My Sisters Keeper

etc. INTRODUCTION This volume does not aim to contain all "the best American humorous short stories"; there are many other stories equally as good, I suppose, in much the same vein, scattered through the range of American literature. I have tried to keep a certain unity of aim and impression in selecting these stories. In the first place I determined that the pieces of brief fiction which I included must first of all be not merely good stories, but good short stories. I put myself in the position of

uncle's estate, he retires to country. Soon Onegin befriends Vladimir Lenskii, who is in love with a local girl, Olga Larina. Her unpolished, romantic elder sister Tatiana falls in love with Onegin, but he rejects Tatiana's love. He considers himself mysteriously doomed, he would be a bad husband. "But I for bliss was not created: / To that my soul is foreign still. / In vain, in vain, are your perfections;/ Of them I count myself unworthy." At a party Onegin insults Olga, and Lenskii challenges him

a dad, daddy To burn (v) a dentist To pay (v) a family To shout (v) a father A first name a friend A name a job A surname a mechanic A number a mother My a mum, mummy Your a notebook His parents (pl) Her a photograph In a picture How … ? a pilot What … ? a secretary To complete (v) a sister To listen (v) an uncle To read (v) nice To repeat (v) small big To spell (v) how old are you ? To write (v) who … ? Hello ! Hi ! to draw (v) Pleased to meet

apartments, all occupied by distinctly bourgeois families, the building has a courtyard and private garden. The widow Renée is a concierge who has supervised the building for 27 years. She is an autodidact in literature and philosophy, but conceals it to keep her job and, she believes, to avoid the condemnation of the building's tenants if they were to discover how cultured she is. Likewise, she wants to be alone to avoid her tenants' curiosity. She effects this by pretending to indulge in concierge-type

SURVIVAL KIT 1. Mots-outils POUR COMMENCER First, firstly, first of all, in the first place, first and foremost, to begin / start with My first impression is… POUR DEVELOPPER UN SUJET Secondly, thirdly, then, next at first sight (à première vue) as a matter of fact, in fact (en fait) at all events, in any case (en fait) on second thoughts (à la réflexion) actually (effectivement) anyway (de toutes façons) in most cases (dans la plupart des cas) in this respect (à cet égard) to some extent

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Tragédie)5. Mais elles s’introduisent aussi à cause des fissures d’un État fragilisé par la guerre contre l’ennemi norvégien. De par leur physique androgyne et monstrueux qui les place aux frontières de l’humain, les trois sœurs fatidiques ou « Weird Sisters » offrent une vision dérangeante et transgressive que leurs mots à double-entendre viennent confirmer dans le surnaturel. Elles annoncent un algorithme insolite qui annule toute différence et tout ordre : « fair is foul and foul is fair » (i.i.12)

next summer. (J'ai l'intention de voyager en Inde l'été prochain.) — dans une proposition infinitive. 2 Ex. : My parents would like me to go to a summer camp. (Mes parents voudraient que je parte en camp d'été.) faut4. Quand faut-il employer la structure verbe + V-ing ? Les verbes qui sont suivis de la forme V-ing expriment, selon le cas : — une action en cours ; Ex. : Keep driving until you reach a road sign. (Continuez à conduire jusqu'à ce que vous arriviez à un panneau de signalisation

Wall Writing • Fragments from Cold • Facing the Music • Disappearances: Selected Poems • Collected Poems Illustrated Books The Story of My Typewriter (with Sam Messer) • Auggie Wren's Christmas Story (with Isol) • City of Glass (adapted by Paul Karasik and David Mazzucchelli) Editor The Random House Book of Twentieth-Century French Poetry • I Thought My Father Was God and Other True Tales from NPR's National Story Project THE BROOKLYN FOLLIES THE BROOKLYN FOLLIES PAUL AUSTER

always narrated in chronological order. The aim of this exposé will be to show how this chaos and apparent lack of coherence is what give all its strength to Erdrich’s novel. My analysis will be based on Iser’s reader reception theory according to which meaning is a construct, a process that is engaged by the reader himself. During my exposé I will actually assume that the meaning of a text is created within the relationship between the text and the reader. I firstly would like to show how blurriness