One of the greatest gothic love stories of all time, JANE EYRE tells of a lowly, plain governess who falls in love with the dashing Mr Rochester - who hides a terrible secret. An epic romance set on the Yorkshire moors, and a book that young girls will return to again and again.
Set in a dark vision of the near future, a terrifying reality TV show is taking place. Twelve boys and girls are forced to appear in a live event called The Hunger Games. There is only one rule: kill or be killed. When sixteen-year-old Katniss Everdeen steps forward to take her younger sister's place in the games, she sees it as a death sentence.
Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out of the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay for the unrest? Katniss. And what' worse, President Snow has made it clear that no one else is safe either.
After winning the brutal Hunger Games, Katniss and Peeta return to their district, hoping for a peaceful future. But their victory has caused rebellion to break out ...and the Capitol has decided that someone must pay. As Katniss and Peeta are forced to visit the districts on the Capitol's Victory Tour, the stakes are higher than ever.
A reissue of a perennially popular split-page book inviting children to howl with laughter at the fantastic and fantastical food concoctions they create.
Book 1 in a dark, original, twisty and totally unputdownable new series. The Ballad of Songbirds and Snakes will revisit the world of Panem sixty-four years before the events of The Hunger Games, starting on the morning of the reaping of the Tenth Hunger Games.
When the government of the magic world and authorities at Hogwarts School of Witchcraft and Wizardry refuse to believe in the growing threat of a freshly revived Lord Voldemort, fifteen-year-old Harry Potter finds support from his loyal friends in facing the evil wizard and other new terrors.As Harry faces his upcoming fifth year at Hogwarts Academy, there are increasing rumors of dark times coming and of Lord Voldemort's return to power, and a secret anti-Voldemort society, The Order of the Phoenix, begins meeting again.
Master storyteller Philip Pullman returns to the world of Lyra and Will, Mrs Coulter and Lee Scoresby, Pantalaimon and Iorek Byrnison, in this must-have companion to the His Dark Materials trilogy.
A book of stunning, moving, exhilarating, breathtaking scenes set during the events of Northern Lights, The Subtle Knife, The Amber Spyglass and The Book of Dust: from Serafina Pekkala sitting quietly on her cloud pine broom, listening to Dust, ahead of the epic battle with the Angels, to a young Lyra speculating about her mother's identity. In exquisite prose, Philip Pullman cuts new windows into his worlds for the reader to step through and reveals new truths about many of the iconic characters from Lyra's universe.
Rembrandt is completely mysterious in his spirit, his character, his life, his work and his method of painting. What we can divine of his essential nature comes through his painting and the trivial or tragic incidents of his unfortunate life; his penchant for ostentatious living forced him to declare bankruptcy. His misfortunes are not entirely explicable, and his oeuvre reflects disturbing notions and contradictory impulses emerging from the depths of his being, like the light and shade of his pictures. In spite of this, nothing perhaps in the history of art gives a more profound impression of unity than his paintings, composed though they are of such different elements, full of complex significations. One feels as if his intellect, that genial, great, free mind, bold and ignorant of all servitude and which led him to the loftiest meditations and the most sublime reveries, derived from the same source as his emotions. From this comes the tragic element he imprinted on everything he painted, irrespective of subject; there was inequality in his work as well as the sublime, which may be seen as the inevitable consequence of such a tumultuous existence.
It seems as though this singular, strange, attractive and almost enigmatic personality was slow in developing, or at least in attaining its complete expansion. Rembrandt showed talent and an original vision of the world early, as evidenced in his youthful etchings and his first self-portraits of about 1630. In painting, however, he did not immediately find the method he needed to express the still incomprehensible things he had to say, that audacious, broad and personal method which we admire in the masterpieces of his maturity and old age. In spite of its subtlety, it was adjudged brutal in his day and certainly contributed to alienate his public.
From the time of his beginnings and of his successes, however, lighting played a major part in his conception of painting and he made it the principal instrument of his investigations into the arcana of interior life. It already revealed to him the poetry of human physiognomy when he painted The Philosopher in Meditation or the Holy Family, so deliciously absorbed in its modest intimacy, or, for example, in The Angel Raphael leaving Tobias. Soon he asked for something more. The Night Watch marks at once the apotheosis of his reputation. He had a universal curiosity and he lived, meditated, dreamed and painted thrown back on himself. He thought of the great Venetians, borrowing their subjects and making of them an art out of the inner life of profound emotion. Mythological and religious subjects were treated as he treated his portraits. For all that he took from reality and even from the works of others, he transmuted it instantly into his own substance.
