Lullaby-Chuck Palahniuk

Ася - Иван Тургенев
Смутная улыбка - Франсуаза Саган
Книга путешествия - Бернард Вербер
Разбойники - Фридрих Шиллер
Падение - Альбер Камю
Зойкина квартира - Михаил Булгаков
Lullaby - Chuck Palahniuk
Атлас, составленный небом - Горан Петрович
Повнолітні діти - Ірина Вільде
Гений - Теодор Драйзер
Жестяной барабан - Гюнтер Грасс
Немного солнца в холодной воде - Франсуаза Саган
Вогник далеко в степу - Григір Тютюнник
Здравствуй, грусть - Франсуаза Саган
0% - Франк Рюзе
Дон Жуан или Каменный гость - Жан-Батист Мольер
Жизнь Галилея - Бертольд Брехт
Миддлмарч - Джордж Элиот
Страдания юного Вертера - Иоганн Гете
Москва слезам не верит (сборник) - Валентин Черных

Обложка
Описание произведения:
Название: Lullaby-Chuck Palahniuk

Автор: Chuck Palahniuk,

Жанр: Проза, Контркультура,

Серия: ,

Издательство : ,

Язык: en

Аннотация:
"I need to rebel against myself. It's the opposite of following your bliss. I need to do what I most fear." Beleaguered reporter Carl Streator is stuck writing about SIDS and grieving for his dead wife and child; he copes by building perfect model homes and smashing them with a bare foot. But things only get worse: Carl accidentally memorizes an ancient African "culling song" that kills anyone he focuses on while mentally reciting it, until killing "gets to be a bad habit." His only friend, Nash, a creepy necrophiliac coroner, amuses himself with Carl's victims. Salvation of a sort comes in the form of Helen Hoover Boyle, a witch making a tidy living as a real estate broker selling-and quickly reselling-haunted houses. She, too, knows the culling song and finances her diamond addiction by freelancing as a telepathic assassin. Carl and Helen hit the road with Helen's Wiccan assistant, Mona, and her blackmailing boyfriend, Oyster, on a search-and-destroy mission for all outstanding copies of the culling song, as well as an all-powerful master tome of spells, a grimoire. Hilarious satire, both supernatural and scatological, ensues, the subtext of which seems to be Palahniuk's conviction that information has become a weapon ("Imagine a plague you catch through your ears"), and the bizarre love affair between Helen and Carl offers the lone linear thread in a field of narrative flak bursts. But the chief significance of this novel is Palahniuk's decision to commit himself to a genre, and this horror tale of both magic and mundane modernity plants him firmly in a category where previously he existed as a genre of one.
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