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Hazel and Herbert
Hazel discovers an egg while out for a walk in the woods, and much to her surprise - Tip! Tip! Tap! - out pops a baby bird. She names him Herbert, and from then on, he sticks to her like jam on toast. But Hazel likes her routine, and Herbert’s always underfoot. No matter what she’s doing, Hazel simply can’t get a moment’s peace. What’s a fox to do?
Barefoot Baby-Proof: Baby Food
Now in our chewable, bendable, washable, and recyclable Barefoot Baby-Proof Format! Come along for baby's day! Now it's time to eat. Giggle and gurgle together with this charming, inclusive window into all the ways babies enjoy their food: bottle-feeding, nursing, children feeding themselves, families eating together and more. Simple, repeating refrains develop baby’s early language skills and strengthen the special caregiver-child bond. High-contrast designs and black-and-white photographs developed especially for an infant’s eye development Part of the bestselling Baby’s Day series which has sold over 1 million copies! Barefoot Baby-Proof books made from a durable, waterproof, recyclable, and nontoxic material that meets ASTM safety standards Washable and perfect for bath time
Barefoot Baby-Proof: Baby Talk
Now in our chewable, bendable, washable, and recyclable Barefoot Baby-Proof Format! Come along for baby's day! Now it's time to talk. Babies talk in all kinds of ways — and the people who love them talk back! Enjoy simple, repeating refrains meant to develop baby’s early language skills and strengthen the special caregiver-child bond. High-contrast designs and black-and-white photographs developed especially for an infant’s eye development Part of the bestselling Baby’s Day series which has sold over 1 million copies! Barefoot Baby-Proof books made from a durable, waterproof, recyclable, and nontoxic material that meets ASTM safety standards Washable and perfect for bath time
Superman Unlimited Vol. 1
All-star creative team Dan Slott and Raphael Albuquerque take on the Man of Steel! When a city-sized asteroid hurtles toward Earth, Superman is sent in to save the day but the reality of the crisis may be more than even he can handle! Superman has long since considered Earth to be his home after surviving the destruction of his birth planet, Krypton, as an infant. Now, thanks to a crisis of global proportions, the Man of Steel is confronted with a dangerous new status quo Earth may no longer be safe for him, and yet he is still tasked with saving it. Featuring the writing talents of Dan Slott, making his DC Comics ongoing series debut, and the art of Raphael Albuquerque, Superman Unlimited is a brand -new cornerstone series of the DC Universe, paving the way for every Superman fan! Collects Superman Unlimited #1-6.
Behind Closed Doors - Kept in Paradise 1
He's the forbidden enigma I wanted to ignore . . . but instead I'll be forced to share a home with him.
Jameson Knight arrives at precisely the same time every day to pick up. It's the only time I see him smile.
I don't ask questions because it's not my place. I'm just his daughter's favorite teacher, nothing more. . . . Until the first bullet flies by us at recess.
Suddenly, I'm risking my life to protect her. And then Jameson drags me back to his estate, claiming it's a matter of life-or-death.
Now I'm in the most beautiful home I've ever seen, faced with an offer from a man who's just as gorgeous: Be the temporary live-in nanny until he can ensure my safety and find a more permanent solution. It'll be easy, he promises.
Yet, the arrangement is anything but simple.
Not when Jameson's hungry stare is all consuming and his touch pulse racing. And definitely not when I find that nothing in this neighborhood is as it seems, including Jameson.
He may be powerful, possessive, and protective. But he's also dangerous, demanding, and calculating.
As more of his secrets come out, I should run but . . .
How do I escape the enigma of Jameson Knight if he's already captured my heart?
Welcome to Paradise Grove, a luxurious, ultra-private billionaire enclave - where the stakes are high, and the secrets are buried deep. Perfect for fans of L.J. Shen, Rina Kent and Ana Huang.
Crucible
America’s sweetheart has been canceled.
From teen star to international phenom to the biggest celebrity in the world, Aurelia George has suddenly found herself on the other side of adoration. The public thinks they hate her when they never really knew her. The saddest tragedy of all is that she doesn’t know herself.
Done with the fame, glitz, and glam? the whole doe-eyed princess charade? Aurelia decides she’s taking back her life, even if it costs her everything.
But her uncle has other plans.
Shipped far away until the heat dies, Aurelia finds herself in the one place where her name means nothing. When a blizzard causes her plane to crash, she becomes stranded in the wilds of Northern Canada, a sole survivor with no one to turn to.
No one except them.
The misanthropic mountain men who’ve shut themselves away.
It’s their cabin Aurelia finds in the icy wilderness and their obsession she ignites when they discover her sleeping in one of their beds. Thorin, Khalil, and Ezekiel (and all of his personalities) have only longed for one thing in nine long years...a woman to warm their beds.
Surviving a plane crash, wolves, avalanches, frozen lakes, and a harsh winter with three feral men is nothing compared to Aurelia’s hardest trial of all?finding herself.
Prelínanie
Druhá zbierka poézie Bibiany Buchelovej je akýmsi vnútorným pokračovaním prvej zbierky, v ktorej autorka zároveň rozširuje a prehlbuje svoj poetický záber. Básne, ktoré sú intímnymi lyrickými reflexiami, sa okrem precíznej práce so slovom a zaujímavým pohľadom na možno bežné témy života, akými sú partnerské vzťahy, láska medzi mužom a ženou, vrúcny vzťah k deťom a rodine, vyznačujú krásnou symbiózou s krajinou, prírodou doma, na Slovensku, ale aj na cestách a prinášajú pozitívny čitateľský zážitok. To ale neznamená, že autorka vo svojej poézii nie je citlivá aj na temnejšie stránky života. S nesmiernou vnímavosťou zaznamenáva aj rodinné tragédie, smrť priateľky ako aj vlastné ťaživé emócie. Básne sú zrelou reflexiou, prelínaním všetkých vrstiev i farieb života, napísané básnickými prostriedkami, ktoré sa vynárajú nenútene a prirodzene, akoby rástli z vnútornej potreby autorky vyjadriť intímne nálady a vnútorné súvislosti.
Osvobozené divadlo
Tato kniha je věnovaná výzkumu moderního českého komediálního divadla; šťastným příkladem jsou tu osudy tzv. avantgardy související se zkoumáním zdrojů mimického živlu v českém divadle.
V případě vzniku a vývoje Osvobozeného divadla Jiřího Voskovce (1905–1980) a Jana Wericha (1905–1980) jde o oblast, kde se protíná jejich mimické umění s „dramatickou“ tvorbou – tedy psaním vlastních divadelních her. Pozadí pak tvoří celkový vývoj generace Devětsilu a související -ismy (poetismus, konstruktivismus, dadaismus, surrealismus); dochází tak i ke srovnání s tvorbou dalších členů původního Osvobozeného divadla a v jistém ohledu i „protipólů“ V+W: E. F. Buriana (1904–1959), Jiřího Frejky (1904–1952) a Jindřicha Honzla (1890–1953).
Postavení Osvobozeného divadla bylo zvláštní – divadlo bylo spojené s avantgardními snahami v dalších uměních; v literatuře zejména s rozvojem české poezie, která byla nejen za první republiky uznaně nejprůbojnějším uměleckým útvarem. Vedle tradice mimu – primárně tělesné herecké proměny – jde tak o problematiku vazeb herectví a lyriky, což těsně souvisí s rozvojem režisérského divadla, zejména v díle E. F. Buriana a Jiřího Frejky z 20. a 30. let., ale i s vlastní tvorbou V+W, a má co dělat s tradicí poetického divadla, které – v těsném spojení s tradicí mimu – zakládá specifickou podobu českého divadla. Třetí tendencí, jak to nazývá Jaroslav Vostrý ve své knize, je oživení divadelního prostoru jednak z hlediska nové vizualizace divadla, jednak sémantizace jeho jednotlivých prvků. Další vývoj tohoto typu divadla byl ovšem ovlivněn nejprve totalitním režimem i později dalšími vlivy spojenými s tzv. estetickým kapitalismem; tak byla tato tradice bohužel zatlačena do pozadí. Proto si tím víc zasluhuje uvedení do současného diskurzu. V případě výzkumu „avantgardního“ herectví, zkoumaného v souvislosti s rozvojem režisérského divadla, jde současně o řešení zásadní otázky: Co je možné vidět v tzv. avantgardním umění dnes a jak dnes určit jeho obsah a dosah. Dnes, to znamená v době, kdy avantgardní utopie ztratily v dobovém myšlení své někdejší postavení. Lze tak označit Osvobozené divadlo? Vztahuje se tato charakteristika na celou jeho historii? Tedy na Osvobozené divadlo působící jako divadelní sekce Devětsilu i Osvobozené divadlo V+W a další tvorbu těch, kteří stáli počátečnímu období Osvobozeného divadla v čele?
Sémantika výrazu avantgarda je stále spojovaná s ideou uměleckého pokroku neodmyslitelného od pohybů v kultuře. Lze jistě mluvit o pokroku v případě techniky a technologií. Je to ale možné i v případě umění? Nebo je avantgarda střechové pojmenování různých příbuzných uměleckých skupin, jejichž ctižádost směřovala k zásahu do života či přímo ke ztotožnění se životem? To znamená k překročení dosavadních hranic umění, k vysvobození umění z institucionálního systému, diktátu trhu či vůbec existence nějakých daných (tradičních) forem, bránících projevu, ve kterém jako by se ozýval (svobodný) život sám? Má tedy pravdu Peter Bürger, který roku 1974 vyhlásil avantgardu za výraz sebekritiky umění v měšťanské společnosti, když místo pouhé kritiky dosavadních uměleckých škol a směrů útočí na samotnou instituci umění? Odpověď může i v případě české divadelní avantgardy naznačit jen kritická rekapitulace podoby tohoto umění (zvlášť v případě divadla jen pravděpodobné podoby) a jeho dobového kulturního fungování. A právě o tuto kritickou rekapitulaci se ve své poslední knize Jaroslav Vostrý pokusil.
Obsah knihy:
Úvod
1.V éře Devětsilu
1.1 Roztočené jeviště
1.2 Od Divadla mladých k Osvobozenému divadlu
1.3 Ve Frejkově a Honzlově režii
1.4 Ten další
1.5 Frejkovy pokusy o vlastní divadlo
2. Na přelomu
2.1 Osvobozené divadlo a V+W neboli Drama a revue
2.2 Dva směry v jednom divadle
2.3 Voskovec a Werich v Adrii
2.4 Něco se musí stát
2.5 V Praze a v Brně
3. Fantazie a skutečnost
3.1 Začátek 30. let
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