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Kdo četl předchozí sbírku povídek a básní Miroslava Černého Moudrost stezky (2024), snadno pozná, že jeho nová kniha Sentimentální pijáci na ni zjevně navazuje. Dalo by se říct, že je vlastně jejím dvojníkem. Opět se potkáváme se souborem různorodých textů, jejichž vypravěčem je nejčastěji jakýsi Richard, o němž doposud víme, že delší čas pobýval ve Spojených státech, potom vystudoval anglickou filologii, pracuje na katedře anglistiky a amerikanistiky, má syna, cestuje po celém světě a miluje příběhy ze starého Západu. Někoho napadne, že těch podobností s autorem je až příliš. Byla by však chyba považovat tuto knihu za autobiografickou zpověď podávanou jako autofikci. Na to jsou zařazené příběhy příliš rozmanité a zdaleka ne každý má oporu v životě autora. Také vyprávěcí perspektivy se různí: ich-forma střídá er-formu, vypravěč někdy jméno má, jindy nikoli. Co do žánrového obsazení se v textech potkáme s povídkou, básní, črtou, deníkovým záznamem i reportáží, přičemž hranice mezi jednotlivými žánry nejsou jasné. Sentimentální pijáci tak vzdáleně připomínají sbírku povídek Kena Keseyho Skříňka s démonem (1986; česky 1996), forma „pijáků“ je však zhuštěnější a osekanější. Pokud bych měla definovat, co z (nové) knihy Miroslava Černého činí navzdory této pestrosti funkční celek, bylo by to nejspíš (křehké) chlapáctví, sycené autorovou dobrodružnou povahou. V literární tvorbě Miroslava Černého nelze nevidět příbuznost s tvorbou Hermana Melvilla, Ernesta Hemingwaye či Jacka Kerouaca. Autor se k jejich odkazu hrdě hlásí, zároveň však hledá vlastní, autentickou cestu. Jak shrnuje literární kritik Jakub Guziur v doslovu k autorově starší knize Silou psů: „Tradičně cesta znamená přerod, proto obnáší ničení i tvoření, zapomínání i objevování, oběť i dar. Jejím cílem je poznání vlastního já, které je (jako každý přirozený jev) v neustávající proměně.“

In Bad Language, So Mayer blends memoir and manifesto as they explore the politics of speech, while looking at how language has been used – and abused – in their own life. What is the relationship between language and sexual violence? And how can we ‘make ourselves up’ in language when words themselves are encoded by a dominant culture that insists we see ourselves as powerless listeners rather than active speakers? Examining the semantic traps of their multi-lingual childhood – and taking in texts from the Torah to Grimms’ Fairytales, from protest bust cards to the works of Ursula K. Le Guin – Mayer asks who gets to speak, and who is forced into silence. Bad Language calls out the harm that words can do, while searching for crafty ways through which we can collectively reclaim language for protest and pleasure.

''We have to-morrowBright before usLike a flame''The New Negro: An Interpretation is a multidisciplinary anthology of poetry, fiction, essays, criticism, art, and philosophy woven together into a seamless statement of Black agency in the arts and humanities that became, upon its publication in 1925, an instant publishing success. Edited by Alain Locke, a man known as the father of the Harlem Renaissance, the text is a powerful, provocative, and affecting anthology of writers who shaped the Harlem Renaissance movement and who help us to consider the evolution of the African American in society. With works by Black voices such as Zora Neale Hurston, Countee Cullen, and W. E. B. DuBois, Locke constructed a vivid look at the changing African American, finding their place in the ever shifting sociocultural landscape that was 1920s America. With an introduction from Jeffrey C. Stewart, leading biographer of Locke, this collection explores the literary strength as well as the historical context of a monumental and fascinating time in the history of America.

An invitation to change our lives and imagine the world anew through reading stories, in the new book from the Sunday Times bestselling author of Oranges Are Not the Only FruitI can change the story because I am the story. 'Makes you think and makes you laugh' NigellaWith her execution looming, a woman is fighting for her life. Every night she tells a story. Every morning, she lives one more day. One Aladdin Two Lamps cracks open the legendary story of One Thousand and One Nights to show how its questions are still relevant to our lives today. Is love the most important thing in the world? What makes us happ? n her guise as Aladdin, Jeanette Winterson asks us to reread what we think we know and look again at how fiction works in our lives, giving us the courage to change our own narratives and alter endings we wish to subvert. As a young working-class woman, with no obvious future beyond factory work or marriage, Winterson realised through the power of books that she could read herself as fiction as well as fact. Weaving together fiction, magic and memoir, this remarkable book is a tribute to the age-old tradition of storytelling and a radical step into the future – an invitation to look more closely at our own stories, and to imagine the world anew. 'Enchanting, unexpected and razor-sharp' Kamila Shamsie'One of the most gifted writers working today' New York TimesIn her hands, words are fluid, radiant, humming' Evening Standard

Disappearing Cities is a collection of over fifty short stories of invented cities, set in the not too distant future, destroyed by varied climate change impacts and linked natural disasters. The stories bring into question the relation between the natural and unnatural forces of change and expose responses to, and lessons learnt, from different disaster crises situations. Stories also focus on how means to adapt are sought. The projected fictions are created from projected current climate facts; trends; and the author’s experience of population displacement, relocation and design-based climate change responsive action. Central to the book is the recognition that to be able to respond and adapt to the scale of coming changes in the climate requires going beyond existing practical action and embracing a new way of imagining futures. Disappearing Cities aims to stimulate ways of meeting this need.The book opens with a Prologue that establishes the contextual frame of empirical foundation out of which the fictions are created. It recognises that we all live in a world in which the conditions that will result in huge numbers of cities disappearing are underway. From the human perspective, the process appears to be very slow, whereas in historico-geological time, it is happening exceptionally quickly. The number of the loss of cities is going to be huge, yet the recognition that this will occur is not arriving, In part, this is because of a lack of knowledge, but equally, it reflects a lack of imagination. Transposing what is known about climate change by a significant percentage of the societies of many nations to actual environments in which they live is just not arriving. What appears so solid and established fails to be seen and imagined as a risk and vulnerable. From establishing this opening perspective, the first part of the book presents stories of cities already disappearing as a result of the forces of nature changed by anthropogenically created global warming. Part two discusses the impacts of natural disasters being made unnaturally. For example, by the way industrial societies are damaging and changing natural systems, including the climatic. The final part goes to cities destroyed by completely un-natural means, including war.Disappearing Cities aims to contribute to meeting the need for a better understanding of, and ability to imagine, the risks to which vast numbers of cities are, and will be, exposed to forces of disappearance. To do this, the narratives are a hybrid of fact and fiction. The work was inspired by Italo Calvino’s book Invisible Cities and is intended to be a salient contemporary companion to this text. It mirrors its form but differs in style and content. Invisible Cities attained diverse readership, Disappearing Cities aspires to do likewise.

In Winter Stories, we meet a teenager on the run from social services with her younger half-sister and half-brother in tow, a young single mother struggling to provide adequately for her daughter, and an ex-convict striving to overcome personal shortcomings and build a relationship with his son. We watch these characters stumble, fall and climb to their feet again, even though the deck inevitably seems to be stacked against them. With empathy and sensitivity, Ingvild Rishoi beautifully illuminates the vulnerability of the human condition. In a time when levels of scepticism and distrust are rising, these stories remind us of the humanity that unites us all.

This fully illustrated and authorised history marks fifty years of one of Ireland’s most ground-breaking and successful theatrical ensembles. Founded in 1975, Druid is a touring theatre company, anchored in the West of Ireland and looking to the world. Druid began as a bold idea: to create Ireland’s first professional theatre company outside of Dublin. There were few resources with which to achieve such an undertaking in the West of Ireland in 1975. Through sheer dedication, and with the support of the Galway community, founders Garry Hynes, Marie Mullen and Mick Lally – alongside a protean ensemble of actors, crew and supporters – made this bold idea a reality. That reality has since become an international success story of extraordinary dimensions. In this comprehensive history of the company, Patrick Lonergan weaves together decades of personal stories, archival material, anecdotes, memories and performances into a fascinating and illuminating portrait of one of the most vital institutions in Ireland’s theatrical landscape.

It is a truth universally acknowledged that the modern world of courtship can at times be compared to a steaming pile of horse excrement!From first dates to final breaks, awkward dinners to dance-floor disasters, and PDA to MIA, allow Lady Bennet-Down to be your heavily corseted guide as she offers insight and sympathy to some of the most commonly ruinous dilemmas contemporary daters face and spills the tea on the Regency art of courtship.So, set aside your cynicism, banish those bad-date memories, because the dating game is not over, dear reader. In fact, it has only just begun.

A man looks back on his life so far and finds he can chart each moment by the presence of a cat. Old friends at a twenty-year reunion confidently tell different versions of the same tales. A boy remembers playing with lead farmyard animals. While in another time, a soldier at Troy tries to explain a very dubious battle plan. As we grow older, we treasure our memories, but how real are they? Brilliant, funny and sometimes evoking Michael Bartlett's life and long career in radio and television, each of the people within these pages has a story to tell ... 'Memories they may be but that does not make them true ...' A powerful, humorous and thoroughly surprising exploration of the past we treasure **Praise for Michael Bartlett**'A beautiful read. Made me smile and bought a tear to my eye''Gentle and wise''Poignant''Definitely a book to recommend to others''Utterly engaging''Difficult to put down''It feels totally true and is just what we all need''Some of the best stories are quests ... This is a book to make everyone think twice about easy assumptions' author SIMON BRETT

<p><b>A collection of life-affirming books to guide you through. Settle down with <i>100 Books to Live By</i> and learn which book prescriptions can be dispensed to lift your spirits, whatever you may need.</b><br><br>Sometimes, only a good book will help. In life’s biggest moments and challenges, turning to a book can often help us to navigate our way through. Whether you need a dose of resilience, a course of comfort or a prescription of purpose, this gem of a book <b>offers guidance</b> on everything from love and heartbreak to grief and loss, to friendship and family, and more.<br><br>These are <b>100 life-affirming reads</b> and remedies for anyone searching for love, meaning, belonging, purpose and hope in their everyday lives. Featuring <b>well-known favourites</b> alongside <b>undiscovered gems</b> and modern classics, the <b>literary prescriptions</b> will see you through unsteady waters, whatever they may be. With authors ranging from <b>Haruki Murakami</b> to <b>Sally Rooney</b>, <b>Toni Morrison</b> to <b>Franz Kafka</b>, <i>100 Books to Live By</i> is the perfect collection of remedies, featuring books from all over the world. <br><br>Each prescription also features a number of 'Alternative Remedies', so the book includes as many diverse literary prescriptions as possible. With books to address all manner of ailment, this is the <b>ultimate celebration of reading</b> that can be referenced and treasured for years to come.<br><br><b>Also available:</b><br><i>100 Poems to Live By</i> (9781789298345)<br><i>100 Speeches to Live By</i> (9781789298635)</p>

What happens when you reach Everest''s peak? Is it everything you dreamed?In a magnetic follow-up to Winter Animals, Ashani Lewis'' debut collection takes a kaleidoscopic approach to desire - its obsessions, its grotesque demands and the distance it creates between us - and the strange things we stubbornly, hopefully, desperately expect from our lives.A dying woman dedicates her life to Antarctic ice; an All-American star longs for a romance that defies convention - to the detriment of his carefully curated reputation; a woman seeking her exes'' opinions on a breast augmentation takes us on a whirlwind tour of the complicated, intertwined lives of urbanites; a singer prepares for her film debut, pushing her humanity to its limits at an unusual acting school; a newlywed couple put their marriage to the ultimate test: Everest. In these twenty-one striking stories, Lewis creates a stark world of fleeting infatuations, violent compulsions, unexpected solace and the sombre ghost of memories.Praise for WINTER ANIMALS:''Thoughtful, intelligent and beautifully written . . . Lewis is definitely a new talent to watch'' Marie Claire''A dreamlike, piercing examination of privilege, youth and freedom'' Cecile Pin''Lewis is superbly talented'' Katherine Rundell''A remarkable novel: atmospheric as hell, beautiful and delightfully intelligent'' Jenny Mustard''A glittering, dark-edged tale . . . Exhilarating and fabulous, I raced through it'' Priscilla Morris''A debut full of ideas. I have the sense that this is the first of many new worlds'' Telegraph

From the 2024 winner of the International Booker Prize, a collection of short essays on the places, people, rituals and objects that slip into the realm of memory. The Palace of the Republic, that once housed the East German parliament, is demolished. A grandmother's laughter passes from life into memory. Furniture that once made a home is taken to the tip. A friendship drops into silence. Old ways are erased by the new. In this fascinating collection of essays, most of them written for her column in the Frankfurter Allgemeine Zeitung, Jenny Erpenbeck meditates, with a sense of both deep melancholy and wry humour, on the disappearance and impermanence of things. Whether recalling the shop that used to darn tights in the days before you could just buy a new pair, reflecting on changing social attitudes, or considering the mysterious vanishing of a piece of cheese from her fridge, Jenny Erpenbeck's sharp intelligence, eye for telling detail, and her nuanced perspective on her country's past and present imbue these brief pieces with lasting power.

Stories are living things. They are viral. They enter us through our eyes and our ears and they take up residence inside us. Unriddling the World is a collection of fifty traditional narratives – stories from the winding track that leads from nursery rhyme to the great tales of creation and redemption, by way of ballads, riddles, folk tales, legends, epics and myths. They’ve been shaped by countless voices and they’ve stood the test of time. They are concentrations of human experience and they speak in the enigmatic picture-language of dreams. These Fifty Wonder Tales form the heart of Hugh Lupton's repertoire: from ‘The Stone Monkey’ to the ‘Oil of Mercy’, from ‘The Pottle of Brains’ to the ‘Pool of Dharma’, they are a gift from the past to the future, shaped for retelling by a master storyteller. They’re alive . . . and they’re waiting to be told again.

The remarkable literary collaboration between a Nobel Prizewinning novelist and his editor of more than forty years.Three people have been of major importance and influence in my life and you are one of them. There is a way in which I am as a writer at least partly your creation.-- William Golding to Charles MonteithIn 1953, William Golding''s novel Lord of the Flies was rescued from a ''slush pile'' of unsolicited manuscripts by Charles Monteith, a new young editor at the publishing house Faber & Faber. It went on to sell over 25 million copies. Over the next forty years Monteith worked closely with Golding on every one of his novels.These letters tell the story of their remarkable collaboration. They chart Golding''s transformation from unknown middle-aged schoolmaster to knighted Nobel Prizewinner, and they tell the story of a deep and mutually rewarding friendship, as ''Dear Monteith'' and ''Dear Golding'' become ''Dear Charles'' and ''Dear Bill''.In this beautifully produced, stitch-bound volume, Tim Kendall draws on both public and private archives to reveal the relationship between one of the greatest novelists of the twentieth century and his publisher, both men who considered themselves, for different reasons, to be outsiders. Their correspondence sheds fascinating light on both the mysteries of the writing process and the vagaries of the literary world.Generous, amusing, acerbic, intimate and often irreverent, these letters encompass gossip, reading recommendations and stories of Greek island adventures as well as detailed discussion of titles, characters and Golding''s dreadful spelling.

A collection of essays about loss, grief, and absence, NOT THERE tells stories of ordinary people and the things that have happened to them. Emotions underlying these stories prompt the reader to think of their losses, and their compensations. It''s also about how we remember things - unreliably on the whole - and how our idea of the truth may be a very personal one. Szczygiel''s wide and international range of interlocutors includes: a Czech poet, a Ukrainian soldier, a Polish accountant, an Albanian painter, an Israeli writer, and the father of a reporter with whom the author travels to Prague for the last time. Written in a beautiful, associative style reminiscent of W. G. Sebald, Szczygiel lets his interlocutors and memories drive the story in unusual directions. With a perfect eye and a voice infused with empathy and wit, Szczygiel explores the human condition with its unavoidable absences. The advice that famous Polish writer, Hanna Krall, gave the author hovers over the book: ''Everything must have its form, its rhythm, Mr Mariusz. Especially absence.''

''If you had asked me why I had joined the militia I should have answered: "To fight against Fascism," and if you had asked me what I was fighting for, I should have answered: "Common decency."'' Homage to Catalonia is George Orwell''s account of the Spanish Civil War. It was the last and most mature of Orwell''s documentary books and it is a sharp, focused and angry account of the fighting in Spain. The discomforts of trench warfare, his near-death experience of being shot, and his painful and disorientating medical treatment all contribute to the book''s gripping immediacy. At the same time, Orwell was aware that he was producing a work of art: ''Beware of my partisanship,'' he warns his readers, ''my mistakes of fact, and the distortion inevitably caused by my having seen only one corner of events.''Lisa Mullen''s introduction examines how the book straddles the divide between literature and history, and provides readers and students with a concise explanatory account of the controversies which have grown up around the book since its publication.

Pavel všechno ztratil – domov, lásku i smysl života. Teď se ale zdá, že se mu vrátilo štěstí… Nahlédněte do mysli ztraceného starce, který bloudí někde mezi žitím a nežitím. Snaží se dohnat ztracený čas, ale něco tady nesedí… Podaří se mu zjistit, kde končí realita a začíná blouznění mysli? Odhalí, kdo je ta, která se zdá být jeho dávno ztracenou láskou? A co je zač ten dům, ve kterém se nechal uvěznit?

Collects Walter Feinberg's classic writings on the meaning of democracy for public education. For over fifty years, Walter Feinberg has been a leader in interpreting democracy in and its meaning for public education. In this collection, Feinberg explores the question of how to study education, the necessary role of history and philosophy in this endeavor, and the need for educational theorists to engage with the lived realities of students, parents, and teachers through philosophical anthropology. He demonstrates a particular way of paying attention to public education that brings an interpretive sensitivity for others to the big philosophical questions of what public schooling should be in democratic societies. Feinberg explores many of the central questions that vex educational policy and practice: What should be the purpose of public schools? What should we think of school choice proposals? What are the relationships between religion and public schools? Should schools promote an American identity? How should we think about affirmative action? In this tour of educational ideas, democracy is the central concern, as it both presents questions that demand answers and becomes an approach to studying education with rigor and sensitivity.

Zborník najlepších poviedok 29. ročníka literárnej súťaže. Hlavnú cenu získal Pavol Kuspan. Prémiami boli ocenení Barbora Berezňáková, Patrícia Grachová, Ján Mykhalchyk Hradický, Martin Chren, Diana Júnová, Anita Minárik Schwartzová, Zuzana Sotáková, Dušana Štrbáková a Emma Urbanová. Do súťaže bolo prijatých 264 súťažných príspevkov. V knihe sú publikované všetky ocenené poviedky, ako aj predslov predsedu poroty, štatistické údaje a zoznam súťažných prác, ktoré postúpili do druhého a tretieho kola. Na konci knihy je prihláška do nasledujúceho ročníka súťaže. „Každý, kto má nutkanie dať niečo na papier, by to mal urobiť. Zvlášť teraz, keď je tu reálna snaha o ničenie slovenskej kultúry inštitúciami, ktoré sa majú o ňu starať a snažiť sa ju zveľadiť, je potrebné tvoriť a každý jeden schopný autor, ktorého dokážeme v množstve balastu nájsť, je a bude obrovským prínosom,“ vyhlásil predseda hodnotiacej poroty Václav Kostelanski, autor štyroch kníh, laureát Ceny študentov RENÉ 2019 a víťaz Poviedky 2010. Členmi tohoročnej poroty boli aj ďalší víťazi z predchádzajúcich ročníkov tejto súťaže: Jana Ondrušová, Lucia Pálinkáš, Peter Hoferica, Radovan Potočár a dvojnásobná premiantka Karin Kissová ÚRYVKY Z PUBLIKOVANÝCH POVIEDOK „Pripili sme sa. Takým tým pekným, bezbolestným spôsobom, keď alkohol urobí toho druhého príťažlivejším, vzrušujúcejším, žiadanejším, keď sa ľudia na seba tak priblblo usmievajú, lebo vedia, čo príde, ale ešte stále sa tvária, že to nepríde. Rád som zaplatil. Rada ma nechala zaplatiť. Chcela sa ísť ešte prejsť po meste...“ (Pavol Kuspan: Ležím na koberci a je mi nedobre) „Maximova popularita rástla každým dňom. Študenti obdivovali jeho odvahu „konečne byť sám sebou“. Jeho starší kolega, fanúšik fujarového rozstrelu v závere novej štátnej hymny, ho tľapkal po pleci za ten „vydarený ťah“, ako perfektne všetkým vypálil rybník. Maxim bol spočiatku zmätený. Netušil, že jeho gesto takto zarezonuje – ale rýchlo pochopil, že stačí každému jemne pritakať, nechať ho v svojej pravde, v jeho vlastnej interpretácii a občas len pohmkávať so správne zaujatým výrazom tváre.“ (Barbora Berezňáková: Milióny múch sa nemôžu mýliť) „Po sexe odíde domov. Nezniesla by ležať vedľa inej osoby, v cudzích prikrývkach napáchnutých cudzou existenciou. Nespala by. Žubralo by jej v žalúdku a myšlienky by sa upínali ku katalogizácii pokrmov, ktoré sa nachádzajú v bezpečí domova.“ (Patrícia Grachová: Tyče) „Jožko sa zbraní bál, zároveň k nim cítil akúsi príťažlivosť. Vedel, aké sú ťažké. Otec so svojou chodí ráno strieľať holuby. Málokedy domov niečo donesie. Asi to strieľanie s ním niečo robí. Už na obed príde domov nasiaknutý tou ťažkou vôňou ako skoro každý večer.“(JánMykhalchyk Hradický: Tri chleby a tri fľaše mlieka) „August 2022, Charkov, sídlisko Saltivka. Schodisková chodba na 6. poschodí vyzerala skoro úplne normálne, až na jednu masívnu prasklinu. Tiahla sa celou stenou od stropu až po podlahu a mizla kdesi v útrobách paneláka. Iryna vyšla pár posledných schodov a zastala pred dverami do bytu. Boli akoby zázrakom nedotknuté. Ako keby sa nič nestalo. Chytila kľučku. Kovanie bolo absurdne teplé, akoby chcelo niečo povedať. Krátky moment tam iba stála, nehýbala sa. Nedýchala. Potom otvorila dvere – do prázdna. Tesne za prahom, kde by sa normálne začínala vstupná hala, kde si odkladali topánky a mali vešiak na kabáty, bola prázdnota. Dym a kúdoľ prachu z trosiek bombardovania. Žiadna podlaha. Žiadne steny.“ (Martin Chren: Dvere) „Ak si Miška, zobudíš sa na to, že si mokrá na chrbte aj na zadku. Dcérka opustila svoju postieľku, prišla k vám do manželskej postele a pocikala sa. Všetok moč stiekol pod teba. Premýšľaš nad tým, či zvládneš vstať, všetko utrieť, umyť a prezliecť a znovu uspať dcéru alebo sa na to vykašleš a vyriešiš to ráno. Vyriešiš to o tri dni.“ (Diana Júnová: Selaví) „Cestou domov minula dvojicu tínedžerov, dievča malo za uchom kvet orgovánu. Ten tmavofialový, takže preň musel jej milý obísť celý pozemok až k zadnej bráne. – O desať rokov zabudne na tvoje meniny a o pätnásť si budeš darčeky na Vianoce kupovať sama, aby ti nebolo pred deckami trápne, že nemáš nič pod stromčekom, – povedala smerom k dvojici, ale jej slová zostali uväznené v kovovej schránke auta. – Zaujímavé, že trápne to bude tebe, ale jemu nie, – pomyslela si, ale to už interiéru auta nahlas nepovedala.“ (Anita Minárik Schwartzová: Garlon) „Môj krvavý dedo. Ležal tam, hore bruchom. Oči zatvorené. Nohy vytrčené dohora. Nehýbal sa. Nedýchal. Pri ňom podupávala noha. Zošúchaná podrážka čiernej lakovky, na špičke hrboľ od veľkého palca. Varhanista napchaný do košele ako hurka, čo o chvíľu praskne, lapal po dychu. Prstami behal po elektronických klávesoch na rozheganom stojane.“ (Zuzana Sotáková: Môj krvavý dedo) „Klára vystúpila z vlaku na malej stanici a unavene sa vliekla popri lúke k rodnému domu. Zastala pri drevenej ceduľke na papeku s nápisom: „Lúka pripravená na kosbu, zákaz vstupu!“, vyzula si botasky a vkročila do trávy. (Dušana Štrbáková: Zajacna špičkách) „Larsovu priateľku poznáš, dievča s veľkými ústami a lesklými vlasmi. Larsa až tak nie, ale spoznáš ho, keď sa ti neskôr spraví do úst, ktoré mu poslušne nastavíš. „Môžem to ísť vypľuť?“ opýtaš sa slušne, máš predsa spôsoby. Lars prikývne, kým si zapína nohavice. V kúpeľni dlho sedíš na záchode a pozeráš pred seba, pri odchode si nezabudneš všimnúť zarámovanú fotku s priateľkou na stole. Nerozídeš sa so Sanderom, iba všetko zamlčíš.“ (Emma Urbanová: Ameland)