Outros livros que poderiam interessá-lo

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  One Last Brushstroke Before...

  Mike DeFrench

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  Joseph isn't a painter. He's a junkie. 
  Well...he was getting clean. Was clean, for a while. But then he started seeing it... 
  An abomination that threatens all life on Earth. 
  And only he can stop it, by painting.

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  Horse in the Moon - From their...

  Luigi Pirandello

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  Luigi Pirandello was born on 28th June 1867 into an upper-class family in Agrigento, in Sicily. 
  In 1880, the family moved to Palermo and there he completed high school and thence to the University of Palermo, at that time the centre of what became the Fasci Siciliani movement.  Although not an active member he had close friendships with many of its leading ideologists.  Pirandello then completed his university studies in Rome and Bonn, receiving his Doctorate in March, 1891. 
  His time in Rome had provided him with the opportunity to visit its many theatres. "Oh the dramatic theatre! I will conquer it. I cannot enter into one without experiencing a strange sensation, an excitement of the blood through all my veins..." 
  1894 brought marriage, at his father's suggestion, to a shy, withdrawn girl: Mara Antonietta Portulano.  The marriage encouraged his studies and writings and, the following year, the first part of the ‘Dialoghi tra Il Gran Me e Il Piccolo Me’ was published. 
  In 1903 the flooding of the sulphur mines in which his father had invested the family capital and Antonietta's dowry, brought financial catastrophe.  She, on hearing the news, was mentally broken.  Pirandello would now work a full day and then watch over his troubled wife at night. Somehow he found time to write ‘The Late Mattia Pascal’.  It was an immediate and resounding success.  
  In 1909, Pirandello began his collaboration with the prestigious Corriere della Sera.  Whilst his fame as a writer was increasing his private life was poisoned by the suspicion and jealousy of Antonietta who now turned physically violent.  His plays were now being regularly performed but, within a decade, Antonietta had to be placed into an asylum from which she never left. 
  In 1921, in Rome his play, ‘Six Characters in Search of an Author’ debuted.  It was a failure.  However, when presented in Milan it was a great success, as it also was in London and New York. 
  In 1925, Pirandello, with Mussolini’s help, assumed the artistic direction and ownership of the Teatro d'Arte di Roma.  He now described himself both as ‘a Fascist because I am Italian’ and ‘I'm apolitical, I'm only a man in the world...’  However his later conflicts with fascist leaders meant he fell under close surveillance by the OVRA, the secret police. 
  In 1934 he won the Nobel Prize but asked that the medal be melted down for Italy’s occupation of Abyssinia Campaign to which he had given his support.  
  Pirandello's canon stretches across novels, short stories, poetry, essays and some 40 plays.  His tragic farces are often cited as forerunners of the Theatre of the Absurd. 
  Luigi Pirandello died on the 10th December 1936 at his home at Via Bosio, Rome, Italy.  He was 69.

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  Small Horrors - A Collection of...

  Darcy Coates

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  Push past the curtains of your rational, safe world and explore the un-nameable horrors living in the darkest corners of our conscience. This is the realm of monsters and shifting shadows, where a single wrong step can plunge you into a terrifying fight for your life, where… 
  - Something mimics human voices as it lures you into the woods. 
  - A corpse had gone missing from its drawer in the morgue. 
  - A friend's eyes are unnaturally bright as they approach you in the dark.

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  Fascist as Author The - A Short...

  Knut Hamsun, Luigi Pirandello,...

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  Authors are authors and we are drawn to their works because of their style, their narrative, and their characters and how each part is assembled into the arc of the whole. 
   
  But are we?  Do social conventions, or fashion or other influences decide what we read or what we listen to? 
   
  Its famously said that everyone has a story, everyone should be heard. 
   
  So, when we discover a particular author has a dark past, a difficult character, what do we do?   
   
  Europe was in the last century riven by two catastrophic world wars and a myriad of other local ones.  And like good citizens everywhere our thoughts are stilled by the word ‘Fascist’.  This word which originally meant many strands held together to make a stronger whole is now a one word response to evil and work done in its name. 
   
  In this volume our approach has been to take authors of then great renown, two of whom won the Nobel Prize, and compile a work from each which is seen in a literary context rather than in the heinous shadow of their political and social beliefs.   
   
  We are taught that authors write of their own experiences, but is that really true?  Can an author be separated from their nihilistic approach to politics and actually be a good writer who adds to our knowledge and experience rather than taint us with their reprehensible beliefs on their fellow man. 
   
  Its an ongoing argument.  Perhaps both sides are right.  Perhaps both sides are wrong.

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  Boating Party Murder

  Jacki Barr

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  Revenge is best served cold...and with a stiff drink.

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  Toilers of the Sea

  Victor Hugo

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  Toilers of the Sea by Victor Hugo is a sweeping tale of love, endurance, and humanity's struggle against the overwhelming forces of nature. Set on the rugged island of Guernsey, where Hugo himself lived in exile, this powerful novel blends romance, adventure, and philosophical reflection into a timeless story of courage and sacrifice.
  
  At the center of the narrative is Gilliatt, a solitary and misunderstood fisherman regarded with suspicion by the local community. Quiet and fiercely independent, he lives on the margins of society, finding companionship in the sea and the wild cliffs that surround him. His life takes on new purpose when he falls deeply in love with Déruchette, the gentle and beautiful niece of a respected shipowner.
  
  When a steamship runs aground on treacherous reefs, its valuable engine trapped within the wreck, Déruchette's uncle promises her hand in marriage to whoever can salvage it. Determined to prove himself worthy, Gilliatt undertakes a nearly impossible mission. Alone against the elements, he confronts roaring tides, brutal storms, starvation, and even a terrifying encounter with a giant octopus.
  
  Hugo's vivid descriptions transform the sea into both adversary and symbol—an immense, indifferent force that tests human resolve. The struggle to retrieve the engine becomes more than a physical feat; it is a testament to perseverance, ingenuity, and devotion. Gilliatt's battle is as much internal as external, driven by love and the desire for acceptance.
  
  Beyond its gripping adventure, Toilers of the Sea offers a profound meditation on isolation, destiny, and the dignity of labor. Hugo explores themes of unrequited love, social prejudice, and the quiet heroism of those who toil in obscurity. Through Gilliatt's journey, he celebrates resilience while acknowledging the tragic limits of human hope.
  
  The novel also reflects Hugo's fascination with technology and progress. The salvaged engine symbolizes modern advancement, set against the timeless power of nature. In this clash between machine and sea, Hugo raises questions about humanity's place in an ever-changing world.
  
  Epic in scope and deeply emotional, Toilers of the Sea stands as one of Victor Hugo's most evocative works. It is a story of courage against impossible odds, of love pursued with unwavering devotion, and of a solitary hero whose greatest triumph carries a bittersweet cost.
  
  Rich in imagery and philosophical depth, Toilers of the Sea remains a stirring tribute to the endurance of the human spirit in the face of nature's vast and relentless power.

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