Anna Štádlerová Libri

I sei interventi tenuti da Eco nel 1992-93 in occasione delle Norton Lectures - che si svolgono ogni anno alla Harvard University - hanno una leggerezza affabulatoria insolita alla teoria. Questa dipende senza dubbio dal fatto che Eco sapeva di rivolgersi a un pubblico vasto e vario, ma in questa particolare scelta espressiva possiamo forse cogliere anche la sua volontà di affrontare la riflessione sulla narrativa partendo proprio dalll'esperienza del lettore. Svariando da Omero a Spillane, da Cappuccetto Rosso a Nerval, Eco indaga aspettative e modalità con cui leggiamo i romanzi, procedendo in modo errabondo, come una serie di passaggiate appunto. Ma passeggiare per i boschi romanzeschi espone a sconcertanti scoperte: c'è davvero qualcosa in comune tra Manzoni e Agatha Christie, tra Molly Bloom e Milady? Soprattutto ciò che Eco ci mostra è quanto il romanzo - non a caso definito "il fratello carnale della Storia" - si intrecci con la vita e la vita con il romanzo.

Alfonso Casas's MonsterMind is a very personal account of the inner monsters that live inside his head. But, who doesn't have a monster inside them?Who has never heard that voice inside their head undermining everything they do? You're not good enough . . . You just got really lucky . . . There are people far better and more qualified than you . . .In a very honest exercise, Alfonso Casas identifies and introduces his own monsters to his readers: Mr. Past Traumas, Mr. Fear, Mr. Social Anxiety, Mr. Impostor Syndrome, Mr. Sadness, Mr. Doubt... The pessimistic, the insecure, the self-demanding, the monster that keeps you from sleeping while you think of what you could have said back in that conversation two years ago, or that keeps you looking over the punctuation of every text message to figure out the tone lurking beneath the surface. All those monsters make up the bestiary of contemporary society.But the anxiety generation is expert in more things: in looking inside themselves and their lives, and--why not?--in laughing at their own neuroses as best they can. In the end, if the monsters won't leave us, we might as well get to know them and laugh at them!Anxiety is another pandemic, but the monsters dwelling inside us are funny, too (especially as drawn by Alfonso Casas)

Un'esplorazione fittizia delle vite di scienziati e pensatori reali le cui scoperte hanno avuto conseguenze morali inaspettate. "Quando abbiamo smesso di capire il mondo" è un libro sui legami complessi tra scoperta scientifica e matematica, follia e distruzione. Fritz Haber, Alexander Grothendieck, Werner Heisenberg, Erwin Schrödinger: sono alcune delle figure illuminate nelle cui vite travagliate Benjamín Labatut coinvolge il lettore, mostrando come abbiano affrontato le domande più profonde dell'esistenza. Questi scienziati hanno colpi di genio senza pari, alienano amici e amanti, scivolano nell'isolamento e nella follia. Alcune delle loro scoperte migliorano la vita umana; altre aprono la strada al caos e a sofferenze inimmaginabili. Le linee di demarcazione non sono mai chiare. Con un ritmo vertiginoso e una ricchezza di dettagli inquietanti, Labatut utilizza le risorse imaginative della finzione per raccontare le storie di scienziati e matematici che hanno ampliato le nostre nozioni di possibilità.

Introduces us to the risks to humanity's future, from the familiar man-made threats of climate change and nuclear war, to the greater risks on the horizon from engineered pandemics and advanced artificial intelligence

A gripping narrative unfolds in this novel by Jessie Ann Foley, known for her sharp storytelling and compelling characters. The story explores themes of survival and the complexities of adolescence, appealing to readers who enjoyed the intense atmospheres of Wilder Girls and The Grace Year. With a focus on character development and emotional depth, this work promises to engage and resonate with its audience.

Sometimes it’s easier to believe the lie. But is the truth right in front of you? Everyone says Poppy jumped. My beautiful, creative sister, with her paint-splattered dresses and sunshine smile, took her own life. And I think they’re right. Until the day I get a call from a man with a very similar story. Everyone says his sister jumped too. But he has proof that she was pushed. And if she was, I have to ask could the same thing have happened to Poppy? In the moments before she died, was she really calling me to say goodbye, or was she calling for my help? Was she really alone on that cliff edge? When Poppy’s friends tell me she had a serious boyfriend, I feel like I’m losing my grip on reality. If they were so madly in love, wouldn’t she have told me? Wouldn’t there be pictures of them together? And when I find the silver heart necklace he gave her, I feel sick. It’s the same silver heart another murdered girl was given in the weeks before she died. This can’t be a coincidence. Either I’ve lost my mind, or the man my darling sister loved killed her. And if he could charm his way into her life so easily, what’s to say he’s not already in mine?

"As a photographer, Delta Dawn observes the seemingly perfect lives of New York City's elite: snapping photos of their children's birthday parties, transforming images of stiff hugs and tearstained faces into visions of pure joy, and creating moments these parents long for. ARE MADE OF BEAUTIFUL LIES But when Delta is hired for Natalie Straub's eleventh birthday, she finds herself wishing she wasn't behind the lens but a part of the scene--in the Straub family's gorgeous home and elegant life. THE TRUTH WILL BE EXPOSED That's when Delta puts her plan in place, by babysitting for Natalie; befriending her mother, Amelia; finding chances to listen to her father, Fritz. Soon she's bathing in the master bathtub, drinking their expensive wine, and eyeing the beautifully finished garden apartment in their townhouse. It seems she can never get close enough, until she discovers that photos aren't all she can manipulate"--

Drei Frauen gehen aus unterschiedlichen Gründen nicht nach Hause, jede streift für sich durch die Stadt, bevor der Tag vorbei ist. Für Kata ist sie voller Erinnerungen, die sie vermeidet. Als Kind, wenn die Mutter wohnungslos war, hat sie viel Zeit draußen verbracht. Jetzt, im Gehen, fällt ihr auf, dass der öffentliche Raum manche Menschen ausschließt. Katas Kindheit war anders als die von Mira, ihrer Pflegeschwester, bei der sie auch heute noch unterkommt, wenn sie zu Besuch hier ist. Mira verbringt immer weniger Zeit in ihrer Wohnung, sie ist ihr nicht durchlässig genug. Auf ihrem Streifzug denkt sie über Formen der Gemeinschaftlichkeit nach, in Nischen der Stadt, bevor sie selbst in eine solche stolpert. Sarah wiederum bewegt sich an den Rändern, aus der Stadt und ihrem Leben hinaus. Sie hat gerade ihre Sachen in einen stillgelegten Trakt eines Krankenhauses übersiedelt. Anders als Elias, mit dem sie nur noch die gemeinsame Wohnung verbindet, weiß sie, dass dies auch ein Abschied ist. Dieses Buch lotet einen Raum aus, in dem sich Begegnung und Ausweichen, Fragilität und Widerständigkeit, Begehren und Verweigern verdichten. Es ist aufregend behutsam, zugleich tastend und sicher, erzählt.