Books with title Smoked

In the fiery conclusion to Mari Mancusi's Scorched trilogy, Team Dragon ignites the spark that starts the dragon apocalypse.…When Team Dragon finally rescues Emmy—now a full-grown dragon—they think the future is safe. Until Emmy reveals a secret: she's laid two dragon eggs, and her offspring may bring about the fiery apocalypse they've all fought so hard to prevent. Either way, Connor's not taking chances. But after a rash and brutal act, he discovers he may have just single-handedly started the apocalypse himself.Chaos breaks out. Towns are scorched. And time is running out. Will the team figure out a way to work together before the world goes up in flames?

In the fiery conclusion to Mari Mancusi's Scorched trilogy, Team Dragon ignites the spark that starts the dragon apocalypse.…When Team Dragon finally rescues Emmy—now a full-grown dragon—they think the future is safe. Until Emmy reveals a secret: she's laid two dragon eggs, and her offspring may bring about the fiery apocalypse they've all fought so hard to prevent. Either way, Connor's not taking chances. But after a rash and brutal act, he discovers he may have just single-handedly started the apocalypse himself.Chaos breaks out. Towns are scorched. And time is running out. Will the team figure out a way to work together before the world goes up in flames?

In the fiery conclusion to Mari Mancusi's Scorched trilogy, Team Dragon ignites the spark that starts the dragon apocalypse.…When Team Dragon finally rescues Emmy—now a full-grown dragon—they think the future is safe. Until Emmy reveals a secret: she's laid two dragon eggs, and her offspring may bring about the fiery apocalypse they've all fought so hard to prevent. Either way, Connor's not taking chances. But after a rash and brutal act, he discovers he may have just single-handedly started the apocalypse himself.Chaos breaks out. Towns are scorched. And time is running out. Will the team figure out a way to work together before the world goes up in flames?

Her whole life changed in a bloody instant.Gertrude Penn spends her life trying to escape notice. But in a city ruled by an unstable government, where citizens are confined to sections based on birth and Extras–humans with inhuman abilities–are considered criminals, she can’t help but feel that she’s being watched. When she wakes up covered in blood with no memory of what happened, Gertie must trust a mysterious Extra named Vail, who pulls her into a world of conspiracies, danger and rebellion.

Written by one of Russia's literary masters, Smoke is both a poignant love story and a brilliant socio-political study. Marked with a barbed wit and a visionary modernism, it became the center of a famous philosophical breach between Turgenev and Dostoevsky. On the brink of marriage, Grigorii Litvinov visits the fashionable European spa of Baden-Baden, a scene dominated by the Russian upper classes. Among them is the beautiful Irina Osinin, Litvinov's first love, to whom he was engaged ten years earlier. Litvinov's struggle with a nostalgic passion is set against the background of a society pulled both toward and against change as it feels the influence of the West. A sensitive and intelligent commentary on human nature, Turgenev's Smoke endures for its high aesthetic standards and its universal qualities of understanding.

From the preface: WHEN Litvinov was torn loose from his "far from gay or complicated" life, caught up in a lurid passion in which he was never at home, and then abandoned, he fled upon the train. At first he was exhausted by the prodigious effort of will he had made; then a kind of composure came upon him. He "was hardened." The train, the minutes, were carrying him away from the wreck of his life. "He took to gazing out of the window. The day was gray and damp; there was no rain, but the fog held on, and low-lying clouds veiled the sky. The wind was blowing in the contrary direction to the course of the train; whitish clouds of steam, now alone, now mingled with other, darker clouds, of smoke, swept, in an endless series, past the window beside which Litvinov sat. He began to watch the steam, the smoke. Incessantly whirling, rising and falling, twisting and catching at the grass, at the bushes, playing pranks, as it were, lengthening and melting, puff followed puff,... they were constantly changing and yet remained the same... a monotonous, hurried, tiresome game! Sometimes the wind changed, the road made a turn--the whole mass suddenly disappeared, and immediately became visible through the opposite window; then, once more, the hugh train flung itself over, and once more veiled from Litvinov the wide view of the Rhine Valley. He gazed and gazed, and a strange reflection occurred to him.... He was alone in the carriage; there was no one to interfere with him. 'Smoke, smoke'--he repeated several times in succession; and suddenly everything appeared to him to be smoke--everything, his own life, everything pertaining to men, especially everything Russian. Every thing is smoke and steam, he thought;--everything seems to be constantly undergoing change; every where there are new forms, phenomenon follows phenomenon, but in reality everything is exactly alike; everything is hurrying, hastening somewhither--and everything vanishes without leaving a trace, without having attained to any end whatever; another breeze has begun to blow--and everything has been flung to the other side, and there, again, is the same incessant, agitated--and useless game. He recalled many things which had taken place, with much sound and clatter, before his eyes the last few years.. 'smoke,' he murmured,--'smoke.'" "Smoke." This is not only Litvinov's reaction from experiences too terrible for his mind and heart to stand--and also his consolation--but it is Turgenev's own reaction to life. The profound disillusion following the failure of the Revolutionary movement of '48, which swept over the intellectuals of Europe, had also its characteristic repercussion among the intellectual youth of Russia, and made a generation like the later generation so well portrayed by Tchekov--the men of the '80s, and also like the Intelligentsia after the failure of the Revolution of 1905.

'Smoke' was first published in 1867, several years after Turgenev had fixed his home in Baden, with his friends the Viardots. Baden at this date was a favourite resort for all circles of Russian society, and Turgenev was able to study at his leisure his countrymen as they appeared to foreign critical eyes. The novel is therefore the most cosmopolitan of all Turgenev's works. On a veiled background of the great world of European society, little groups of representative Russians, members of the aristocratic and the Young Russia parties, are etched with an incisive, unfaltering hand. Smoke, as an historical study, though it yields in importance to Fathers and Children and Virgin Soil, is of great significance to Russians. It might with truth have been named Transition, for the generation it paints was then midway between the early philosophical Nihilism-vi- of the sixties and the active political Nihilism of the seventies.Markedly transitional, however, as was the Russian mind of the days of Smoke, Turgenev, with the faculty that distinguishes the great artist from the artist of second rank, the faculty of seeking out and stamping the essential under confused and fleeting forms, has once and for ever laid bare the fundamental weakness of the Slav nature, its weakness of will. Smoke is an attack, a deserved attack, not merely on the Young Russia Party, but on all the Parties; not on the old ideas or the new ideas, but on the proneness of the Slav nature to fall a prey to a consuming weakness, a moral stagnation, a feverish ennui, the Slav nature that analyses everything with force and brilliancy, and ends, so often, by doing nothing. Smoke is the attack, bitter yet sympathetic, of a man who, with growing despair, has watched the weakness of his countrymen, while he loves his country all the more for the bitterness their sins have brought upon it.

'Smoke' was first published in 1867, several years after Turgenev had fixed his home in Baden, with his friends the Viardots. Baden at this date was a favourite resort for all circles of Russian society, and Turgenev was able to study at his leisure his countrymen as they appeared to foreign critical eyes. The novel is therefore the most cosmopolitan of all Turgenev's works. On a veiled background of the great world of European society, little groups of representative Russians, members of the aristocratic and the Young Russia parties, are etched with an incisive, unfaltering hand. Smoke, as an historical study, though it yields in importance to Fathers and Children and Virgin Soil, is of great significance to Russians. It might with truth have been named Transition, for the generation it paints was then midway between the early philosophical Nihilism-vi- of the sixties and the active political Nihilism of the seventies.Markedly transitional, however, as was the Russian mind of the days of Smoke, Turgenev, with the faculty that distinguishes the great artist from the artist of second rank, the faculty of seeking out and stamping the essential under confused and fleeting forms, has once and for ever laid bare the fundamental weakness of the Slav nature, its weakness of will. Smoke is an attack, a deserved attack, not merely on the Young Russia Party, but on all the Parties; not on the old ideas or the new ideas, but on the proneness of the Slav nature to fall a prey to a consuming weakness, a moral stagnation, a feverish ennui, the Slav nature that analyses everything with force and brilliancy, and ends, so often, by doing nothing. Smoke is the attack, bitter yet sympathetic, of a man who, with growing despair, has watched the weakness of his countrymen, while he loves his country all the more for the bitterness their sins have brought upon it.

‘Smoke’ was first published in 1867, several years after Turgenev had fixed his home in Baden, with his friends the Viardots. Baden at this date was a favourite resort for all circles of Russian society, and Turgenev was able to study at his leisure his countrymen as they appeared to foreign critical eyes. The novel is therefore the most cosmopolitan of all Turgenev’s works. On a veiled background of the great world of European society, little groups of representative Russians, members of the aristocratic and the Young Russia parties, are etched with an incisive, unfaltering hand. Smoke, as an historical study, though it yields in importance to Fathers and Children and Virgin Soil, is of great significance to Russians. It might with truth have been named Transition, for the generation it paints was then midway between the early philosophical Nihilism of the sixties and the active political Nihilism of the seventies. Markedly transitional, however, as was the Russian mind of the days of Smoke, Turgenev, with the faculty that distinguishes the great artist from the artist of second rank, the faculty of seeking out and stamping the essential under confused and fleeting forms, has once and for ever laid bare the fundamental weakness of the Slav nature, its weakness of will. Smoke is an attack, a deserved attack, not merely on the Young Russia Party, but on all the Parties; not on the old ideas or the new ideas, but on the proneness of the Slav nature to fall a prey to a consuming weakness, a moral stagnation, a feverish ennui, the Slav nature that analyses everything with force and brilliancy, and ends, so often, by doing nothing. Smoke is the attack, bitter yet sympathetic, of a man who, with growing despair, has watched the weakness of his countrymen, while he loves his country all the more for the bitterness their sins have brought upon it. Smoke is the scourging of a babbling generation, by a man who, grown sick to death of the chatter of reformers and reactionists, is visiting the sins of the fathers on the children, with a contempt out of patience for the hereditary vice in the Slav blood. And this time the author cannot be accused of partisanship by any blunderer. ‘A plague o’ both your houses,’ is his message equally to the Bureaucrats and the Revolutionists. And so skilfully does he wield the thong, that every lash falls on the back of both parties. An exquisite piece of political satire is Smoke; for this reason alone it would stand unique among novels.