Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Hill S., Black Sheep — 2013

Brother and sister, Ted and Rose Howker, grew up in Mount of Zeal, a mining village blackened by coal...

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Grogan J., Marley and the Runaway Pumpkin — 2010 (I can Read!)

Marley's family takes extra care in getting their blue-ribbon pumpkin to the fair, but with a dog like Marley around, being careful isn't always enough.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

The Eye of Childhood. short stories — 2000 (Oxford bookworms collection)

What does it feel like to be a child? Learning how to negotiate with the unpredictable adult world, learning how to pick a path through life's traps and hazards, learning when the time has come to put away childish things. The writers of these short stories show us the world as seen from the far side of the child-adult divide, a gap that is sometimes small, and sometimes an unbridgeable chasm. This collection contains stories by John Updike, Graham Greene, William Boyd, Susan Hill, D. H. Lawrence, Saki, Penelope Lively, Bernard MacLaverty, Frank Tuohy and Morley Callaghan.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Õðåñòîìàòèÿ ïî àíãëèéñêîé ëèòåðàòóðå ÕÕ âåêà — 1985

Õðåñòîìàòèÿ ïðåäñòàâëÿåò ñîáîé ïîñîáèå ïî êóðñó àíãëèéñêîé ëèòåðàòóðû XX âåêà äëÿ ñòóäåíòîâ ôàêóëüòåòîâ èíîñòðàííûõ ÿçûêîâ ïåäàãîãè÷åñêèõ èíñòèòóòîâ.  íåå âõîäÿò îòðûâêè èç ïðîèçâåäåíèé àíãëèéñêèõ ïèñàòåëåé è ïîýòîâ. Îòêðûâàåò êíèãó êðàòêèé î÷åðê, õàðàêòåðèçóþùèé àíãëèéñêóþ ëèòåðàòóðó ÕÕ âåêà, åå îñíîâíûå íàïðàâëåíèÿ è òåíäåíöèè. Êàæäîìó ïðåäñòàâëåííîìó â õðåñòîìàòèè àâòîðó ïðåäøåñòâóåò êðàòêàÿ áèîãðàôè÷åñêàÿ ñïðàâêà. Êíèãà çàâåðøàåòñÿ ïîäðîáíûìè ïðèìå÷àíèÿìè, äàþùèìè íåîáõîäèìûå ëèíãâèñòè÷åñêèå, ëèòåðàòóðíûå è èñòîðè÷åñêèå ïîÿñíåíèÿ.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Making It All Right. Modern English Short Stories — 1978

Ñáîðíèê ñòàâèò ñâîåé öåëüþ ïîçíàêîìèòü ÷èòàòåëÿ ñ ëó÷øèìè îáðàçöàìè òâîð÷åñòâà àíãëèéñêèõ íîâåëèñòîâ 50-õ - 60-õ ãã.  íåì ïðåäñòàâëåíû ïèñàòåëè íåñêîëüêèõ ïîêîëåíèé, ñîçäàâàÿ êðàñî÷íóþ, ìíîãîëèêóþ êàðòèíó ñåãîäíÿøíåé Àíãëèè. Êíèãè ïðåäñòàâëÿåò ðàçíîîáðàçíûå òåìàòèêè è ñòèëèñòèêè ñîâðåìåííîãî àíãëèéñêîãî ðàññêàçà.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hill S., Betrayal of Trust — 2011

Quality-of-life issues figure prominently in Hill—s thought-provoking sixth procedural featuring Chief Supt. Simon Serrailler (after 2010—s The Shadows in the Street). Skeletal remains unearthed by a torrential rainstorm that floods the English city of Lafferton are quickly identified as those of Harriet Lowther, a 15-year-old schoolgirl who disappeared 16 years earlier after last being seen at a bus stop. Serrailler must conduct the subsequent cold case murder inquiry with limited staffing. As he grinds through old interview reports and seeks out living witnesses to Lowther—s actions on the day she vanished, he meets a married woman whose husband is debilitated by Parkinson—s. Meanwhile, a patient of his physician sister contemplates suicide on learning of a fatal diagnosis, and another local grapples with finding a suitable facility for a loved one subject to increasingly violent outbursts. Fully realized characters and efficient prose more than compensate for an unconvincing ...

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hill S., The Woman in Black — 2012

What real reader does not yearn, somewhere in the recesses of his or her heart, for a really literate, first-class thriller--one that chills the body, but warms the soul with plot, perception, and language at once astute and vivid? In other words, a ghost story written by Jane Austen?Alas, we cannot give you Austen, but Susan Hill's remarkable Woman In Black comes as close as our era can provide. Set on the obligatory English moor, on an isolated causeway, the story has as its hero Arthur Kipps, an up-and-coming young solicitor who has come north from London to attend the funeral and settle the affairs of Mrs. Alice Drablow of Eel Marsh House. The routine formalities he anticipates give way to a tumble of events and secrets more sinister and terrifying than any nightmare: the rocking chair in the deserted nursery, the eerie sound of a pony and trap, a child's scream in the fog, and most dreadfully--and for Kipps most tragically--The Woman In Black.The Woman In Black is both a brilliant exercise in atmosphere and controlled horror and a delicious spine-tingler--proof positive that this neglected genre, the ghost story, isn't dead after all.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hill S., Gentleman and Ladies — 1981

Faith Lavender s funeral and the arrival of a stranger upsets the balance of Haverstock. Undercurrents of fierce emotion reach the surface, while the tensions rise and the ladies of Haverstock find their actions motivated by mutual suspicion and fear. By the author of Strange Meeting.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hill S., In the Springtime of the Year — 1982

Set in a rural English village, In the Springtime of the Year is an astonishingly acute novel built around young Ruth Bryce s struggle to deal with the sudden and accidental death of her husband, Ben. Suddenly alone, Ruth must cope not only with Ben s death but also with his family who view her with suspicion and hostility. Her sole companion is Ben s fourteen-year-old brother who understands Ruth s quiet determination to emerge from this tragedy with her integrity and independence intact. A young woman s ability to collect herself, by herself, in the face of oppressive circumstances, is the force behind this novel. Told in a voice that is both honest and unsparing, it is an important addition to the oeuvre of a writer of real scope and power.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hill S., A Bit of Singing and Dancing — 1982

When Susan Hill s first collection of stories, The Albatross, (awarded the John Llywellyn Rhys Prize), appeared, the reviewer in the Times Literary Supplement compared her style to that of Tolstoy. With this collection, A Bit of Singing and Dancing, she establishes herself as one of the very few novelists practising the art of the short story with total success. Whether she is relating the tragic series of events in the conservatory, or conjuring up the pathos of an unusual lodger, or portraying the ineffable Ossie in Venice, her powers of description are sharp, compassionate, and subtle. A French village, an English seaside town out of season, a hospital ward, these are some of her varied backgrounds. The eleven stories in this collection are a clear indication of Susan Hill s unique skill.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hill S., The Woman in Black — 2006 (Longman Imprint books)

What real reader does not yearn, somewhere in the recesses of his or her heart, for a really literate, first-class thriller - one that chills the body, but warms the soul with plot, perception, and language at once astute and vivid? In other words, a ghost story written by Jane Austen? Alas, we cannot give you Austen, but Susan Hill's remarkable Woman In Black comes as close as our era can provide. Set on the obligatory English moor, on an isolated causeway, the story has as its hero Arthur Kipps, an up-and-coming young solicitor who has come north from London to attend the funeral and settle the affairs of Mrs. Alice Drablow of Eel Marsh House. The routine formalities he anticipates give way to a tumble of events and secrets more sinister and terrifying than any nightmare: the rocking chair in the deserted nursery, the eerie sound of a pony and trap, a child's scream in the fog, and most dreadfully - and for Kipps most tragically - The Woman In Black. The Woman In Black is both a brilliant exercise in atmosphere and controlled horror and a delicious spine-tingler - proof positive that this neglected genre, the ghost story, isn't dead after all.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hill S., I m the King of the Castle — 2000 (New Longman Literature)

Hooper had known, from the very first moment he had looked into Kingshaw's face, that it would all be easy, that he would always be able to make him afraid. This tragic tale of two isolated children explores the nature of cruelty and the power of evil.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Ghost Stories — 2007 (Longman Imprint Book)

The best ghost stories don't rely on shrieks and spooks:èthey show us ordinary people in ordinary situatons... when the extraordinary happens. Whether a haunted castle or a hot London summer time, we should expect the unexpected. Herself an expert in the art of chilling, Susan Hill introduced ten classics of the genre.

Ñîäåðæàíèå: The Shadow-Cage/Pearce/ On the Brighton Road/Middleton/ If She Bends, She Breaks/Gordon/ The July Ghost/Byatt/ The Red Room/Wells/ Andrina/Brown/ A Kind of Swan Song/Cresswell/ The Man Who Didn't Believe in Ghosts/Leodhas/ The Darkness under the Stairs/Salway/ The Sea Bride/Alcock/

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ

Hill S., Strange Meeting — 1976

John Hilliard, a subaltern returning to the Western Front after a period of sick leave back in an England blind to the horrors of the trenches, finds his battalion tragically altered. His commanding officer finds escape in alcohol, there is a new adjutant and even Hilliard's batman has been killed.

Ìåñòîíàõîæäåíèå èçäàíèÿ: Çàë ëèòåðàòóðû íà èíîñòðàííûõ ÿçûêàõ

Ïîäðîáíàÿ èíôîðìàöèÿ