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Anthologie poétique et romanesque by Anna de Noailles

By Anna de Noailles

Edition enrichie (Introduction, notes)

Fille d’un prince roumain, héroïne du Paris aristocratique du début du siècle, Anna de Brancovan, comtesse de Noailles, est l’auteur de neuf recueils de vers, de trois romans et de poèmes en prose dont on trouvera ici le meilleur. Sa poésie, très autobiographique, est d’une sensibilité universelle. Elle nous permet de partager son amour de l. a. nature, mais aussi les élans et les tourments d’une femme passionnée, aux enthousiasmes communicatifs. Par l. a. magie d’une langue musicale et racée, Anna de Noailles nous touche au cœur. Son œuvre, éblouissante, est une partie de notre mémoire, de notre vie.

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In it, Gold shows us the wisdom of a simple rule: Never pick a fight until you know exactly who it is you’re fighting with . . * * * * Greenberg did not deserve his surroundings. He was the first fisherman of the season, which guaranteed him a fine catch; he sat in a dry boat—one without a single leak—far out on a lake that was ruffled only enough to agitate his artificial fly. The sun was warm, the air was cool; he sat comfortably on a cushion; he had brought a hearty lunch; and two bottles of beer hung over the stern in the cold water.

He recoiled at the sound of her voice, which, to him, roared out like a siren. “Quiet, Rosie! ” And for further emphasis, he shoved his lips out against a warning finger. He heard his wife striding heavily around the kitchen. ” “I can’t papa,” she stated firmly. ” He flinched when he heard her gasp in the bathroom; but, when she came out with soaked shoes, he fled downstairs. He wandered aimlessly toward the village. Now he was in for it, he thought; screams from Esther, tears from Rosie—plus a new pair of shoes for Rosie and two and a half dollars.

A few years later, Lester del Rey took over from Lin Carter, and, aided by the matchless marketing savvy of his wife, Judy-Lynn del Rey, began to search for more commercial, less high-toned stuff that would appeal more directly to an audience still hungry for something just like Tolkien. In 1977, he brought out Terry Brooks’s The Sword of Shannara, and although it was dismissed by most critics as a clumsy retread of Tolkien, it proved hugely successful commercially, as did its many sequels. Del Rey also scored big that year with Lord Foul’s Bane, the beginning of the somewhat quirkier and less derivative trilogy The Chronicles of Thomas Covenant the Unbeliever, by Stephen R.

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