True Beauty isn’t what You Wear, True Beauty is Inside You…

Probabil ca nu ati auzit de seria asta pana acum (poate pentru ca nu a aparut inca in Ro.) ,dar mie mi s-a parut cam interesanta ,sigur vei gasi asemanari intre tine si una dintre personaje. Hai sa nu mai palavragim atat si sa trecem la treaba!

Este vorba despre „Bad Girls Don’t Die” de Katie Alender,si cuprinde :

  1. Bad Girls Don’t Die
  2. From Bad to Cursed
  3. As Dead As It Gets .

Bad Girls Don’t Die

Bad Girls Don’t Die

By: Katie Alender
Alexis thought she led a typically dysfunctional high school existence. Dysfunctional like her parents’ marriage; her doll-crazy twelve-year-old sister, Kasey; and even her own anti-social, anti-cheerleader attitude. When a family fight results in some tearful sisterly bonding, Alexis realizes that her life is creeping from dysfunction into danger. Kasey is acting stranger than ever: her blue eyes go green sometimes; she uses old-fashioned language; and she even loses track of chunks of time, claiming to know nothing about her strange behavior.
Their old house is changing, too. Doors open and close by themselves; water boils on the unlit stove; and an unplugged air conditioner turns the house cold enough to see their breath in. Alexis wants to think that it’s all in her head, but soon, what she liked to think of as silly parlor tricks are becoming life-threatening–to her, her family, and to her budding relationship with the class president. Alexis knows she’s the only person who can stop Kasey – but what if that green-eyed girl isn’t even Kasey anymore?

Bad Girls Don’t Die

From Bad to Cursed

By: Katie Alender
Alexis is the last girl you’d expect to sell her soul. She already has everything she needs—an adorable boyfriend, the perfect best friend, and a little sister who’s finally recovering after being possessed by an evil spirit.Alexis is thrilled when her sister joins a club: new friends are just what Kasey needs. It’s strange, though, to see how fast the girls in the Sunshine Club go from dorky and antisocial to gorgeous and popular. Then Alexis learns that the girls have pledged an oath to a seemingly benevolent spirit named Aralt. Worried that Kasey’s in over her head again, Alexis and her best friend, Megan, decide to investigate by joining the club themselves. Soon, Alexis trades in her pink hair and punky clothes for a mainstream look, and finds herself reveling in her newfound elegance and success.The club’s connection with Aralt seems harmless, and before long, Alexis can hardly remember why she joined in the first place.Surely it wasn’t to destroy Aralt. . . . Why would she hurt someone who has given her so much, and asked for so little in return?

Bad Girls Don’t Die

As Dead As It Gets

By: Katie Alender
It’s been three months since Alexis helplessly witnessed Lydia Small’s violent death, and all she wants is for her life to return to normal. But normal people don’t see decaying bodies haunting photographs. Normal people don’t have to deal with regular intrusions from Lydia’s angry ghost, sometimes escalating to terrifying attacks. At first, it seems that Lydia wants revenge on Alexis alone. But a girl from school disappears one night, and Alexis spots one of Lydia’s signature yellow roses lying on the girl’s dresser the next day. Soon, it becomes clear that several of Alexis’s friends are in danger, and that she’s the only person who can save them. But as she tries to intervene, Alexis realizes that her enemy is a much more powerful ghost than she’s ever faced before… and that its fate is tied to hers in ways she couldn’t possibly imagine. Not even in her worst nightmares.

Tote cele 3 carti au cate un trailer, facut in asa fel incat sa iti starneasca interesul…A!si ,Zendaya ( Disney Channel’s Shake It Up!) ,in From Bad To Cursed , iar in As Dead As It Gets ,Bella Thorne (Disney Channel’s Shake It Up!)

  1.                Bad Girls Don’t Die Book Trailer
  2.                From Bad To Cursed Book Trailer
  3.                As Dead As It Gets Book Trailer



Astazi: Blue Moon

Luna albastra va fi vizibila in toata splendoarea sa, vineri, 31 august. E ultima ocazie de a privi fenomenul cunoscut drept “blue moon”, pana in vara lui 2015, asa ca nu o ratati!

luna albastra blue moon Luna albastra (blue moon): Nu rata spectacolul de pe cer, pe 31 august!   VIDEO


Luna albastra este a doua luna plina din august. Denumirea de “luna albastra” se pierde in negura vremii, asa ca nu se stie cum de astrul a primit o asociere cu aceasta culoare a cerului, a visarii si a misterului. S-a impamantenit, insa, ideea ca a doua luna plina dintr-o luna calendaristica sa poarte aceasta denumire: “luna albastra”, potrivit Wikipedia.

Fenomenul astronomic cunoscut drept “luna albastra” are loc in acest an pe 31 august. In general, se produce la circa doi ani si jumatate. Asa ca, dupa martie 2010, august 2012, urmatoarea sansa sa priviti cerul in cautarea lunii albastre o veti avea abia in vara lui 2015!




Hey,hey,hey!New Series…

Remember Who You Are…






Miranda wakes up alone on a park bench with no memory. In her panic, she releases a mysterious energy that incites pure terror in everyone around her. Except Peter, a boy who isn’t at all surprised by Miranda’s shocking ability.
Left with no choice but to trust this stranger, Miranda discovers she was trained to be a weapon and is part of an elite force of genetically-altered teens who possess flawless combat skills and powers strong enough to destroy a city. But adjusting to her old life isn’t easy—especially with Noah, the boyfriend she can’t remember loving.
Then Miranda uncovers a dark truth that sets her team on the run. Suddenly her past doesn’t seem to matter… when there may not be a future.

Dan Krokos’ debut is a tour-de-force of non-stop action that will leave readers begging for the next book in this bold and powerful new series.








Something about Dan KroKos :

After pumping gas for nine years to put himself through college, Dan Krokos, now twenty-six, dropped out to write full-time. He enjoys watching TV, playing MMORPGs, and drinking coffee. Currently, he’s hard at work on the next book in Miranda’s journey.

So ,if you wanna buy this amazing book, make sure that you like it by reading  this :False Memory


Price: $12.23 & eligible for FREE Super Saver Shipping on orders over $25

In Stock.


The Vampire Diaries- Bloopers Season 3

Finally ! Sunt aici, Bloopers din sezonul al 3-lea din serialul The Vampire Diaries (Jurnalele Vampirilor).Hm , cred ca de cand s-a terminat sezonul tot astept sa apara 😕 ,nu prea am fost atenta in ultima perioada ,pentru ca filmuletul a aparut pe data de 18.08.2012 .In spatele scenelor perfecte din filme se ascund greselile actorilor,amuzantele situatii prin care trec. Daca nu ati vazut si „Bloopers S01 sau S02” ,le puteti vedea pe Youtube.


Interview (3)

A Conversation with Arthur Golden, about Memoirs of A Geisha




Q: What sparked your interest in the subject of geisha?

A: I studied Japanese language and culture in college and graduate school, and afterward went to work in Tokyo, where I met a young man whose father was a famous businessman and whose mother was a geisha. He and I never discussed his parentage, which was an open secret, but it fascinated me. After returning to the U.S., I began work on a novel in which I tried to imagine this young man’s childhood. Gradually I found myself more interested in the life of the mother than the son and made up my mind to write a novel about a geisha.

I read everything I could find on the subject, in English and in Japanese, and ended up writing an 800 page first draft focusing on five years in the life of a Kyoto geisha shortly after World War II. Then as I prepared to revise the manuscript, a longtime Japanese friend of my grandmother’s offered to introduce me to a Kyoto geisha named Mineko–retired already at the age of 42 and evidently willing to talk to me. I flew to Japan to meet with her, not at all certain what to expect. I worried she might spend an afternoon chatting with me about the sights and then wish me best of luck. But instead she answered every question I asked, always with great candor, and took me on an insider’s tour of the geisha district of Gion in Kyoto, even arranging for me to observe and photograph the daily ritual of a geisha being helped into her kimono by a professional dresser. She took my understanding of a geisha’s daily existence and stood it on its head. I had to throw out my entire 800 page draft and start from scratch.

Q: Why was she willing to open up to you? You state in the beginning of your novel that geisha don’t generally talk about their experiences.

A: She had a number of reasons, I believe. For one thing, she knew I wasn’t approaching her as a journalist, but as a fiction writer. I didn’t want salacious details about her customers; I never asked for names, or even about experiences she’d had, but only about the rituals and routines of a geisha’s life. I found Mineko to be a very kind woman with a generous spirit; we became and remain friends. Actually, I can think of another reason why she helped me: during her years as a geisha, Mineko had at one time or other met many of Japan’s great living writers and artists. With her considerable respect for cultural traditions, probably she felt some concern for a struggling young writer.

Q: You mention that Mineko had retired already in her early forties. Is this common among geisha?

A: Most geisha never have the option of retiring, but Mineko was enormously successful and made a great deal of money. I don’t think she enjoyed being a geisha. She wanted to run a little bar in the Gion district rather than continuing to wear herself out going from teahouse to teahouse entertaining customers. In fact, I think she’d just opened a bar at the time she met her husband, who is an artist. She retired from the Gion district when they decided to marry.

Q: Is Mineko the model for your protagonist, Sayuri?

A: No, I wouldn’t say that. Though it’s true that after meeting Mineko, my understanding of geisha changed fundamentally, and of course, my idea of Sayuri changed along with it. I had imagined that geisha probably sprinkled their conversations with high-handed references to art and poetry, but in fact, Mineko was too naturally clever to resort to anything so artificial. For example, when she and her family came to visit us in Boston, I took her to Harvard Yard to see the place; it happened to be an hour or so after commencement ceremonies had ended. We sat together on a bench while I explained the meaning of the different colored gowns–black for undergraduates, blue for master’s degrees, and red for PhDs–when an older man stumbled by, clearly a bit drunk. Mineko turned to me and said, „I guess that man’s nose just got a PhD.” That comment strikes me as so characteristic of Mineko. She became such an exceptionally successful geisha partly because of her cleverness–though her great beauty had a good deal to do with it as well.

In establishing Sayuri’s voice in the novel, I considered it essential to find some quality of cleverness that would help her rise out of the mire in which most geisha have no choice but to spend their lives. So in this sense, I did draw on my knowledge of Mineko to create Sayuri. However, the story of Sayuri’s life in no way relates to Mineko’s. In fact, I’ve never asked Mineko anything beyond the most superficial questions about her history. I didn’t want to limit the possibilities that might suggest themselves to me as I tried to imagine Sayuri’s struggle.

Q: Did you feel any reluctance, as a man, to try writing a novel from the point of view of a woman?

A: I certainly did. As an American man of the 1990s writing about a Japanese woman of the 1930s, I needed to cross three cultural divides–man to woman, American to Japanese, and present to past. Actually, I see a fourth divide as well, because geisha dwell in a sub-culture so peculiar that even a Japanese woman of the 1930s might have considered it a challenge to write about such a world. Before meeting Mineko, I’d written a draft in third person. Even after interviewing her I felt no temptation to try entering the head of my protagonist by writing in first person. Instead I wrote another 750 page draft in third person. While I was revising it for submission, a number of big name agents and editors in New York began calling me–very heady stuff for an unpublished writer. But when they saw the manuscript, they all lost interest. I know I’m a perfectly competent prose stylist; I didn’t think the writing itself had scared them away. And the subject matter is so fascinating–or at least it was fascinating to me. The way I saw it, if I’d failed to bring the world of geisha compellingly to life, I’d done something dreadfully wrong. And in fact, as I came to understand, my mistake was having chosen to use a remote, uninvolved narrator. So you see, I’d ended up writing a dry book precisely because of my concerns about crossing four cultural divides.

By this time I’d spent more than six years on the project; I certainly felt no temptation to give it up. During these years of work I’d come to know my protagonist and the sub-culture in which she dwelt so much better than I’d ever imagined possible; very quickly I began to ask myself why I shouldn’t try crossing those cultural divides after all. As for seeing things from the point of view of a woman, well, I knew my wife quite well; I understood how she felt about things. I felt I could say the same about my mother, and my sister, and quite a number of women friends. If I could understand and sympathize with their points of view, perhaps I could do the same with Sayuri’s.

Q: Why did you choose to begin the novel with a translator’s preface. The book isn’t really in any meaningful sense a translation, is it?

A: No, it isn’t a translation; I wrote it in English. My Japanese is fine, but certainly not good enough for that! I did, however, always try to keep in mind how things would be expressed in Japanese, and to select words and phrases that I felt would convey the same tone. But the translator’s preface serves quite a different purpose. In writing a novel from the perspective of a geisha, I faced a number of problems. To begin with, how would Americans understand what she was talking about? Even fundamental issues like the manner of wearing a kimono or makeup couldn’t be taken for granted if the audience wasn’t Japanese. When I’d written the novel in third person, the narrator had had the freedom to step away from the story for a moment to explain things whenever necessary. But it would never occur to Sayuri to explain things–that is, it wouldn’t occur to her unless her audience was not Japanese. This is the role of the translator’s preface, to establish that she has come to live in New York and will be telling her story for the benefit of an American audience. That’s also the principle reason why the novel had to end with her coming to New York. It took me a number of tries to find a believable way of getting her there.

Q: Here’s a question you’ve undoubtedly heard before: Are geisha prostitutes?

A: As a matter of fact, all through the years I worked on this novel, that was the first question people asked me. The answer isn’t a simple yes or no. The so-called „hot springs geisha,” who often entertain at resorts, are certainly prostitutes. But as Sayuri says in the novel, you have to look at how well they play the shamisen, and how much they know about tea ceremony, before you determine whether they ought properly to call themselves geisha. However, even in the geisha districts of Kyoto and Tokyo and other large cities, a certain amount of prostitution does exist. For example, all apprentice geisha go through something they call mizuage, which we might call, „deflowering.” It amounts to the sale of their virginity to the highest bidder. Back in the ’30s and ’40s, girls went through it as young as thirteen or fourteen–certainly no later than eighteen. It’s misleading not to call this prostitution, even child prostitution. So we can’t say that geisha aren’t prostitutes. On the other hand, after her mizuage, a first-class geisha won’t make herself available to men on a nightly basis. She’ll be a failure as a geisha, though, if she doesn’t have a man who acts as her patron and pays her expenses. He’ll keep her in an elegant style, and in exchange she’ll make herself sexually available to him exclusively. Is this prostitution? Not in the exact sense we mean it in the West, where prostitutes turn „tricks” with „johns,” and so on. To my mind, a first-class geisha is more analogous to a kept mistress in our culture than to a prostitute.


Memoriile unei Gheişe



Un roman atotcuprinzător!
Între aceleaşi coperţi veţi descoperi o poveste de dragoste nemuritoare, un război şi dramele îndurate de poporul japonez pe toată durata lui. Pe fondul acestora, Arthur Golden vine cu o foarte amplă documentare în ceea ce priveşte uimitoarea lume a gheişelor. Pune pe prim plan acel univers misterios sau prea puţin cunoscut şi scoate la iveală aspectele care stau la baza formării unei gheişe, tradiţiile şi, bineînţeles, rolul pe care ele îl au în societatea japoneză.

Pe baza romanului a fost facut şi un film „Memoris of a Geisha” .


In this literary tour de force, novelist Arthur Golden enters a remote and shimmeringly exotic world. For the protagonist of this peerlessly observant first novel is Sayuri, one of Japan’s most celebrated geisha, a woman who is both performer and courtesan, slave and goddess.

We follow Sayuri from her childhood in an impoverished fishing village, where in 1929, she is sold to a representative of a geisha house, who is drawn by the child’s unusual blue-grey eyes. From there she is taken to Gion, the pleasure district of Kyoto. She is nine years old. In the years that follow, as she works to pay back the price of her purchase, Sayuri will be schooled in music and dance, learn to apply the geisha’s elaborate makeup, wear elaborate kimono, and care for a coiffure so fragile that it requires a special pillow. She will also acquire a magnanimous tutor and a venomous rival. Surviving the intrigues of her trade and the upheavals of war, the resourceful Sayuri is a romantic heroine on the order of Jane Eyre and Scarlett O’Hara. And Memoirs of a Geisha is a triumphant work – suspenseful, and utterly persuasive.



Bestseller international, numarul 1 in topurile din Europa si America, vandut in peste 4 milioane de exemplare si tradus in peste 35 de limbi. Ecranizarea romanului poarta semnatura regizorului Rob Marshall si a primit in 2006 un premiu Globul de Aur, 3 premii Oscar si 3 premii Bafta.

Ce este o gheisa? Un obiect al dorintei. O opera de arta in miscare. Un actor, un artizan, un entertainer, dupa traditia japoneza. Un tip uman la granita cliseului cultural, imposibil de redat in categoriile occidentale. Sau poate doar o femeie care poseda, in cea mai inalta masura, rafinamentul artelor lumesti. Chiyo, o fata dintr-un sat de pescari, este vanduta unei okiya pentru a fi initiata in artele gheiselor. Ritualurile seductiei sunt nenumarate, intr-o lume al carei esafodaj se sprijina pe culorile unui chimono, pe dezgolirea unei cefe pictate, pe licitarea virginitatii unei adolescente sau pe teserea unei intrigi de budoar. Sayuri, pe numele ei de gheisa, ajunge sa stapaneasca destine, sa detina secrete si sa construiasca un imperiu al erotismului ritualic.


Opinii editoriale

 „In parte roman istoric, in parte bildungsroman, in parte basm, Memoriile unei gheise ii dezvaluie cititorului o lume disparuta, de un exotism plin de rafinament.” The New York Times


Nr. de pagini : 434

Publicat pe 15 No. 2005 de Random House Large Print

Publicat in 2007 de Humanitas Fiction

Pret: 30,75 Lei


Interview – Anna Carey (2)

Anna Carey ,author of „Eve”.

1. Did you know what route you were going to take with ONCE? Or did it just come to you as you were writing?

I always knew Once would focus on The City of Sand, the King, and Eve’s fate inside the City walls. That world is so detailed, and there are so many different characters who become important, I needed a full book to explore it. I write detailed outlines before I begin the first chapter, so the plot—with all its twists and turns—was planned out in advance. Big portions of the book changed during revisions, but the overall story essentially stayed the same.

2. How different would you say Eve is in ONCE than she was in book one (Eve)?

Eve is always changing and growing—that’s one of my favorite things about her. The first book was really about her struggle to reconcile her past with her present situation, and relearn her life. There’s so much information she has to process: the fate of the girls at the School, her introduction to Caleb and the other boys in the dugout, her connection to the King. In the second book she’s more rooted in herself. She’s learned a lot—from life in the wild and her time in Califia. She’s more concerned with trying to make the most of what she’s been given. Is it possible to be happy inside the City walls? How can she protect the people she loves?

3. Looking back now at the complete book, are there any scenes that were removed that you wish, now, had remained?

Though it’s sometimes painful in the moment, I rarely regret cutting scenes. My editor’s perspective is essential, and I know if she says something should be cut…it needs to be cut. I’ve had the instinct to make little changes to the books—I want to keep playing with words, trying out different phrases. But scene byscene, I’m usually happy with the overall story.

4. Share with us the best part about writing your character Eve, and the hardest part.

Eve grows tremendously over the course of the series. She evolves from a sheltered, book smart girl to a strong, empowered woman. I’ve loved writing that transformation. Though it felt organic, writing Eve’s character in the beginning of the series was tricky. She has very limited experience—all she knows is life inside the compound walls. Its always a risk to put the reader in a position where they know more than the main character, so the first book was a bit of a tightrope walk.

6. How will you be celebrating the release of ONCE?

I’ll actually be in Europe for the release. Hopefully I’ll be tweeting from a beach in Croatia!


About ONCE

When you’re being hunted, who can you trust?

For the first time since she escaped from her school many months ago, Eve can sleep soundly. She’s living in Califia, a haven for women, protected from the terrifying fate that awaits orphaned girls in The New America.

But her safety came at a price: She was forced to abandon Caleb, the boy she loves, wounded and alone at the city gates. When Eve gets word that Caleb is in trouble, she sets out into the wild again to rescue him, only to be captured and brought to the City of Sand, the capital of The New America.

Trapped inside the City walls, Eve uncovers a shocking secret about her past–and is forced to confront the harsh reality of her future. When she discovers Caleb is alive, Eve attempts to flee her prison so they can be together–but the consequences could be deadly. She must make a desperate choice to save the ones she loves . . . or risk losing Caleb forever.

In this breathless sequel to „Eve,” Anna Carey returns to her tale of romance, adventure, and sacrifice in a world that is both wonderfully strange and chillingly familiar.



About RISE…

The fate of The New America rests with Eve in this stunning finale to the Eve trilogy.

Eve is trapped in the City of Sand, married to a man of her father’s choosing, but she can’t forget her love for Caleb—or her passion for the rebel cause. When rebel armies invade the city, Eve uses her position as princess for the ultimate act of rebellion—to kill her father, the king. Then tragedy strikes, and Eve must choose who to leave behind, who to save, and who to fight in this final battle for freedom.

Expected publication: April 2nd 2013 by HarperCollins

and Ledabooks