Empfehlungen basierend auf "The Prestige"

The acclaimed artist Brom brilliantly displays his multiple extraordinary talents in The Child Thief—a spellbinding re-imagining of the beloved Peter Pan story that carries readers through the perilous mist separating our world from the realm of Faerie. As Gregory Maguire did with his New York Times bestselling Wicked novels, Brom takes a classic children’s tale and turns it inside-out, painting a Neverland that, like Maguire’s Oz, is darker, richer, more complex than innocent world J.M. Barrie originally conceived. An ingeniously executed literary feat, illustrated with Brom’s sumptuous artwork, The Child Thief is contemporary fantasy at its finest—casting Peter Pan, the Lost Boys, even Captain Hook and his crew in a breathtaking new light.

THESE NEWCOMERS ARE DIFFERENT. THEY WILL CHANGE EVERYTHING.For fans of The Essex Serpent and The Mermaid and Mrs Hancock.‘By far my favourite book of of the year’ Guardian‘One of only two novels I've ever loved whose main characters are not human’ Barbara KingsolverOne cold night, two newcomers emerge onto the streets of 1899 New York, and it is never the same again.But these two are more than strangers to this land, they are strangers to this world. From the depths of folkloric history come Chava the golem, a creature made of clay, brought to life by a disgraced rabbi and Ahmad, a djinni, born in the ancient Syrian desert and trapped in an old copper flask released accidentally by a tinsmith in a Lower Manhattan shop.Two companions who were never meant to be released, and never meant to meet. And when they do, their opposing natures will be sealed by a special bond, but one that is threatened by watching eyes, roaming owners and a misunderstanding world.A glittering gem of a novel, as spell-binding as it is compelling, The Golem and The Djinni asks us what we’re made of and how we can break free.

A stranger comes to the city of Mageia and challenges its inhabitants with a new kind of magic - a magic that restores innocence and faith.

The second book in Robertson Davies's acclaimed The Deptford Trilogy, with a new foreword by Kelly LinkHailed by the Washington Post Book World as "a modern classic," Robertson Davies’s acclaimed Deptford Trilogy is a glittering, fantastical, cunningly contrived series of novels, around which a mysterious death is woven. The Manticore—the second book in the series after Fifth Business—follows David Staunton, a man pleased with his success but haunted by his relationship with his larger-than-life father. As he seeks help through therapy, he encounters a wonderful cast of characters who help connect him to his past and the death of his father.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

In the unforgettable sequel to the bestselling Jonathan Livingston Seagull, two barn-storming vagabonds meet in the fields of Midwest America and embark on an entertaining and sometimes startling mystical adventure that presents a new perspective on reality, miracles, and the way many of us could live—if we’re up for the challenge. In the cloud-washed airspace between the cornfields of Illinois and blue infinity, a man puts his faith in the propeller of his biplane. For disillusioned writer and itinerant barnstormer Richard Bach, belief is as real as a full tank of gas and sparks firing in the cylinders . . . until he meets Donald Shimoda—former mechanic and self-described messiah who can make wrenches fly and Richard’s imagination soar. . . . In Illusions, Richard Bach takes to the air to discover the ageless truths that give our souls wings: that people don’t need airplanes to soar . . . that even the darkest clouds have meaning once we lift ourselves above them . . . and that messiahs can be found in the unlikeliest places—like hay fields, one-traffic-light midwestern towns, and most of all, deep within ourselves.

Artemis is no stranger to trouble. In fact he's a magnet for it. Now his mother is gravely ill. Artemis Fowl must travel back through time to steal the cure from the clutches of the young criminal mastermind ... Artemis Fowl. That's right, with fairy ally Captain Holly Short by his side, Artemis is going back in time to do battle with himself. Suggested level: intermediate, junior secondary.

This last installment of the beloved series recounts the long-ago beginnings of Green Knowe, a time when Roger, the son of a Norman lord, was the first child to live in the grand old manor. Roger finds some ancient stones on the grounds, which magically transport him back and forth in time so he can meet and befriend Toby, Linnet, Susan, and Tolly--the future inhabitants of Green Knowe and the heroes of the five other magical books in the series.

Is Hitchcock a superficial, though brilliant, entertainer or a moralist? Do his films celebrate the ideal of romantic love or subvert it? In a new interpretation of the director's work, Richard Allen argues that Hitchcock orchestrates the narrative and stylistic idioms of popular cinema to at once celebrate and subvert the ideal of romance and to forge a distinctive worldview-the amoral outlook of the romantic ironist or aesthete. He describes in detail how Hitchcock's characteristic tone is achieved through a titillating combination of suspense and black humor that subverts the moral framework of the romantic thriller, and a meticulous approach to visual style that articulates the lure of human perversity even as the ideal of romance is being deliriously affirmed. Discussing more than thirty films from the director's English and American periods, Allen explores the filmmaker's adoption of the idioms of late romanticism, his orchestration of narrative point of view and suspense, and his distinctive visual strategies of aestheticism and expressionism and surrealism.

London, 1840: Wagner's latest opera plays to packed houses while disgruntled workers gather in crowded pubs to eat ice cream and plan the downfall of the bourgeoisie. Meanwhile, the Pirate Captain finds himself incarcerated at Scotland Yard, in a case of mistaken identity.Discovering that his doppelgänger is none other than Karl Marx, the Captain and his crew are unwittingly caught up in a sinister plot that involves intellectual giants, enormous beards, and a quest to discover whether ham might really be the opium of the people.Includes, at no additional charge, The Wit and Wisdom of the Pirate Captain—a Major Philosophical Work.On the Matter of Love:If you're off to fight in a battle, snap a ship's biscuit in half and give your girlfriend the other half. When you meet again, they will match—like two halves of a single soul! Hopefully, this will stop her sleeping with other men.On Life in General:Life is like a big shanty. Everything will be fine so long as everyone sings in harmony. But if someone plays a duff note on the accordion or tries to break-dance at a sensitive bit, then there will be all sorts of trouble, mark my words.

Official cheese taster, Anatole the mouse, is sent to Italy to save a cheese factory and discovers a lost masterpiece as well.