"Kublai Khan does not necessarily believe everything Marco Polo says when he describes the cities visited on his expeditions, but the emperor of the Tartars does continue listening to the young Venetian with greater attention and curiosity than he shows any other messenger or explorer of his." So begins Italo Calvino's compilation of fragmentary urban images. As Marco tells the khan about Armilla, which "has nothing that makes it seem a city, except the water pipes that rise vertically where the houses should be and spread out horizontally where the floors should be," the spider-web city of Octavia, and other marvelous burgs, it may be that he is creating them all out of his imagination, or perhaps he is recreating fine details of his native Venice over and over again, or perhaps he is simply recounting some of the myriad possible forms a city might take.

This is the story of Louis, as told in his own words, of his journey through mortal and immortal life. Louis recounts how he became a vampire at the hands of the radiant and sinister Lestat and how he became indoctrinated, unwillingly, into the vampire way of life. His story ebbs and flows through the streets of New Orleans, defining crucial moments such as his discovery of the exquisite lost young child Claudia, wanting not to hurt but to comfort her with the last breaths of humanity he has inside. Yet, he makes Claudia a vampire, trapping her womanly passion, will, and intelligence inside the body of a small child. Louis and Claudia form a seemingly unbreakable alliance and even "settle down" for a while in the opulent French Quarter. Louis remembers Claudia's struggle to understand herself and the hatred they both have for Lestat that sends them halfway across the world to seek others of their kind. Louis and Claudia are desperate to find somewhere they belong, to find others who understand, and someone who knows what and why they are. Louis and Claudia travel Europe, eventually coming to Paris and the ragingly successful Theatre des Vampires--a theatre of vampires pretending to be mortals pretending to be vampires. Here they meet the magnetic and ethereal Armand, who brings them into a whole society of vampires. But Louis and Claudia find that finding others like themselves provides no easy answers and in fact presents dangers they scarcely imagined. Originally begun as a short story, the book took off as Anne wrote it, spinning the tragic and triumphant life experiences of a soul. As well as the struggles of its characters, Interview captures the political and social changes of two continents. The novel also introduces Lestat, Anne's most enduring character, a heady mixture of attraction and revulsion. The book, full of lush description, centers on the themes of immortality, change, loss, sexuality, and power. source: annerice.com

Fresh from a brief stay at a psych hospital, reporter Camille Preaker faces a troubling assignment: she must return to her tiny hometown to cover the unsolved murder of a preteen girl and the disappearance of another. For years, Camille has hardly spoken to her neurotic, hypochondriac mother or to the half-sister she barely knows: a beautiful thirteen-year-old with an eerie grip on the town. Now, installed in her old bedroom in her family's Victorian mansion, Camille finds herself identifying with the young victims—a bit too strongly. Dogged by her own demons, she must unravel the psychological puzzle of her own past if she wants to get the story—and survive this homecoming. Librarian's Note: this is an alternate cover edition - ISBN 10: 0307341550 (ISBN 13: 9780307341556)

'Als je je altijd een dochter voelt, is er maar één manier om van je moeder af te komen, en dat is door zelf moeder te worden.' In 1975 verraste Harry Mulisch zijn publiek met een ogenschijnlijk traditioneel vertelde roman over de liefde tussen een gescheiden kunsthistorica en een jong meisje. Maar Twee vrouwen vertoont ook parallellen met de Oedipus- en Orpheus-mythen en loopt af als een klassiek noodlotsdrama.

'Als je je altijd een dochter voelt, is er maar één manier om van je moeder af te komen, en dat is door zelf moeder te worden.' In 1975 verraste Harry Mulisch zijn publiek met een ogenschijnlijk traditioneel vertelde roman over de liefde tussen een gescheiden kunsthistorica en een jong meisje. Maar Twee vrouwen vertoont ook parallellen met de Oedipus- en Orpheus-mythen en loopt af als een klassiek noodlotsdrama.

Il testo La cultura, la lingua, i testi di quelle genti che definiamo germaniche hanno lasciato ampie tracce di sé. A partire dall'inizio dell'era cristiana, hanno consegnato ricche e importanti testimonianze scritte già prima del­l'arrivo di Carlomagno, dando così vita a una grande produzione letteraria nel corso di tutto il Medioevo. È compito della filologia germanica occuparsi di quei testi, nonché degli aspetti linguistici, storici e culturali necessari per com­prendere nella sua complessità quella civiltà germanica in cui le culture inglese, tedesca, nederlandese e nordica hanno le proprie radici. Il mondo germanico non è tuttavia isolato dal resto dell'Europa, con cui interagisce e si mescola, plasmando l'età medievale tutta. Questo volume intende ricostrui­re la storia culturale di quegli uomini e quelle donne che parlavano e scrivevano usando lingue germaniche, seguendone i percorsi dal loro arrivo in Europa sino alle soglie dell'età moderna.

Tomorrow, on the beach, Baru Cormorant will look up from the sand of her home and see red sails on the horizon. The Empire of Masks is coming, armed with coin and ink, doctrine and compass, soap and lies. They'll conquer Baru’s island, rewrite her culture, criminalize her customs, and dispose of one of her fathers. But Baru is patient. She'll swallow her hate, prove her talent, and join the Masquerade. She will learn the secrets of empire. She’ll be exactly what they need. And she'll claw her way high enough up the rungs of power to set her people free. In a final test of her loyalty, the Masquerade will send Baru to bring order to distant Aurdwynn, a snakepit of rebels, informants, and seditious dukes. Aurdwynn kills everyone who tries to rule it. To survive, Baru will need to untangle this land’s intricate web of treachery - and conceal her attraction to the dangerously fascinating Duchess Tain Hu. But Baru is a savant in games of power, as ruthless in her tactics as she is fixated on her goals. In the calculus of her schemes, all ledgers must be balanced, and the price of liberation paid in full.

Grondwerk onthult een verborgen wereld onder het Vaderlandsplein in Brussel. Verscholen in een gangenstelsel wacht een naakte molrat, op missie vanuit de Hoorn van Afrika, op een briefing. Een mens die zich bij haar hol meldt, wint haar vertrouwen en tekent haar verhaal woord voor woord op. Ondertussen groeien overal in de stad zinkgaten. Er broeit iets in het bestuurlijke hart van Europa. Is er een opstand ophanden? Grondwerk is een verhaal over verzet en herstel, over collectieve actie, gedeelde grond en pogingen om de wereld bewoonbaar te maken. Een roman vol complottheorieën en toekomstbeel­den, die laat zien dat we niet zonder elkaar kunnen.

Sadomasochism. Obsession. Death. A whirlpool of darkness churns at the heart of a macabre ballet between two lonely young women in an internet chat room in the early 2000s—a darkness that threatens to forever transform them once they finally succumb to their most horrific desires. What have you done today to deserve your eyes?

Il testo La cultura, la lingua, i testi di quelle genti che definiamo germaniche hanno lasciato ampie tracce di sé. A partire dall'inizio dell'era cristiana, hanno consegnato ricche e importanti testimonianze scritte già prima del­l'arrivo di Carlomagno, dando così vita a una grande produzione letteraria nel corso di tutto il Medioevo. È compito della filologia germanica occuparsi di quei testi, nonché degli aspetti linguistici, storici e culturali necessari per com­prendere nella sua complessità quella civiltà germanica in cui le culture inglese, tedesca, nederlandese e nordica hanno le proprie radici. Il mondo germanico non è tuttavia isolato dal resto dell'Europa, con cui interagisce e si mescola, plasmando l'età medievale tutta. Questo volume intende ricostrui­re la storia culturale di quegli uomini e quelle donne che parlavano e scrivevano usando lingue germaniche, seguendone i percorsi dal loro arrivo in Europa sino alle soglie dell'età moderna.

Harrow the Ninth, the sequel to Gideon the Ninth, turns a galaxy inside out as one necromancer struggles to survive the wreckage of herself aboard the Emperor's haunted space station. She answered the Emperor's call. She arrived with her arts, her wits, and her only friend. In victory, her world has turned to ash. After rocking the cosmos with her deathly debut, Tamsyn Muir continues the story of the penumbral Ninth House in Harrow the Ninth, a mind-twisting puzzle box of mystery, murder, magic, and mayhem. Nothing is as it seems in the halls of the Emperor, and the fate of the galaxy rests on one woman's shoulders. Harrowhark Nonagesimus, last necromancer of the Ninth House, has been drafted by her Emperor to fight an unwinnable war. Side-by-side with a detested rival, Harrow must perfect her skills and become an angel of undeath — but her health is failing, her sword makes her nauseous, and even her mind is threatening to betray her. Sealed in the gothic gloom of the Emperor's Mithraeum with three unfriendly teachers, hunted by the mad ghost of a murdered planet, Harrow must confront two unwelcome questions: is somebody trying to kill her? And if they succeeded, would the universe be better off?