In a strangely heart-warming story, a duck strikes up an unlikely friendship with Death.

Death, Duck and the Tulip will intrigue, haunt, and enchant readers of all ages. Simple, unusual, warm, and witty, this book deals with a difficult subject in a way that is elegant, straightforward, and thought-provoking.

Vint le moment où la souffrance des autres ne leur suffit plus : il leur en fallut le spectacle.

Concentration : la dernière-née des émissions télévisées. On enlève des gens, on recrute des kapos, on filme… Tout de suite, le plus haut score de téléspectateurs, l’audimat absolu qui se nourrit autant de la cruauté filmée que de l’horreur dénoncée.

Etudiante à la beauté stupéfiante, Pannonique est devenue CKZ 114 dans le camp de concentration télévisé. Le premier sévice étant la perte de son nom, partant de son identité.

Zdena, chômeuse devenue la kapo Zdena, découvre en Pannonique son double inversé et se met à l’aimer éperdument. Le bien et le mal en couple fatal, la victime et le bourreau, la belle et la bête aussi.

Quand les organisateurs du jeu, pour stimuler encore l’audience, décident de faire voter le public pour désigner les prisonniers à abattre, un tollé médiatique s’élève mais personne ne s’abstient de voter et Pannonique joue sa vie…

Adam și Eva este un roman aparte, scris de Liviu Rebreanu în 1925. Tema principală este metempsihoza, credința în reîncarnare. Cuplul arhetipal se caută și se reîntregește în șapte perioade istorice extrem de diferite.

Romanul începe cu o scenă intrigantă pe strada Lăpuşneanu, într-o zi ploioasă, unde protagonistul întâlnește o femeie cu ochii verzi, mari, care îi par cunoscuți. Privirea lor se întâlnește cu o bucurie inexplicabilă, ca și cum s-ar fi revăzut după mult timp.

Acest moment declanșează o călătorie fascinantă prin timp, explorând diferite vieți și perioade istorice, în care sufletele pereche se întâlnesc și se regăsesc.

The power and wealth which Seneca the Younger (c.4 B.C. - A.D. 65) acquired as Nero's minister were in conflict with his Stoic beliefs. Nevertheless, he was the outstanding figure of his age. The Stoic philosophy which Seneca professed in his writings, later supported by Marcus Aurelius, provided Rome with a passable bridge to Christianity.

Seneca's major contribution to Stoicism was to spiritualize and humanize a system which could appear cold and unrealistic. Selected from the Epistulae Morales ad Lucilium, these letters illustrate the upright ideals admired by the Stoics and extol the good way of life as seen from their standpoint.

They also reveal how far in advance of his time were many of Seneca's ideas - his disgust at the shows in the arena or his criticism of the harsh treatment of slaves. Philosophical in tone and written in the 'pointed' style of the Latin Silver Age, these 'essays in disguise' were clearly aimed by Seneca at posterity.

But What If We're Wrong? visualizes the contemporary world as it will appear to those who'll perceive it as the distant past. Chuck Klosterman asks questions that are profound in their simplicity: How certain are we about our understanding of gravity? How certain are we about our understanding of time? What will be the defining memory of rock music, five hundred years from today? How seriously should we view the content of our dreams? How seriously should we view the content of television? Are all sports destined for extinction? Is it possible that the greatest artist of our era is currently unknown (or--weirder still--widely known, but entirely disrespected)? Is it possible that we "overrate" democracy? And perhaps most disturbing, is it possible that we've reached the end of knowledge? Kinetically slingshotting through a broad spectrum of objective and subjective problems, But What If We're Wrong? is built on interviews with a variety of creative thinkers--George Saunders, David Byrne, Jonathan Lethem, Kathryn Schulz, Neil deGrasse Tyson, Brian Greene, Junot Díaz, Amanda Petrusich, Ryan Adams, Nick Bostrom, Dan Carlin, and Richard Linklater, among others--interwoven with the type of high-wire humor and nontraditional analysis only Klosterman would dare to attempt. It's a seemingly impossible achievement: a book about the things we cannot know, explained as if we did. It's about how we live now, once "now" has become "then."