Les Genies du chocolat, refered to as "the bible" is the most comprehensive work on the highest quality chocolate in the world today. Crafted with great sensitivity with meticulous editing, this pioneering masterpiece unravels an undiscovered territory of French gastronomy.
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Choc Lit is an award-winning publisher of women's fiction - romance, historical and crime fiction. We hold world rights for all our titles.
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Documents from the "KGB archives" are published in the book. They cover the period from the beginning of the construction of the Chornobyl nuclear power plant to the commissioning of the "Shelter" facility ("Sarcophagus") after the Chornobyl disaster (1970-1986).
Chornobyl is not only a city or a nuclear power plant but also an Exclusion Zone, a tragedy and a symbol. This book aims to explain the tragic events to people who were born after it happened, so that “Chornobyl” is not only a word by which Ukraine is recognized but also a historical experience worth acknowledging. The event is shown in the book through several dimensions: technical, emotional, natural, and political. The authors are using both verbal and visual communication to tell the story of a large-scale tragedy in a simple way, yet still able to provoke emotions. The book brings up the topics of responsibility and the cost of human life; “the right to know”; heroics; totalitarian regimes; ecology.
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Having exploded on the margins of Europe, Chornobyl marked the end of the Soviet Union and tied the era of postmodernism in Western Europe with nuclear consciousness. The Post-Chornobyl Library in Tamara Hundorova’s book becomes a metaphor of a new Ukrainian literature of the 1990s, which emerges out of the Chornobyl nuclear trauma of the 26th of April, 1986. Ukrainian postmodernism turns into a writing of trauma and reflects the collisions of the post-Soviet time as well as the processes of decolonization of the national culture. A carnivalization of the apocalypse is the main paradigm of the post-Chornobyl text, which appeals to “homelessness” and the repetition of “the end of histories.” Ironic language game, polymorphism of characters, taboo breaking, and filling in the gaps of national culture testify to the fact that the Ukrainians were liberating themselves from the totalitarian past and entering the society of the spectacle. Along this way, the post-Chornobyl character turns into an ironist, meets with the Other, experiences a split of his or her self, and witnesses a shift of geo-cultural landscapes.
