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After escaping from their captors in a giant air balloon, five prisoners of the Civil War find themselves stranded on a deserted island. Despite their different backgrounds, they decide to band together and combine their talents to live on the island, which they named Lincoln Island. Cyrus is a railroad engineer, Gideon is a journalist, Neb is a man who escaped slavery, Pencroff is a sailor, and Harbert is Pencroff’s protégé and son. Each man uses their skills in a different way, building houses, making inventions, and finding creative ways to live off of the island. One day, Gideon, the reporter desperate for human contact, decided to send a message via a bird. After a long period of isolation with no contact from the outside world, the men accept that they will likely spend the rest of their life on the island. Now, two and a half years later, the group finally spot a ship sailing nearby—a fantasy sight. Hopeful that it is the way off their island, the group of survivors work to gain the attention of the ship, fighting off pirates and braving the rough environment to finally escape. However, as they fight to leave Lincoln Island, the survivors discover that it had been harboring a shocking secret all along. The Secret of the Island is the third and final installation of Jules Verne’s The Mysterious Island adventure series. Following The Mysterious Island and Abandoned, this exciting and mysterious adventure novel concludes the popular trilogy. The Secret of the Island is full of shocking twists and even features a surprise appearance of a popular character from another famous Verne novel. With detailed prose and memorable characters, The Secret of the Island depicts the satisfying reveal of mysteries present throughout the trilogy. This edition of The Secret of the Island by Jules Verne features a new, eye-catching cover design and is printed in a modern, easy-to-read font, crafting an accessible and enjoyable experience for modern readers.
This is the first complete edition and the first English translation of a surprising work by a popular French novelist whose work continues to delight readers to this day.
An exploration of how Jules Verne used his writings to encrypt important Masonic and Rosicrucian secrets and sacred symbolism • Investigates Verne’s connections to the prominent secret societies of his time: Freemasons, Golden Dawn, Angelic Society, and Rosicrucians • Reveals how certain of Verne’s works hold the key to deciphering the Rennes-le-Château mystery • Explores Verne’s relations with other authors whose works reveal similar esoteric influence: George Sand, Gaston Leroux, Bram Stoker, and Maurice Leblanc Prolific author and pioneer of the science fiction novel, Jules Verne also possessed a hidden side that was encrypted into all his works--his active participation in the occult milieu of late-nineteenth-century France. Among the many esoteric secrets to be found are significant clues to the Rennes-le-Château mystery, including the location of a great treasure in the former Cathar region of France and the survival of the heirs to the Merovingian dynasty. Verne’s books also reveal Rosicrucian secrets of immortality, and some are constructed, like Mozart’s The Magic Flute, in accordance with Masonic initiation. The passe-partout to Verne’s work (the skeleton key that is also the name of Phileas Fogg’s servant in Around the World in Eighty Days) lies in the initiatory language he employed to inscribe a second or even third layer of meaning beneath the main narrative, which is revealed in his skilled use of word play, homonyms, anagrams, and numerical combinations. The surface story itself is often a guide that tells the reader outright what he or she should be looking for. Far from innocuous stories for children, Verne’s work reveals itself to be rich with teachings on symbolism, esoteric traditions, sacred geography, and the secret history of humanity.
A portrait of 1940s America by a French writer, eg. "The constipated girl smiles a loving smile at the lemon juice that relieves her intestines. In the subway, in the streets, on magazine pages, these smiles pursue me like obsessions. I read on a sign in a drugstore, 'Not to grin is a sin.' Everyone obeys the order, the system. 'Cheer up! Take it easy.' Optimism is necessary for the country's social peace and economic prosperity."
The distinguished Hungarian author Frigyes Karinthy was sitting in a Budapest café, wondering whether to write a long-planned monograph on modern man or a new play, when he was disturbed by the roaring—so loud as to drown out all other noises—of a passing train. Soon it was gone, only to be succeeded by another. And another. Strange, Karinthy thought, it had been years since Budapest had streetcars. Only then did he realize he was suffering from an auditory hallucination of extraordinary intensity. What in fact Karinthy was suffering from was a brain tumor, not cancerous but hardly benign, though it was only much later—after spells of giddiness, fainting fits, friends remarking that his handwriting had altered, and books going blank before his eyes—that he consulted a doctor and embarked on a series of examinations that would lead to brain surgery. Karinthy’s description of his descent into illness and his observations of his symptoms, thoughts, and feelings, as well as of his friends’ and doctors’ varied responses to his predicament, are exact and engrossing and entirely free of self-pity. A Journey Round My Skull is not only an extraordinary piece of medical testimony, but a powerful work of literature—one that dances brilliantly on the edge of extinction.
Inspiration for the major motion picture Mama Weed; translated from the international bestseller La Daronne, winner of the European Crime Fiction Prize and the Grand Prix de Littérature Policière, France’s most prestigious prize for crime fiction Meet Patience Portefeux, a fifty-three-year-old, underpaid Franco-Arab interpreter for the Ministry of Justice who specializes in phone tapping. Widowed after the sudden death of her husband, Patience is now wedged between university fees for her grown-up daughters and nursing home costs for her aging mother. Happening upon an especially revealing set of police wiretaps ahead of all other authorities, Patience makes a life-altering decision that sees her intervening in — and infiltrating — the machinations of a massive drug deal. She thus embarks on an entirely new career path: Patience becomes The Godmother. This is not the French idyll of postcards and stock photos. With a gallery of traffickers, dealers, police officers, and politicians, The Godmother casts its sharp and amusing gaze on everyday survival in contemporary France. With an unforgettable woman at its center, Hannelore Cayre’s bestselling novel reveals a European criminal underground that has rarely been seen.
In Shanghai in the early twentieth century, a hybrid theatrical form, wenmingxi, emerged that was based on Western spoken theatre, classical Chinese theatre, and a Japanese hybrid form known as shinpa. This book places it in the context of its hybridized literary and performance elements, giving it a definitive place in modern Chinese theatre.
This book focuses on the literature of exoticism at the turn of the last century and how it foreshadows our own fin de siècle. Earlier writers of exoticism had turned away from the West and its modernity, rejecting the social changes caused by industrialization and displacing onto 'savage' or 'primitive' cultures their aspirations for political freedom. By the turn of the century, however, European nations had reduced vast areas of the globe to colonial status: this global exportation of Western cultural norms and economic systems had a critical effect on the literature of exoticism. In concentrating on writers from the age of the New Imperialism (1880-1920), this book reveals an important contradiction at the heart of the exoticist impulse: the very expansion that enabled European writers to go in search of exotic Others ensured the eventual disappearance of the exotic. Turn-of-the-century writers of exoticism thus give voice to a deep nostalgia both for the values supposedly lost to the West in its process of modernization and for those once exotic places in which they found, with increasing disappointment, not pristine innocence but merely the traces of their own culture. The author concentrates on four writers - Jules Verne, Pierre Loti, Victor Segalen, and Joseph Conrad - although he touches on a number of other writers, and even painters, like Paul Gauguin. The works of these four writers foreground attitudes and assumptions useful for understanding a wide array of phenomena: an examination of these works shows how nostalgia for a cultural Other was built into the intellectual configuration of modernism, throws light on the early history of anthropology, and helps us understand features of our own cultural formation that are becoming increasingly important in today's global village. Making an explicit link between turn-of-the-century exoticism and the present day, the book concludes with a critical assessment of Pier Paolo Pasolini's neo-exoticist attachment to a supposedly revolutionary Third World in his poetry and literary criticism. The book's critical stance is noteworthy, drawing its basic assumptions from pensiero debole, the 'weak thought' of the contemporary Italian philosopher Gianni Vattimo, whose poststructuralist theories are only now becoming known in the United States. 'Weak thought' seeks to supersede outmoded, metaphysical categories of thought, not by replacing them with something new, but by an elegaic, recollective, and rhetorical dwelling within those categories. The author also makes creative use of narrative theory, and draws on the recent 'new historicism', reading literary texts to excellent effect against the historical events that made them possible.