英语小说网

美国当红脱口秀《崔娃每日秀》主持人特雷弗·诺亚一出生就犯了罪：因为他的父亲是白人，母亲是黑人，而在当时种族隔离的南非，这样的结合属于犯罪，他父母会面临五年有期徒刑的惩罚，诺亚自己也会被送到孤儿院。为了保护诺亚，他那位勇敢、反叛、幽默、坚强、虔诚信教的母亲，想出了各种极端甚至荒唐的办法，在歧视、贫困、暴力的怪圈中，竭力为他创造了一种正常的生活。

First serialized 1922 in l'Excelsior. Lupin, disguised as Serge Rénine, woos a young damsel, solving eight mysteries as they travel together.

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

《三国演义》全名《三国志通俗演义》，元末明初小说家罗贯中所著，为中国第一部长篇章回体历史演义的小说，中国古典四大名著之一，历史演义小说的经典之作。       Romance of the Three Kingdoms, written by Luo Guanzhong in the 14th century, is a Chinese historical novel based upon events in the turbulent years near the end of the Han Dynasty and the Three Kingdoms era of China, starting in 169 and ending with the reunification of the land in 280. Romance of the Three Kingdoms is acclaimed as one of the Four Great Classical Novels of Chinese literature; it has a total of 800,000 words and nearly a thousand dramatic characters (mostly historical)in 120 chapters. It is arguably the most widely read historical novel in late imperial and modern China.

       故事以主人公查尔斯的视角展开，描写了伦敦近郊布赖兹赫德庄园一个天主教家庭的生活和命运。这个家族老一代的马奇梅因侯爵在第一次世界大战期间去国外参加战争，战后没有回国，长期和他的意大利情妇在威尼斯同居。他的妻子马奇梅因夫人住在伦敦，夫妻不睦，按照天主教规定，夫妻不能离婚，事实上他们长期分居。 　　他们的长子布赖兹赫德是未来爵位和庄园的继承人（与庄园同名），却生性怪僻。而次子塞巴斯蒂安和故事叙述人查尔斯是牛津大学的同窗好友，一生经历坎坷，流落异国。大女儿朱莉娅和小女儿科迪莉娅的一生也跌宕起伏(电影未过多的讲述小女儿的经历)。影片通过这一家人的故事，反映了战后的英国状况，也可以说是西方一般知识分子的思想与遭遇。 　　庄园故事以第三者的角度开始讲述,以查尔斯与庄园主小儿子和大女儿的感情经过为主线,贯以宗教启示（特别是结尾处，老庄园主去世时的划十字手式）。

小说讲述的是伐木工的两个孩子狄蒂尔和梅蒂尔在圣诞夜做了一个梦：一位名叫贝丽露妮的仙女，委托他俩去寻找一只青鸟，因为只有青鸟才能使她病重的女儿痊愈。仙女告诉孩子们青鸟代表幸福，并给了他们一顶镶有钻石的小帽子。小帽子上的钻石具有非凡的魔力，孩子们用它召来了面包、糖、火、水、狗、猫等做伴，在光神的引导下，孩子们历尽千辛万苦，寻遍了仙女宫、记忆国、夜神宫、森林、墓地、未来国等，但青鸟总是得而复失。梦醒后，貌似仙女的邻居为她病重中的女儿来讨要圣诞节礼物，狄蒂尔把自己心爱的鸽子赠送给了她，不料这只鸽子变成青色，化为一只“青鸟”，邻居小女孩的病奇迹般地好了。原来青鸟不用跋山涉水去寻找，它就在身边。只有甘愿把幸福给别人，自己才会得到幸福。

安妮·雪利住进卡斯伯特家以后，埃文利村的生活变得不再死气沉沉。他们本想收养一个男孩来帮忙料理格林·盖布尔斯的农活，可他们却得到了安妮，一个长有红发、雀斑且叽叽喳喳有说不完的话的女孩。她是个富于爱心的孩子。但她的麻烦却总是不断！先是林德太太的来访，然后是给教区牧师妻子的蛋糕，还有她的红头发……经过在学校的争吵，她还会理睬吉尔伯特·布莱思吗？

国王虽然永远不会是独自一人但他总是感到孤独，每时每刻总会有人注视他，有时是他的保镖，有时是街上成千的民众。他永远不会独自一人；每个人都认识他的面孔，他做事必须检点，因为他的所作所为是无法保密的。他说话得谨慎，因为他说话总有人在听。因为他每时每刻都是国王。他的压力很大也很孤独，甚至是从小开始，从未和其他的孩子一起玩过，他也没有朋友。他住在英国最漂亮的房子里（白金汉宫），却总感到寂寞、悲伤。在他年轻的时候想要的东西都能得到。“但我并不快乐，因为他的内心里是空虚的。”直到国王遇见了沃利斯一切都变了。他为了她放弃了一切，甚至放弃了自己的王位！

A sequel to The Adventures of Tom Sawyer, Adventures of Huckleberry Finn, and Tom Sawyer Abroad, this is Mark Twain's satirical take on the immensely popular detective novels of the time. Like the two preceding novels, the story is told using the first-person narrative voice of Huck Finn. Once a staple of juvenile fiction, then banned as politically incorrect, Twain's well-told story brings to life its time and place.