Otros libros que te pueden interesar

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  The Undying One - From their...

  Lafcadio Hearn

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  Lafcadio Hearn was born on the 27th June 1850 on the Ionian isle of Levkás in Greece to a British Army officer and a Greek Mother. 
  His father, fearing for his career prospects at being married to a Greek Orthodox wife, sent them to Dublin whilst he continued to advance his career with further postings.  Life there was difficult for mother and son.  His father returned, wounded and traumatised, when Lafcadio was three.  He annulled the marriage and she remarried but had to give up care of Lafcadio to her sister-in law.   
  After brief periods for Catholic education in England and France he emigrated to Ohio in the United States when he was 19, taking on a series of casual jobs before embarking on a career as a journalist, publishing poems and essays in Cincinnati.  It was whilst here that he began a side-line in translating, starting with Gautier and Flaubert.  He married in 1874 to a 20 year old African-American woman in violation of Ohio's anti-miscegenation law.  The marriage soon failed. 
  In 1877 he relocated to New Orleans to write on a variety of themes before picking up a two year assignment from Harper’s to write in the West Indies, where he also wrote his first novel. 
  In 1890 Harper’s sent him to Japan.  Here he left journalism and took the remarkable decision to become a schoolteacher in the north of Japan.   Enraptured by the culture he was driven to explain it in various Western publications to those who had little, if any, knowledge of its culture.  Within the year he had fallen in love with, and married, a high-born Japanese lady, together they would have four children.   
  In 1895 he became a Japanese national and took the name Koizumi Yakumo, Koizumi being his wife’s family name. 
  The following few years, whilst a professor of Literature at the Imperial University of Japan, were his most creative and admired period.   
  Lafcadio Hearn died of heart failure on the 26th of September 1904, in Tokyo, Japan shortly before leaving to deliver a series of lectures at Cornell University in New York State.  He was 54.

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  The Telegram

  Konstantín Paustovski, Marlene...

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  Konstantin Paustovsky was a Russian writer nominated for the Nobel Prize for literature in 1965, 1966,1967,1968.
  Paustovsky began writing while still in Gymnasium. His first works were imitative poetry but he restricted his writing to prose after Ivan Bunin wrote in a letter to him: "I think that your sphere, your real poetry, is prose. It is here, if you are determined enough, that I am sure you can achieve something significant."
  Paustovsky's prose, steeped in nostalgia and quiet sorrow, reaches its finest expression in The Telegram—a story of distance, both physical and emotional, and the irreversible weight of unsaid words.
  The Telegram is not merely a story; it is a whisper across time, a plea too late, a love unspoken until the silence swallows it whole. In Paustovsky's world, distance is more than geography—it is the fragile thread between duty and regret, between those who leave and those who wait. The past lingers in unmailed letters, in the hush of an empty house, in the shadow of a mother's gaze.
  His words do not shout—they murmur, they breathe, they break the heart with a tenderness that lingers long after the final sentence.

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  The Enchanted April

  Elizabeth von Arnim

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  Two women, strangers to each other, notice the same advertisement in a London newspaper: a medieval castle in Italy, wisteria, sunshine, April. They cannot quite afford it alone. They invite two more women, also strangers, also grey with English winter. What happens in the castle above the Mediterranean is not a plot exactly — it is more like a slow chemical reaction in which four people who have forgotten what they feel like gradually remember. Von Arnim's novel is a comedy of a very particular kind: warm, astute, and quietly wise about the way that beauty works on people who have been too long without it. Each of the four women is unhappy for different reasons, and each discovers something different in the Italian light. That it sounds slight and proves so quietly powerful is the measure of the writer's art.

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  Mary Regan

  Leroy Scott

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  was so easy to make, Clifford thought of the strange dramas that had their beginnings in the Grand Alcazar and establishments of its kind. Thus much had the dancing craze, though now receded from its earliest frenzy, and the practice of dining and eating midnight suppers in the showy restaurants, achieved: it had brought all sorts of persons, so long as they were well dressed, under the same roof and had set them down at the same or adjoining tables. Hardly since time began had that important requisite of great drama been so nearly perfect as in these restaurants—for people of different ideas and interests and moral standards to meet naturally upon a common ground....A little man, swart of face, his mustache tightly waxed, and in the smartest evening dress that convention permits the male, paused and spoke to Clifford—a gentleman whom most of the patrons of the place knew, if they knew him at all, as Monsieur Le Bain. Though the master of this ornate pleasure palace, he spoke obsequiously....FROM THE BOOKS.

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  The Legend of Tyl Ulenspiegel -...

  Charles de Coster

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  Flanders under the Spanish occupation, a boy born the same day as Philip the Second, and the ashes of his burned father worn in a bag round his neck. De Coster wrote the Flemish national epic in French in 1867, and it was ignored until after his death; Tyl the trickster becomes the resistance itself. Thirteen plates of Brueghel and Teniers bring the peasant world of proverbs, carnival and winter fairs that Tyl turns topsy-turvy into the book itself.

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  Laura Silver Bell

  Joseph Sheridan Le Fanu

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  "She heard the chiming of the silver bells, and she knew the hills were calling her home."
  
  In a secluded village nestled beneath the shadow of ancient, brooding hills, dwells the beautiful and ethereal Laura Silver Bell. Unlike the other village girls, Laura feels a strange, magnetic pull toward the wild, unpeopled places of the moor. But in the world of Le Fanu, the hills have eyes, and the "Good People" (the Sidhe) are not the whimsical fairies of nursery rhymes—they are ancient, predatory, and possessive. When a mysterious and charismatic stranger appears, Laura finds herself caught between the warmth of human love and a chilling supernatural inheritance. It is a tale of enchantment that warns: once you hear the silver bells, you can never truly belong to the world of men again.
  
  The "Dark" Fairy Tale: Le Fanu strips away the Victorian "flower fairy" imagery to return to the roots of Celtic myth. His fairies are tall, silent, and dangerous beings who exist in the "liminal" spaces of the world. The story explores the "Changeling" myth through a sophisticated Gothic lens, making the supernatural feel like a physical, inevitable force of nature.
  
  A Heroine of Two Worlds: Laura is one of Le Fanu's most complex female characters. Her "silver" beauty is both a blessing and a curse, marking her as someone who doesn't quite fit into the mundane life of her village. Her struggle is a poignant metaphor for the outsider—the person who hears a music that no one else can.
  
  The Master of the Eerie: Laura Silver Bell showcases Le Fanu's ability to weave a sense of "wrongness" into the natural landscape. The rustle of the grass, the shifting shadows of the hills, and the sudden silence of the birds all build toward a climax that is as beautiful as it is devastating.
  
  Follow the music into the mist. Purchase "Laura Silver Bell" today.

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