Paul Adam

" Philippe pressentit dans les lettres de son oncle le dessein d'unir Philomene au commandant de Chaclos. L'angoisse extreme qui le prit alors au c ur l'etonna d'abord. Sa cousine comptait cinq ans de plus que lui. En outre, elle avait un caractere grave, et elle agreerait certes mal les turbulences du cornette aux Guides qu'il etait...""

This is the third book in Paul Adam's fast and furious Max Cassidy thriller series. Teenage escapologist, Max Cassidy, knows for sure that his mother did not kill his father, his father is not even dead . . . But somebody seems very determined to prevent Max from discovering the truth - in fact, somebody wants him dead. In this, the final instalment of the thrilling Max Cassidy series, Max travels across the world; from London to San Francisco to Russia in his quest to be reunited with his family.

Paganini -- showman, womanizer, virtuoso -- is one of the most charismatic characters in the history of classical music. His violin, "il Cannone," is kept in Genoa, Italy, and played only once every two years in a sold-out concert by the winner of an international competition. But this year, a Parisian art dealer is found dead in his hotel room the day after the concert. In his wallet is a scrap of sheet music belonging to the competition winner. How did he get? And why?

The second exciting title in the Max Cassidy action-adventure series. 'Be careful, Max . .'His father is missing presumed dead and his mother is serving a twenty-year sentence for his murder, but teenage escapologist Max Cassidy is certain everybody is wrong - about both things .

His mother is now serving a life sentence for her husband's murder. Max's mission to learn the truth about his family takes him on an thrilling journey, from London to the horrors of the terrifying Shadow Island in central America. Escapology is dangerous but not nearly as dangerous as real life .

Investigative reporter Joe Verdi has never given much thought to how supermarkets operate. Then a murder inquiry takes him undercover into the heart of Britain's agri-business and he discovers the true cost of our cut-price food.

This glossary, published in 1888, is the only work of its kind produced by Decadent and Symbolist writers themselves, and is full of ‘definitions’ as mystifying as the words they claim to define. It offers both a scholarly and a humorous examination of linguistic innovation and succeeds in showing how literary language remains subtler and more alive than any of the instruments designed to explain it. A parody of a glossary as much as a glossary proper, and produced as a response to critical accusations of obscurity and preciosity, it assembles an extraordinary array of evocative, hermetic, and often bizarre examples of Symbolist and Decadent writing, including luminaries such as Mallarmé, Rimbaud, Laforgue and Verlaine as well as such writers as Fénéon, Moréas and René Ghil. This is a volume in the series Textes littéraires/Exeter French Texts. The text, introduction and essential notes are all in French.