwin's prefatory materials; and new up-to-date bibliography and explanatory notes.

In the story, the young Prince Dolor, whose legs are paralysed due to a childhood trauma, is exiled to a tower in a wasteland. As he grows older, a fairy godmother provides a magical travelling cloak so he can see, but not touch, the world.

The book begins where Roses are Red ended, with Dr. Alex Cross at the home of murdered FBI Agent Betsey Cavalierre. Alex is in her room when his cellphone rings. Alex answers and the Mastermind is on the line. He tells Alex that he killed Cavalierre to toy with Alex. He's going to kill his grandmother and his children, and John Sampson, Cross' best friend and partner, who was watching over Nana Mama, Damon and Janelle, cannot stop him. Alex hangs up and calls Sampson, telling him what happened. Sampson tells Alex that the Mastermind can try but will not succeed. Alex is rushing home when the Mastermind calls him back and tells Cross that his family is safe for the moment. He warns Alex that he's next. Elsewhere, in San Francisco, California, a man and a woman jog through a Golden Gate Park. As they jog, the woman, Martha Wiatt, hears some kind of growling behind them. As they both run faster, she gains some distance between her and her boyfriend, Davis O'Hara. Then, she hears her boyfriend screaming behind her, and runs for help. She sees a van driving by, flags it down, and two people get out. They tell her that she and her boyfriend were chosen. The last thing she sees before dying are vampires. Later, Kyle Craig calls Alex about a similarity between two murders in San Francisco and a murder in Washington DC that they’d worked on a few months before. The case involved a runaway girl that was found hung from a light fixture in a hotel room. The FBI requests that he go to San Francisco to meet Inspector Jamilla Hughes. First, Alex takes Jannie and Ali to school but tells them he'll be back for Damon's choir concert. Kyle Craig calls him to make sure he received the information he had faxed. On the flight, he reviews the details of the murders, which include being hung with the blood drained, and remembers that the little runaway girl in DC had died in exactly the same way. Jamilla picks Cross up at the airport. She takes him to the morgue to see the bodies. A friend of hers, Dr. Allan Pang (a dental expert)is examining the bites on the victims. After reviewing the bites, he deduces that the man was bitten and mauled by a tiger and the girl was bitten by humans.

Two full-length novels in one book.

一位社会名流，把一个天真的斗牛士带上邪路。斗牛士背叛了对他无比忠诚的恋人，同时也要面对斗牛场上的凶险……

英国作家戴维·赫伯特·劳伦斯创作的一部长篇小说，是作者的半自传体作品。劳伦斯的成名作，是他早期创作中最成熟、最有影响力的作品。最初，该书因为被斥为“有伤风化”的色情文学而先后在英美等国被禁止发行。20世纪60年代，经过轰动性的法庭审判方才解禁。随着人们对其作品认识的深入，它已被誉为世界文学名著长廊中独具特色的佳作，1999年，小说被评为“20世纪英国百部最佳小说”。小说中，劳伦斯通过现实主义和心理分析的写作方法，描写了十九世纪末叶英国工业社会中下层人民的生活和特定环境下母子间和两性间的复杂、变态的心理。他强调人的原始本能，把理智作为压抑天性的因素加以摒弃，主张充分发挥人的本能。劳伦斯还对英国生活中工业化物质文明和商业精神进行了批判。没有人会否认母爱的伟大，但母爱是单方面的。如果母爱可以得到回报，那也只能是来自儿女的爱。但劳伦斯在“儿子与情人”中，对这一观念进行了强有力的挑战。没有人会否认劳伦斯是二十世纪最重要的文学家，也没有人会否认弗洛伊德是二十世纪最伟大的心理学家。但能够对这部作品所讲述的故事公开表示认同的，恐怕远远不如对这部作品进行研究的人多。

The Silmarillion, now published four years after the death of its author, is an account of the Elder Days, or the First Age of the World. In The Lord of the Rings were narrated the great events at the end of the Third Age; but the tales of The Silmarillion are legends deriving from a much deeper past, when Morgoth, the first Dark Lord, dwelt in Middle-earth, and the High Elves made war upon him for the recovery of the Silmarils. Not only, however, does The Silmarillion relate the events of a far earlier time than those of The Lord of the Rings; it is also, in all the essentials of its conception, far the earlier work. Indeed, although it was not then called The Silmarillion, it was already in being half a century ago; and in battered notebooks extending back to 1917 can still be read the earliest versions, often hastily pencilled, of the central stories of the mythology. But it was never published (though some indication of its content could be gleaned from The Lord of the Rings), and throughout my father's long life he never abandoned it, nor ceased even in his last years to work on it. In all that time The Silmarillion, considered simply as a large narrative structure, underwent relatively little radical change; it became long ago a fixed tradition, and background to later writings. But it was far indeed from being a fixed text, and did not remain unchanged even in certain fundamental ideas concerning the nature of the world it portrays; while the same legends came to be retold in longer and shorter forms, and in different styles. As the years passed the changes and variants, both in detail and in larger perspectives, became so complex, so pervasive, and so many-layered that a final and definitive version seemed unattainable. Moreover the old legends ('old' now not only in their derivation from the remote First Age, but also in terms of my father's life) became the vehicle and depository of his profoundest reflections. In his later writing mythology and poetry sank down behind his theological and philosophical preoccupations: from which arose incompatibilities of tone. On my father's death it fell to me to try to bring the work into publishable form. It became clear to me that to attempt to present, within the covers of a single book the diversity of the materials - to show The Silmarillion as in truth a continuing and evolving creation extending over more than half a century - would in fact lead only to confusion and the submerging of what is essential I set myself therefore to work out a single text selecting and arranging in such a way as seemed to me to produce the most coherent and internally self-consistent narrative. In this work the concluding chapters (from the death of Tъrin Turambar) introduced peculiar difficulties, in that they had remained unchanged for many years, and were in some respects in serious disharmony with more developed conceptions in other parts of the book. A complete consistency (either within the compass of The Silmarillion itself or between The Silmarillion and other published writings of my father's) is not to be looked for, and could only be achieved, if at all at heavy and needless cost. Moreover, my father came to conceive The Silmarillion as a compilation, a compendious narrative, made long afterwards from sources of great diversity (poems, and annals, and oral tales) that had survived in agelong tradition; and this conception has indeed its parallel in the actual history of the book, for a great deal of earlier prose and poetry does underlie it, and it is to some extent a compendium in fact and not only in theory. To this may be ascribed the varying speed of the narrative and fullness of detail in different parts, the contrast (for example) of the precise recollections of place and motive in the legend of Tъrin Turambar beside the high and remote account of the end of the First Age, when Thangorodrim was broken and Morgoth overthrown; and also some differences of tone and portrayal, some obscurities, and, here and there, some lack of cohesion. In the case of the Valaquenta, for instance, we have to assume that while it contains much that must go back to the earliest days of the Eldar in Valinor, it was remodelled in later times; and thus explain its continual shifting of tense and viewpoint, so that the divine powers seem now present and active in the world, now remote, a vanished order known only to memory. The book, though entitled as it must be The Silmarillion, contains not only the Quenta Silmarillion, or Silmarillion proper, but also four other short works. The Ainulindalл and Valaquenta, which are given at the beginning, are indeed closely related with The Silmarillion; but the Akallabкth and Of the Rings of Power, which appear at the end, are (it must to emphasised) wholly separate and independent. They are included according to my father's explicit intention; and by their inclusion is set forth the entire history is set forth from the Music of the Ainur in which the world began to the passing of the Ringbearers from the havens of Mithlond at the end of the Third Age. The number of names that occur in the book is very large, and I have provided a full index; but the number of persons (Elves and Men) who play an important part in the narrative of the First Age is very much smaller, and all of these will be found in the genealogical tables. In addition I have provided a table setting out the rather complex naming of the different Elvish peoples; a note on the pronunciation of Elvish names, and a list of some of the chief elements found in these names; and a map. It may be noted that the great mountain range in the east, Ered Luin or Ered Lindon, the Blue Mountains, appears in the extreme west of the map in The Lord of the Rings. In the body of the book there is a smaller map: the intention of this is to make clear at a glance where lay the kingdoms of the Elves after the return of the Noldor to Middle-earth. I have not burdened the book further with any sort of commentary or annotation. There is indeed a wealth of unpublished writing by my father concerning the Three Ages, narrative, linguistic, historical, and philosophical, and I hope that it will prove possible to publish some of this at a later date. In the difficult and doubtful task of preparing the text of the book I was very greatly assisted by Guy Kay, who worked with me in 1974-1975. Christopher Tolkien