LOTR LCG: The Treason of Saruman (A Saga Expansion) Fantasy Flight Games

Gry LCG > Lord of the Rings LCG > Saga Expansions

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A crocodile for his seetheart , J. Pulikowski Jerozolima

Znani autorzy > Jacek Pulikowski

A crocodile for his seetheart , J. Pulikowski Książka posiada IMPRIMATUR ISBN 978-83-89282-59-0 Format: 12,5x19,5 cm;  Ilość stron: 110 Jacek Pulikowski "A crocodile for his sweetheart" English translation of Polish book by Jacek Pulikowski The title #8220;A Crocodile for His Sweetheart#8221;, is symbolic of what a man in love is capable of doing for his chosen one. It takes a great deal of effort for both the man and woman to build a strong and loving family. This time the author is directing his message to women, especially young women, so that they can help their men grow. With their feminine charm and sensitivity to beauty and good they can help their guys become men so that they may reach the fullest potential of their masculine dignity. The

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How to Be a Tickle Slave Nazca Plains Corporation

Książki / Literatura obcojęzyczna

"Tickle tickle tickle ..."With those three words, some men simply run in terror. Some men are struck with paralyzing fear. Others try to "man up" and resist the torture they're about to receive, but try as they might, the result is the same: after a feather lightly dances across their bound body, even the toughest of guys are reduced to rubble, begging for mercy while laughing incoherently, completely helpless for all to see. For some, it's the ultimate torture; for others, it's the ultimate turn-on ...With HOW TO BE A TICKLE SLAVE, author James T. Medak weaves together one insanely hot tickle tale after another, his victims ranging from frat boys who get punished for their athletic arrogance to closeted foot fetishizers who get in way over their heads. Passions flare, climaxes are reached, and - oh yeah - there's a lot of tickling to boot! So come on in, kick off your shoes, and learn HOW TO BE A TICKLE SLAVE ...

Sklep: Libristo.pl

Come Love a Stranger AVON BOOKS

Książki / Literatura obcojęzyczna

A woman with no name and no memory...The two men who claim her: one with love, the other with fear...A dazzling tale of secret passions--and a love tragically lost and miraculously reborn--by the incomparable storyteller.Mere days after Ashton Wingate's wedding to the enchanting Lierin, capricious Fate stole the Mississippi plantation owner's beloved from him. Now, three years later, his carriage has collided with a cloaked rider on horseback: a woman who bears an uncanny resemblance to the young bride who was swallowed up by the merciless river.She awakens from unconsciousness in his magnificent home with no memory of who she is. Yet the tenderness of this noble, caring stranger who lovingly calls her "Lierin" soon captures her heart and enflames her with wanting. Then another enters their lives, threatening to destroy the happiness they have rediscovered in each other's arms--the dark and dangerous Malcolm Sinclair, who claims the enigmatic beauty is, in fact, his own wife, Lenore. But Ashton has sworn that he will not lose his adored one a second time, and he will risk any peril to preserve their newfound joy--no matter what the unremembered secrets of his lady's past ultimately reveal.LIERINWith no name and no memory, she awakens from a nightmare of madness into the lives of two stranger. One she desires, one she fears--but both have claimed her heart.To handsome plantation owner Ashton Wingate, she is #19; Lierin#20; --the cherished bride cruelly stolen from him by capricious Fate. The other calls her #19; Lenore#20; --entangling the lost, tormented beauty in his sinister web of perilous deceit. But it is in the adoring arms of noble Ashton that her true destinyawaits--as they join together to unlock the mysteries of a shadowed past. . .and to rekindle the flames of a glorious love once vanished but never forgotten.

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A House in the Sky Penguin Books

Książki / Literatura obcojęzyczna

A House in the Sky is the dramatic and redemptive memoir of Amanda Lindhout, a woman whose curiosity led her to the world's most beautiful and remote places, its most imperiled and perilous countries, and then into fifteen months of harrowing captivity - an exquisitely written story of courage, resilience, and grace. As a child, Amanda Lindhout escaped a violent household by paging through issues of National Geographic and imagining herself in its exotic locales. At the age of nineteen, working as a cocktail waitress, she began saving her tips so she could travel the globe. Aspiring to understand the world and live a significant life, she backpacked through Latin America, Laos, Bangladesh, and India, and emboldened by each adventure, went on to Sudan, Syria, and Pakistan. In war-ridden Afghanistan and Iraq she carved out a fledgling career as a television reporter. And then, in August 2008, she traveled to Somalia - "the most dangerous place on earth." On her fourth day, she was abducted by a group of masked men along a dusty road. Held hostage for 460 days, Amanda converts to Islam as a survival tactic, receives "wife lessons" from one of her captors, and risks a daring escape.Moved between a series of abandoned houses in the desert, she survives on memory - every lush detail of the world she experienced in her life before captivity - and on strategy, fortitude, and hope. When she is most desperate, she visits a house in the sky, high above the woman kept in chains, in the dark, being tortured. Vivid and suspenseful, as artfully written as the finest novel, A House in the Sky is the searingly intimate story of an intrepid young woman and her search for compassion in the face of unimaginable adversity. For fans of the award-winning blockbuster Captain Phillips and readers of Kate McCann's Madeleine, Natasha Kampusch's 3,096 Days and Greg Mortenson's Three Cups of Tea. Amanda Lindhout is the founder of the Global Enrichment Foundation, a non-profit organization that supports development, aid and education initiatives in Somalia and Kenya. Sara Corbett is a contributing writer to The New York Times Magazine. Her work has also appeared in National Geographic; Elle; Outside; O, the Oprah magazine; Esquire; and Mother Jones.

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A Time for Trumpets: The Untold Story of the Battle of the Bulge WILLIAM MORROW & CO

Książki / Literatura obcojęzyczna

On December 16, 1944, the vanguard of three German armies, totaling half a million men, attacked U.S. forces in the Ardennes region of Belgium and Luxembourg, achieveing what had been considered impossible -- total surprise. In the most abysmal failure of battlefield intelligence in the history of the U.S. Army, 600,000 American soldiers found themselves facing Hitler's last desperate effort of the war.The brutal confrontation that ensued became known as the Battle of the Bulge, the greatest battle ever fought by the U.S. Army -- a triumph of American ingenuity and dedication over an egregious failure in strategic intelligence. "A Time for Trumpets is the definitive account of this dramatic victory, told by one of America's most respected military historians, who was also an eyewitness: MacDonald commanded a rifle company in the Battle of the Bulge. His account of this unique battle is exhaustively researched, honestly recounted, and movingly authentic in its depiction of hand-to-hand combat.Mingling firsthand experience with the insights of a distinguished historian, MacDonald places this profound human drama unforgettably on the landscape of history.

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A Game of Thrones LCG: The Kingsguard Fantasy Flight Games

Gry Karciane

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Under the Duvet Penguin

Powieści i opowiadania

'When people ask me what I do for a crust and I tell them that I'm a novelist, they immediately assume that my life is a non-stop carousel of limos, television appearances, hair-dos, devoted fans, stalkers and all the glitzy paraphernalia of being a public figure. It's time to set the record straight. I write alone, in a darkened bedroom, wearing my PJs, eating bananas, my laptop on a pillow in front of me ...' Her novels are adored by millions around the world

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Natasha's Dance Penguin

Powieści i opowiadania

Orlando Figes

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Consolations of Philosophy Penguin

Nauki humanistyczne

Alain de Botton, best-selling author of How Proust can Change Your Life, has set six of the finest minds in the history of philosophy to work on the problems of everyday life. Here then are Socrates, Epicurus, Seneca, Montaigne, Schopenhauer and Nietzsche on some of the things that bother us all; lack of money, the pain of love, inadequacy, anxiety, the fear of failure and the pressure to conform.

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Letter from America Penguin

Powieści i opowiadania

When Alistair Cooke retired in March 2004 and then died a few weeks later, he was acclaimed by many as one of the greatest broadcasters of all time. His Letters from America, which began in 1946 and continued uninterrupted every week until early 2004, kept the world in touch with what was happening in Cooke's wry, liberal and humane style. This selection, made largely by Cooke himself and supplemented by his literary executor, gives us the very best of these legendary broadcasts. Over half have never appeared in print before. It is a remarkable portrait of a continent - and a man. Fred Astaire 26 June 1987 Movie stars don't make it. Nor statesmen. Not Prime Ministers, or dictators unless they die in office. Not even a world-famous rock star, unless he's assassinated. But last Monday, none of the three national television networks hesitated about the story that would lead the evening news. On millions of little screens in this country and I don't doubt in many other countries around the world, the first shots were of an imp, a graceful wraith, a firefly in impeccable white tie and tails. And for much longer than the lead story usually runs, for a full five minutes on NBC, we were given a loving retrospective of the dead man, ending with the firm declaration by Nureyev that 'He was not just the best ballroom dancer, or tap dancer, he was simply the greatest, most imaginative, dancer of our time.' And the newsmen were right to remind us of the immortal comment of the Hollywood mogul, who, with the no-nonsense directness of an expert, reported on Fred Astaire's first film test: 'Has enormous ears, can't act, can't sing, dances a little.' That Hollywood mogul, long gone, spent his life ducking round corners, to avoid being identified as the oaf who looked in the sky and never saw the brightest star. However, that expert opinion was, as the lawyers say, controlling at the time and in Astaire's first movies, there was no thought of allowing him to act or sing. But not for long. And thanks to the invention of television, and the need to fill vast stretches of the afternoon and night with old movies, it has been possible for my daughter, for instance, to claim Fred Astaire as her favourite film star from the evidence of all the movies he made fifteen, ten, five, three years before she was born. When I got the news on Monday evening here, and realized with immediate professional satisfaction that the BBC had smartly on hand a musical obituary tribute to him I put together eight years ago, I couldn't help recalling the casual, comic way this and similar radio obituaries came about. I was in London at the end of 1979, and Richard Rodgers - one of the two or three greatest of American songwriters - had just died, I believe on New Year's Eve or the night before. Britons, by then, were getting accustomed, without pain, to making what used to be a two-day Christmas holiday into a ten-day much-needed rest. For all laborious research purposes, the BBC was shut up. And there was no retrospective programme on the life and music of Richard Rodgers in the BBC's archives. Of course, in a gramophone library that looks like an annex to the Pentagon, there were hundreds, perhaps thousands, of recordings of his songs. The SOS went out to a writer, a producer, and - I presume - a man who had the key to the gramophone library. The silent place was unlocked, and the three of them laboured through the day to put together an hour's tribute to Richard Rodgers. It was done. It was competent enough, but rushed to an impossible deadline. This hasty improvisation happened just when my own music producer and I, who had enjoyed working together for six years or so on American popular music, were wondering what we could offer next. We'd done a sketch history of jazz, through individuals. We'd gone through all the popular music of the 1920s, 1930s and 1940s, and were stumped for a new series, at which point I asked if we mightn't go and talk to the head of the channel, network or whatever. We went in, and the genial boss asked me what we had in mind. 'A morgue,' I said. A what? 'Where', I asked, 'is your morgue?' He was not familiar with the word, a newspaper term. 'Well,' I said, 'all newspapers have them.' 'How d'you mean?' 'If, I explained, 'Mrs Thatcher died tonight and you woke up and read a two-sentence obituary, you'd be rightly outraged. But if you saw a two-page obituary, you'd take it for granted. When d'you suppose it was written?' 'That's right,' he said thoughtfully. What I was proposing was a morgue of the Americans eminent in popular music and jazz, so they'd not get caught short again. A splendid idea, the man said; pick your stars. We made a list and were commissioned to return to America and finish all of them. Naturally, we looked at a calendar, and birthdates of Hoagy Carmichael, Earl Hines, Harold Arlen, Ethel Merman, Stephane Grappelli, Ella Fitzgerald. But then, in a spasm of panic, we thought of two giants - if the word can be used about two comparative midgets: Irving Berlin and Fred Astaire. Berlin was then 91. And Fred Astaire was just crowding 80. The boss man, to whom the idea of a morgue had been, only a few minutes before, quaint if not morbid, wondered what we were waiting for. Better get busy, at once, on Berlin and then on Astaire. I remember doing the Astaire obit, then and there, while I was still in London. Meanwhile, we'd simply pray every night that the Lord would keep Irving Berlin breathing till I could get home and get busy. I remember being picked up in a car by a charming young girl to get to the BBC and record my Astaire narration - there wasn't a moment to lose. She asked me, in the car, what the script was that I was clutching. 'It's an obituary', I said, 'of Fred Astaire.' 'Fred Astaire,' she shrieked, 'dead?' and almost swerved into a bus. 'Of course, he's not dead,' I said, 'but he's going to be one day.' She, too, was new to the institution of a morgue. I recalled that when I was a correspondent for a British paper in the United States, and when for example. Dean Acheson was appointed Secretary of State, the first cable I had from my editor said, 'Welcome Acheson obituary soonest.' How ghoulish, she said. I imagine that to two generations at least, it's assumed that Fred Astaire, this slim, pop-eyed newcomer to Hollywood who couldn't act, couldn't sing, danced a little, only made a fool of the mogul through the movies he made, with Ginger Rogers, in the mid- and late 1930s. But long before then, from the mid-1920s on, he was already an incomparable star - as a dancer - to theatre audiences both in New York and in London. Perhaps more in London than anywhere, certainly in the 1920s, with the early Gershwin hits, Funny Face and Lady Be Good, and lastly, in 1933, in Cole Porter's Gay Divorce (which was the title of the theatre show; Hollywood would not then allow so shocking a title and called the movie version, The Gay Divorcee). Of all the thousands of words that have been written this week, and will be written, there is a passage I went back to on Tuesday night which, I think, as well as anything I know, sums up Astaire's overall appeal - the appeal that takes in but transcends one's admiration for his dancing and for his inimitably intimate singing style. This was written in November 1933, by a theatre critic who had so little feel for dancing that he marvelled why London should go on about 'Mr Astaire's doing well enough what the Tiller Girls at Blackpool do superbly'. The critic, the writer, was James Agate, the irascible, dogmatic, opinionated but brilliant journalist, and I believe the best critic of acting we have had this century. He is writing his review of Gay Divorce, after declaring yet again his contempt for musical comedy as an entertainment for idiots, deploring the play's plot and the acting and hoping 'Micawberishly, for something to turn up'. 'Presently,' he wrote, 'Mr Fred Astaire obliged, and there is really no more to be said.' Except

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Ta chwila - Andrzej Falkiewicz

Książki & Multimedia > Książki

Opis - Przez całą opowieść jest ich dwoje - Andrzej Falkiewicz i Krystyna Miłobędzka. "Ta chwila" jest osobistym, momentami intymnym spisem codziennych obserwacji. Po niezwykłym i długim związku pozostały nie tylko wiersze, ale też "dwie duże walizy" listów, które twórcy wymienili między sobą. Również one stanowią istotną część książki, która pozwala przyjrzeć się twórczości Falkiewicza w sposób bliższy niż do tej pory. To intelektualne wyzwanie, które warto podjąć. Nazwa - Ta chwila Autor - Andrzej Falkiewicz Oprawa - Twarda Wydawca - Biuro Literackie Kod ISBN - 9788363129286 Kod EAN - 9788363129286 Wydanie - I Rok wydania - 2013 Język - polski Format - 14.5x23.5cm Ilość stron - 440 Podatek VAT - 5% Premiera - 2013-12-19

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Kalendarz książkowy dzienny A5 Topaz Bordowy 2018 - DANMARK

Książki & Multimedia > Książki

Opis - układ: dzień na stronie; objętość: 320 stron, zadruk 2 kolorowy; kalendarium: miesięczne; papier: offsetowy 60g/m2, biały; register: drukowany; materiał pokryciowy: skóropodobny ze złoceniem; tasiemka Nazwa - Kalendarz książkowy dzienny A5 Topaz Bordowy 2018 Autor - DANMARK Wydawca - DANMARK Kod ISBN - 5905184073497 Kod EAN - 5905184073497 Podatek VAT - 23%

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Trzej ludzie w jednej łodzi. Wydanie dwujęzyczne angielsko - polskie WYMOWNIA

Języki obce

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Mary Komasa - Mary Komasa (Płyta CD)

Książki & Multimedia > Muzyka

Opis - Mary Komasa - wokalistka, kompozytorka, autorka tekstów, instrumentalistka. Singiel "City of My Dreams" promuje debiutancki album. Producentem materiału jest Guy Sternberg, który pracował z uznanymi artystami takimi jak: Feist, Yoko Ono i Depeche Mode. Piosenka opisuje konflikt pomiędzy rzeczywistością a utopijnym światem wspomnień, w który przed nią uciekamy. Jedną z artystycznych obsesji Mary jest temat manipulacji pamięcią, jak daleko jesteśmy w stanie się posunąć, aby uciec od trudnej konfrontacji. Utwór "City of My Dreams" jeszcze przed premierą został użyty w ścieżce dźwiękowej amerykańskiego serialu, wyprodukowanego dla stacji NBC - "Rosemary `s Baby", w którym główną rolę zagrała Zoe Saldana. Do piosenki powstał teledysk. Klip został nakręcony wiosną 2014 roku. Zdjęcia robiono w zabytkowym domu pastora na Brooklynie, oraz w słynnym Chorus Karaoke Club na Manhattanie. Reżyserem wideo jest artysta multimedialny Zbyszek Bzymek. Autorem zdjęć jest Radosław Ładczuk, który współtworzył takie filmy jak: "Jesteś Bogiem", "Dzień kobiet", "Sala samobójców", "The Babadook". Udział wzięli tancerze i aktorzy z grupy teatralnej "Wooster Theatre Group". Za choreografię odpowiadał Stanley Love, twórca the Stanley Love Performance Group. "Teledysk ten odnosi się do uczucia melancholii, nieodłącznie wpisanego w nasze sny" - mówi reżyser Zbigniew Bzymek. "Musimy poznać nasze sny by się uwolnić. Postaci w teledysku są mieszkańcami miasta swoich snów". Mary Komasa sama komponuje i pisze teksty. Nad brzmieniem krążka czuwał znany producent muzyczny Guy Sternberg. Pomógł Mary stworzyć jej charakterystyczne brzmienie. Użył do tego całego arsenału oryginalnych instrumentów i mikrofonów z lat 60 i 70. Szybko odnaleźli wspólny język. Połączyło ich podobne podejście do nagrywania i wykonywania muzyki. Zależało im na wykreowaniu brzmienia surowego, pełnego szczerej, niezafałszowanej emocji. Powstał niezwykły zestaw utworów, jednocześnie bardzo zróżnicowany i spójny, sięgający do źródeł i nowoczesny. Słychać w nim echa muzyki gospel, bluegrass, klasycznego rocka, New Wave, czy ambitnej muzyki filmowej. Pytana o główny przekaz stworzonej przez siebie płyty, Mary zwraca uwagę na inspiracje językiem kina: "Najlepszym sprawdzianem czy piosenka działa, jest dla mnie wyobrażenie jej sobie pod napisami końcowymi do filmu. Zabierając się do pisania utworu, zaczynam od sięgania do wspomnień. Staram się stworzyć w wyobraźni filmową scenerię, ze mną w roli głównej. Potem szukam zdania, hasła czy słowa, od którego mogłabym zacząć pisanie. Na przykład: "Come", "Farewell", "Don't leave me here". Tak zaczyna się każda z moich opowieści. Co staram się nimi przekazać? Że formują nas wszystkie nasze życiowe doświadczenia, zarówno te pozytywne jak i te, o których chcielibyśmy zapomnieć. Zamiast starać się wymazać je ze świadomości, starajmy się przekuć je we własną siłę". Mary Komasa wyrosła w artystycznej rodzinie w Warszawie. Rozpoczęła edukację muzyczną w wieku sześciu lat. Uczyła się gry na fortepianie, organach i klawesynie, równolegle studiując śpiew operowy. Jako nastolatka postanowiła wyruszyć do Paryża. Znalazła się z dnia na dzień w samym środku życia towarzysko-artystycznego, w którym krzyżują się ze sobą różne kultury i środowiska. Paryż dał jej poczucie wolności twórczej. Obecnie żyje i tworzy w Berlinie. Nazwa - Mary Komasa Autor - Mary Komasa Wydawca - Warner Music Kod EAN - 0825646151950 Rok wydania - 2015 Nośnik - Płyta CD Ilość elementów - 1 Podatek VAT - 23% Premiera - 2015-03-23

Sklep: InBook.pl