Sono stati trovati 40 prodotti corrispondenti alla tua ricerca per lanez in 2 negozi:

*WINNER OF THE FORWARD PRIZE FOR BEST COLLECTION 2018*\n*A Finalist for the National Book Award for Poetry 2017*\n\n*A Financial Times and Telegraph Book of the Year 2018*\n\n‘[Smith’s] poems are enriched to the point of volatility, but they pay out, often, in sudden joy’ The New Yorker \n\nAward-winning poet Danez Smith is a ground-breaking force, celebrated for deft lyrics, urgent subjects, and performative power. Don’t Call Us Dead opens with a heartrending sequence that imagines an afterlife for black men shot by police, a place where suspicion, violence, and grief are forgotten and replaced with the safety, love and longevity they deserved here on earth. Smith turns then to desire, mortality – the dangers experienced in skin and body and blood – and an HIV-positive diagnosis. \n\n‘Some of us are killed / in pieces,’ Smith writes, ‘some of us all at once.’ Don’t Call Us Dead is an astonishing and ambitious collection, one that confronts, praises, and rebukes an America where every day is too often a funeral and not often enough a miracle.

'A deeply personal collection... and provocative and moving meditation on friendship, sex and blackness,' Guardian\n\n'In its cutting compassion, Homie is as much a celebration of loved ones' lives as it is a lament for their loss, equally a war cry for kinship and the burial dirge after the battle' Amanda Gorman\n\nA mighty anthem about the saving grace of friendship, Danez Smith's highly anticipated collection Homie is rooted in their search for joy and intimacy in a time where both are scarce. In poems of rare power and generosity, Smith acknowledges that in a country overrun by violence, xenophobia and disparity, and in a body defined by race, queerness, and diagnosis, it can be hard to survive, even harder to remember reasons for living. But then the phone lights up, or a shout comes up to the window, and family - blood and chosen - arrives with just the right food and some redemption.\n\nPart friendship diary, part bright elegy, part war cry, Homie is written for friends: for Danez's friends, for yours.\n\n'This is a book full of the turbulence of thought and desire, piloted by a writer who never loses their way' New York Times

'A deeply personal collection... and provocative and moving meditation on friendship, sex and blackness,' Guardian\n\n'In its cutting compassion, Homie is as much a celebration of loved ones' lives as it is a lament for their loss, equally a war cry for kinship and the burial dirge after the battle' Amanda Gorman\n\nA mighty anthem about the saving grace of friendship, Danez Smith's highly anticipated collection Homie is rooted in their search for joy and intimacy in a time where both are scarce. In poems of rare power and generosity, Smith acknowledges that in a country overrun by violence, xenophobia and disparity, and in a body defined by race, queerness, and diagnosis, it can be hard to survive, even harder to remember reasons for living. But then the phone lights up, or a shout comes up to the window, and family - blood and chosen - arrives with just the right food and some redemption.\n\nPart friendship diary, part bright elegy, part war cry, Homie is written for friends: for Danez's friends, for yours.\n\n'This is a book full of the turbulence of thought and desire, piloted by a writer who never loses their way' New York Times

*WINNER OF THE FORWARD PRIZE FOR BEST COLLECTION 2018*\n*A Finalist for the National Book Award for Poetry 2017*\n\n*A Financial Times and Telegraph Book of the Year 2018*\n\n‘[Smith’s] poems are enriched to the point of volatility, but they pay out, often, in sudden joy’ The New Yorker \n\nAward-winning poet Danez Smith is a ground-breaking force, celebrated for deft lyrics, urgent subjects, and performative power. Don’t Call Us Dead opens with a heartrending sequence that imagines an afterlife for black men shot by police, a place where suspicion, violence, and grief are forgotten and replaced with the safety, love and longevity they deserved here on earth. Smith turns then to desire, mortality – the dangers experienced in skin and body and blood – and an HIV-positive diagnosis. \n\n‘Some of us are killed / in pieces,’ Smith writes, ‘some of us all at once.’ Don’t Call Us Dead is an astonishing and ambitious collection, one that confronts, praises, and rebukes an America where every day is too often a funeral and not often enough a miracle.

Un'escursione autunnale, un rifugio alpino, una tormenta improvvisa, due comitive e un cane. Segreti, sospetti, sensi di colpa e tradimenti. E un sasso, una macchia rossa di sangue sulla neve, gli occhi di vetro di un cadavere in un laghetto fra le cime della Leventina. Un omicidio inspiegabile a cui Athos, metodico custode del rifugio e amante della natura più che delle persone, è chiamato a dare una soluzione con la forza della deduzione, calandosi suo malgrado nel ruolo di investigatore.

WINNER OF SPAIN'S NATIONAL CRITICS AWARD\n\n\n\nThe epic literary adventure that has transfixed readers and critics alike in Spain\n\n\n\nAlmost four hundred passengers are on board the Boeing 747 en route from Los Angeles to Singapore. Only a handful will survive the crash.\n\n\n\nWashed ashore on a tiny island with no means of contacting the outside world, tension and fear threaten to overwhelm the group. But as they endeavour, day by day, to survive, they find themselves forced to confront the reality of the lives they left behind.\n\n\n\nWritten in deftly cinematic prose, Andres Ibanez's stunning novel is already considered a modern classic in Spain, expertly translated here by Sophie Hughes. \n\n\n\n \n\n\n\n'Ibanez is, quite simply, a genius' La Vanguardia

Un'escursione autunnale, un rifugio alpino, una tormenta improvvisa, due comitive e un cane. Segreti, sospetti, sensi di colpa e tradimenti. E un sasso, una macchia rossa di sangue sulla neve, gli occhi di vetro di un cadavere in un laghetto fra le cime della Leventina. Un omicidio inspiegabile a cui Athos, metodico custode del rifugio e amante della natura più che delle persone, è chiamato a dare una soluzione con la forza della deduzione, calandosi suo malgrado nel ruolo di investigatore.

WINNER OF SPAIN'S NATIONAL CRITICS AWARD\n\n\n\nThe epic literary adventure that has transfixed readers and critics alike in Spain\n\n\n\nAlmost four hundred passengers are on board the Boeing 747 en route from Los Angeles to Singapore. Only a handful will survive the crash.\n\n\n\nWashed ashore on a tiny island with no means of contacting the outside world, tension and fear threaten to overwhelm the group. But as they endeavour, day by day, to survive, they find themselves forced to confront the reality of the lives they left behind.\n\n\n\nWritten in deftly cinematic prose, Andres Ibanez's stunning novel is already considered a modern classic in Spain, expertly translated here by Sophie Hughes. \n\n\n\n \n\n\n\n'Ibanez is, quite simply, a genius' La Vanguardia

Sandokan è morto, lunga vita a Sandokan. Il suo funerale, celebrato su una spiaggia di Mompracem, è stato solenne e spettacolare, degno del pirata piú carismatico dell’arcipelago indonesiano. A descriverlo, in una lettera rivolta a Julius Anton Donath, l’editore del ciclo della Malesia di Emilio Salgari, è il vero marchese Yanez de Gomera: ha letto il primo romanzo della serie e lamenta la presenza di un personaggio che porta il suo stesso nome – ma è molto, troppo diverso dallo Yanez originale. Cosa fare, allora, se non prendere carta e penna e raccontare la sua storia per com’è andata realmente? Prendono forma cosí le vicende picaresche di un giovane nobiluomo irrequieto, che lascia il Portogallo per sete di avventura e s’imbarca alla volta dell’Indonesia: esplora isole selvagge, incontra mercanti d’oppio e sultani capricciosi, s’inoltra in foreste popolate da tagliatori di teste, s’imbatte in personaggi di ogni risma, diventa amico di Sir James Brooke, il rajah bianco del Sarawak, e avvia un fiorente commercio di caffè sull’altopiano Toraja dell’isola di Celebes. Un lungo viaggio segnato dall’incontro decisivo con Sandokan, il potente principe bornese privato del suo regno, l’ultimo pirata ad arrendersi ai colonizzatori inglesi nei mari tempestosi della Malesia. Ma non solo: nell’imperversare di battaglie, agguati, spedizioni, abbordaggi e scorrerie, a poco a poco cresce il desiderio tra Yanez e Miss Marianna Guillonk, inafferrabile e misteriosa, per la quale il narratore prova un amore tanto febbrile da assomigliare alla devozione.