Books with title The Genius

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Chapter I. Mrs. Presty Presents Herself. NOT far from the source of the famous river, which rises in the mountains between Loch Katrine and Loch Lomond, and divides the Highlands and the Lowlands of Scotland, travelers arrive at the venerable gray walls of Mount Morven; and, after consulting their guide books, ask permission to see the house. What would be called, in a modern place of residence, the first floor, is reserved for the occupation of the family. The great hall of entrance, and its quaint old fireplace; the ancient rooms on the same level opening out of it, are freely shown to strangers. Cultivated travelers express various opinions relating to the family portraits, and the elaborately carved ceilings. The uninstructed public declines to trouble itself with criticism. It looks up at the towers and the loopholes, the battlements and the rusty old guns, which still bear witness to the perils of past times when the place was a fortress—it enters the gloomy hall, walks through the stone-paved rooms, stares at the faded pictures, and wonders at the lofty chimney-pieces hopelessly out of reach. Sometimes it sits on chairs which are as cold and as hard as iron, or timidly feels the legs of immovable tables which might be legs of elephants so far as size is concerned. When these marvels have been duly admired, and the guide books are shut up, the emancipated tourists, emerging into the light and air, all find the same social problem presented by a visit to Mount Morven: “How can the family live in such a place as that?” If these strangers on their travels had been permitted to ascend to the first floor, and had been invited (for example) to say good-night to Mrs. Linley’s pretty little daughter, they would have seen the stone walls of Kitty’s bed-chamber snugly covered with velvet hangings which kept out the cold;

Three teen geniuses from diverse backgrounds must work together to stop a vicious warlord|protect their families|and save the world in this fast-paced sequel to Genius: The Game. ON THE RUN! Tunde: This fourteen-year-old self-taught engineering genius from Nigeria is in a race against time to save his village from a ruthless warlord. Painted Wolf: This mysterious sixteen-year-old activist blogger and strategist from China is searching for a way to rescue her father from the corruption he's inadvertently been caught up in. Rex: This sixteen-year-old Mexican-American has proven himself to be one of the best programmers in the world|only to be falsely accused of stealing billions of government secrets for the terrorist hacking group Terminal. Pursued by the police|the FBI|and most dangerous of all|Kiran Biswas|visionary CEO and evil mastermind|three teen geniuses have to move fast and stay low as they race to find a missing brother|stop a vicious warlord|and save the world in Genius: The Con by Leopoldo Gout.

Theodore Dreiser heavily invested himself in The Genius, an autobiographical novel first published in 1915. Thoroughly immersed in the turn-of-the-century art scene, The Genius explores the multiple conflicts between art and business, art and marriage, and between traditional and modern views of sexual morality. Despite heavy editing, The Genius was deemed so shocking that its sale was immediately prohibited by the New York Society for the Suppression of Vice. It was not released until 1923, and thereafter the episode confirmed Dreiser's status as a writer ahead of his time.

Mark is a very talented and intelligent young student. At school his friends are Lucy, Michael and Tim. All of the other pupils, and even some of the teachers, look to Mark when various problems arise. But being a genius is not all plain sailing: it has its downsides too. Mark the Genius is a book about school, containing an important first-hand account of the best days of our lives. It reminds us of a time when dreams, hopes and aspirations are filled with the idea of nothing more than “games for homework, games instead of lessons and a trip to the park for break time?”

Theodore Dreiser heavily invested himself in The Genius, an autobiographical novel first published in 1915. Thoroughly immersed in the turn-of-the-century art scene, The Genius explores the multiple conflicts between art and business, art and marriage, and between traditional and modern views of sexual morality. Despite heavy editing, The Genius was deemed so shocking that its sale was immediately prohibited by the New York Society for the Suppression of Vice. It was not released until 1923, and thereafter the episode confirmed Dreiser's status as a writer ahead of his time.

Theodore Dreiser heavily invested himself in The Genius, an autobiographical novel first published in 1915. Thoroughly immersed in the turn-of-the-century art scene, The Genius explores the multiple conflicts between art and business, art and marriage, and between traditional and modern views of sexual morality. Despite heavy editing, The Genius was deemed so shocking that its sale was immediately prohibited by the New York Society for the Suppression of Vice.

Theodore Dreiser heavily invested himself in The Genius, an autobiographical novel first published in 1915. Thoroughly immersed in the turn-of-the-century art scene, The Genius explores the multiple conflicts between art and business, art and marriage, and between traditional and modern views of sexual morality. Despite heavy editing, The Genius was deemed so shocking that its sale was immediately prohibited by the New York Society for the Suppression of Vice. It was not released until 1923, and thereafter the episode confirmed Dreiser’s status as a writer ahead of his time.This story has its beginnings in the town of Alexandria, Illinois, between 1884 and 1889, at the time when the place had a population of somewhere near ten thousand. There was about it just enough of the air of a city to relieve it of the sense of rural life. It had one street–car line, a theatre,—or rather, an opera house, so–called (why no one might say, for no opera was ever performed there)—two railroads, with their stations, and a business district, composed of four brisk sides to a public square. In the square were the county court–house and four newspapers. These two morning and two evening papers made the population fairly aware of the fact that life was full of issues, local and national, and that there were many interesting and varied things to do. On the edge of town, several lakes and a pretty stream—perhaps Alexandria's most pleasant feature—gave it an atmosphere not unakin to that of a moderate–priced summer resort. Architecturally the town was not new. It was mostly built of wood, as all American towns were at this time, but laid out prettily in some sections, with houses that sat back in great yards, far from the streets, with flower beds, brick walks, and green trees as concomitants of a comfortable home life. Alexandria was a city of young Americans. Its spirit was young. Life was all before almost everybody. It was really good to be alive.