Bøger udgivet af Alan Rodgers Books

Protagonist Jack Holloway lives a solitary life in a wilderness of planet Zarathustra, itself "owned" by the Chartered Zarathustra Corporation (under Victor Grego), which installed basic services and colonial outposts initially, and now reaps the benefits of new discoveries, such as the valuable 'sunstones' mined by Holloway until he befriends a tiny, feline-like humanoid, nicknamed 'Little Fuzzy', and its traveling-companions. Upon discovery that the 'Fuzzies' intelligence may qualify them as a sapient species, the Company intervenes against them, on grounds that such a discovery would declare the planet a protected aboriginal zone, and deprive the Chartered Zarathustra Company of rights to the resources there.

"Darling mother," he was saying, "I really was frightened as to whether you would mind. I couldn't help remembering how you received Mr. Taynton's proposal that you should go for a drive in his car. Don't you remember, Mr. Taynton? Mother's nose did go in the air. It's no use denying it. So I thought, perhaps, that she wouldn't like my having one. But I wanted it so dreadfully, and so I bought it without telling her, and drove down in it today, which is my birthday, so that she couldn't be too severe." Mr. Taynton, while Morris was speaking, had picked up the nutcrackers the boy had been using, and was gravely exploding the shells of the nuts he had helped himself to. So Morris cracked the next one with a loud bang between his white even teeth. "Dear Morris," said his mother, "how foolish of you. Give Mr. Morris another nutcracker," she added to the parlor-maid. "What's foolish?" asked he, cracking another. "Oh Morris, your teeth," she said.

H.L. Mencken, then practising primarily as an American literary critic, praised the book in the pages of The Smart Set: "Until Three Soldiers is forgotten and fancy achieves its inevitable victory over fact, no war story can be written in the United States without challenging comparison with it--and no story that is less meticulously true will stand up to it. At one blast it disposed of oceans of romance and blather. It changed the whole tone of American opinion about the war; it even changed the recollections of actual veterans of the war. They saw, no doubt, substantially what Dos Passos saw, but it took his bold realism to disentangle their recollections from the prevailing buncombe and sentimentality.""Don't you know better than to sleep in your O.D. shirt? Take it off." "Yes, sir." "What's your name?" The man looked up, blinking, too dazed to speak. "Don't know your own name, eh?" said the officer, glaring at the man savagely, using his curt voice like a whip. -- "Quick, take off yer shirt and pants and get back to bed." The Officer of the Day moved on, flashing his light to one side and the other in his midnight inspection of the barracks. Intense blackness again, and the sound of men breathing deeply in sleep, of men snoring. As he went to sleep Fuselli could hear the man beside him swearing, monotonously, in an even whisper, pausing now and then to think of new filth, of new combinations of words, swearing away his helpless anger, soothing himself to sleep by the monotonous reiteration of his swearing. A little later Fuselli woke with a choked nightmare cry. He had dreamed that he had smashed the O.D. in the jaw and had broken out of the jug and was running, breathless, stumbling, falling, while the company on guard chased him down an avenue lined with little dried-up saplings, gaining on him, while with voices metallic as the clicking of rifle triggers officers shouted orders, so that he was certain to be caught, certain to be shot. He shook himself all over, shaking off the nightmare as a dog shakes off water, and went back to sleep again, snuggling into his blankets.

Adapted into a play, it was titled Camille in English and became the basis for Verdi's 1853 opera, La Traviata, Duplessis undergoing yet another name change, this time to Violetta Valéry.Dumas was born in Paris, France, the illegitimate child of Marie-Laure-Catherine Labay, a dressmaker, and novelist Alexandre Dumas. During 1831 his father legally recognized him and ensured that the young Dumas received the best education possible at the Institution Goubaux and the Collège Bourbon. At that time, the law allowed the elder Dumas to take the child away from his mother. Her agony inspired Dumas fils to write about tragic female characters. In my opinion, it is impossible to create characters until one has spent a long time in studying men, as it is impossible to speak a language until it has been seriously acquired. Not being old enough to invent, I content myself with narrating, and I beg the reader to assure himself of the truth of a story in which all the characters, with the exception of the heroine, are still alive. Eyewitnesses of the greater part of the facts which I have collected are to be found in Paris and I might call upon them to confirm me if my testimony is not enough. And, thanks to a particular circumstance, I alone can write these things, for I alone am able to give the final details, without which it would have been impossible to make the story at once interesting and complete. . . .

Joseph Thomas Sheridan Le Fanu was the leading ghost-story writer of the nineteenth century and was central to the development of the genre in the Victorian era.From "Green Tea": "The evil spirits associated with man are, indeed from the hells, but when with man they are not then in hell, but are taken out thence. The place where they then are, is in the midst between heaven and hell, and is called the world of spirits -- when the evil spirits who are with man, are in that world, they are not in any infernal torment, but in every thought and affection of man, and so, in all that the man himself enjoys. But when they are remitted into their hell, they return to their former state. . . ." "If evil spirits could perceive that they were associated with man, and yet that they were spirits separate from him, and if they could flow in into the things of his body, they would attempt by a thousand means to destroy him; for they hate man with a deadly hatred. . . ." "Knowing, therefore, that I was a man in the body, they were continually striving to destroy me, not as to the body only, but especially as to the soul; for to destroy any man or spirit is the very delight of the life of all who are in hell; but I have been continually protected by the Lord. Hence it appears how dangerous it is for man to be in a living consort with spirits, unless he be in the good of faith. . . ." "Nothing is more carefully guarded from the knowledge of associate spirits than their being thus conjoint with a man, for if they knew it they would speak to him, with the intention to destroy him. . . ."Also included in this volume are "Mr. Justice Harbottle," "Madam Crowl's Ghost," and "The Dead Sexton."

One winter night, at half-past nine, Cold, tired, and cross, and muddy, I had come home, too late to dine and supper, with cigars and wine, was waiting in the study. There was a strangeness in the room, And Something white and wavy Was standing near me in the gloom -- I took it for the carpet-broom Left by that careless slavey. But presently the Thing began To shiver and to sneeze: On which I said "Come, come, my man! That's a most inconsiderate plan. Less noise there, if you please!" "I've caught a cold," the Thing replies, "Out there upon the landing." I turned to look in some surprise, And there, before my very eyes, A little Ghost was standing!The collection was also published under the name Rhyme And Reason. It is Lewis Carroll's longest poem.

"What did he die of?" I inquired. "Some kind of sickness," says the captain. "It appears it took him sudden. Seems he got up in the night, and filled up on Pain Killer and Kennedy's Discovery. No go -- he was booked beyond Kennedy. Then he had tried to open a case of gin. No go again -- not strong enough. Then he must have turned to and run out on the veranda, and capsized over the rail. When they found him, the next day, he was clean crazy -- carried on all the time about somebody watering his copra. Poor John!" "Was it thought to be the island?" I asked. "Well, it was thought to be the island, or the trouble, or something," he replied.

About a hundred and thirty years ago, when the third George, whom our grandfathers knew in his blind dotage, was a young and sturdy bridegroom; when old Q., whom 1810 found peering from his balcony in Piccadilly, deaf, toothless, and a skeleton, was that gay and lively spark, the Earl of March; when bore and boreish were words of haut ton, unknown to the vulgar, and the price of a borough was 5,000l.; when gibbets still served for sign-posts, and railways were not and highwaymen were -- to be more exact, in the early spring of the year 1767, a traveling chariot-and-four drew up about five in the evening before the inn at Wheatley Bridge, a short stage from Oxford on the Oxford road. A gig and a couple of post-chaises, attended by the customary group of stablemen, topers, and gossips already stood before the house, but these were quickly deserted in favor of the more important equipage. The drawers in their aprons trooped out, but the landlord, foreseeing a rich harvest, was first at the door of the carriage and opened it with a bow such as is rarely seen in these days. "Will your lordship please to alight?" he said. "No, rascal!" cried one of those within. "Shut the door!"

In those days, Texas was a huge wide place full of frontiersmen, ranchers, farmers, cowpokes, shiftless no-accounts, shootists, rascals, and politicians -- all of them blended together into a single state. The Rangers -- lawmen, Texas Rangers -- were outnumbered a thousand to one and in one county -- Pecos county -- the law was all but helpless. Until Ranger Vaughn Steel went to Pecos, looking for revenge. . . .

I have desired, like every artist, to create a little world out of the beautiful, pleasant, and significant things of this marred and clumsy world and to show in a vision something of the face of Ireland to any of my own people who would look where I bid them. I have therefore written down accurately and candidly much that I have heard and seen, and, except by way of commentary, nothing that I have merely imagined. I have, however, been at no pains to separate my own beliefs from those of the peasantry, but have rather let my men and women, ghouls and færies, go their way unoffended or defended by any argument of mine. The things a man has heard and seen are threads of life, and if he pull them carefully from the confused distaff of memory, any who will can weave them into whatever garments of belief please them best. I too have woven my garment like another, but I shall try to keep warm in it, and shall be well content if it do not unbecome me. Hope and Memory have one daughter and her name is Art and she has built her dwelling far from the desperate field where men hang out their garments upon forked boughs to be banners of battle. O beloved daughter of Hope and Memory, be with me for a little. -- W.B. Yeats

The sun has died, as have the stars. Not a solitary light shines in the heavens. The days of light are nothing by a legend -- they are a story told to soothe children. The last millions of humans still live in their Last Redoubt -- but the end of their days is at hand.First published in 1912, as a work of fantasy it belongs to the Dying Earth subgenre.The importance of The Night Land was recognized by its later revival in paperback by Ballantine Books, which republished the work in two parts as the 49th and 50th volumes of its celebrated Ballantine Adult Fantasy series in July 1972.Of The Night Land Clark Ashton Smith wrote "In all literature, there are few works so sheerly remarkable, so purely creative, as The Night Land. Whatever faults this book may possess, however inordinate its length may seem, it impresses the reader as being the ultimate saga of a perishing cosmos, the last epic of a world beleaguered by eternal night and by the unvisageable spawn of darkness. Only a great poet could have conceived and written this story; and it is perhaps not illegitimate to wonder how much of actual prophecy may have been mingled with the poesy." Lovecraft and Smith weren't wrong: this is, perhaps, the greatest single work of fantastic fiction in the English language