Lorenza Estandia Literary Agency
The Catalogue has 114 titles, picture books, illustrated stories and novels poetry, plays, series, and non-fiction, and by readers age from 0 to 18+ years.
View Rights PortalThe Catalogue has 114 titles, picture books, illustrated stories and novels poetry, plays, series, and non-fiction, and by readers age from 0 to 18+ years.
View Rights Portal“I am happy now, I have two homes instead of one. I visit my father in the village during the weekend. My mom reads me bedtime stories And I will not see her sad anymore.” The story targets a big part of any community nowadays; it deals with divorce from the children’s perspective. It shows the separation’s psychological damages on the child if not well approached. It facilitates the smooth and healthy acceptance of divorce for both parents and children.
Um das geheimnisvolle Lächeln der »Mona Lisa« ranken sich zahlreiche Gerüchte und Legenden. Das Gemälde war Anfang des vergangenen Jahrhunderts einmal gestohlen worden, und seitdem wird immer wieder behauptet, im Louvre würden sich beachtliche Besucherströme um eine Kopie und nicht um das Original versammeln.Die Pferde von San Marco in Venedig gelten noch heute als Diebesgut; und um den Verbleib des Bernsteinzimmers ranken sich noch immer zahlreiche Rätsel.Von solchen und anderen dramatischen und spektakulären Fällen von Kunstraub weiß Manfred Reitz spannend zu berichten.Kunst bereichert nicht nur den Menschen, sondern verkörpert häufig auch einen beträchtlichen finanziellen Wert. Der Kunstdiebstahl ist heute neben dem Rauschgift- und dem Waffenhandel das lukrativste kriminelle Geschäft. Von der Antike bis zur Gegenwart wurden deshalb Kunstwerke gestohlen, um die eigene Habgier zu befriedigen, um finanzielle Gewinne zu machen oder um einen Gegner zu demütigen.Manfred Reitz führt den Leser zu den Grabräubern der Antike, zu plündernden Söldnern des Mittelalters und zu den zahlreichen Kunsträubern der jüngeren Vergangenheit. Von Manfred Reitz sind im Insel Verlag außerdem erschienen: Leben jenseits der Lichtjahre. Die Wissenschaften auf der Suche nach außerirdischen Intelligenzen (1996 und it 2186); Große Kunstfälschungen. Falsche Kunst und echte Fälscher (it 1534)
Mazen, a young boy, is one day surprised by their neighbor Bassam shouting with anger in the street “My parking spot is a red line!” Does this mean he plans to paint the street red, asks Mazen to his mother? The mother explains to Mazen that what Bassam means is simply that no one is to park in his place. The notion is still vague to Mazen: Why red? Does it have anything to do with red traffic lights? The mother tries again “When something is a red line, it means that it is off limits to others”. In this illustrated album, Samar Barraj boldly addresses the delicate issue of child sexual abuse. Acknowledging the complexity of the boundary it tackles, the book determines it through examples the mother and child raise in their conversation. Mazen’s spontaneous remarks and comments point out the difficulty of defining this red line, and make of the book a realistic example of such a conversation. The illustrations develop the notion further, by representing situations in which the red line might be crossed – one may be on his bicycle, at his computer, or approached by a respectable-looking old man in the street. The body parts are not named, but are represented in a naïve drawing Mazen made, though the text insists on the importance of preserving the body as a whole. The colorful images and constant presence of the mother and parents make of the book a reassuring experience despite the gravity of the topic.