Christian Décamps est la voix du groupe « Ange ». Depuis bientôt vingt ans, il exhale ses parfums d'audace en trompe-l'oeil et ses textes poétiques posés sur le fil de l'équilibriste tendu entre le féerique et l'irrévérencieux. Il fut l'un des premiers auteurs à pousser le verbe français dans l'univers pop et rock avec bonheur, à faire mentir tous ceux qui ne voyaient que l'Anglo-Saxon pour se fondre avec justesse dans cette musique. L'électricité de ses mots a tellement bousculé la magie qu'avec la complicité de son frère Francis et de l'équipage « Ange », il a su fidéliser un public inconditionnel et imposer le groupe à plusieurs générations. À quarante-trois ans, Christian Décamps nous offre toujours d'énormes poignées d'images. Le jeu auquel il s'adonne avec les mots en marge d'une provocation généreuse n'est jamais gratuit. « Sève qui peut » en est la parfaite illustration. Le conte a souvent tenu une place prépondérante dans ses textes (« Au-delà du délire » « Par les fils de Mandrin », etc.). Le livre, calé aux frontières du roman fantastique, devient ici le complément indispensable du disque et du spectacle du même nom. Cette avancée de Décamps dans l'écriture prend la clef des chansons pour ouvrir des portes sur une vision très personnelle de certains événements de l'aventure humaine via le pouvoir. L'humour prend le large pour se faire une santé dans l'essentiel. Sur fond de Révolution, les « princes sans rire », les « crucifères » et les « Phrygiens » vous attendent. Le chêne vous livrera peut-être son secret. L'alchimiste Christian Décamps tente avec « Sève qui peut » une fusion Écologie-Féerie qui renverra le lecteur à ses racines, à ses démons, à ses espoirs. Michel Buzon

`The Connemara Champion' is the third and final book in the series about wild young pony Cuaifeach. His owner Doreen is struggling to look after the spirited stallion - but she knows he has it in him to be a champion. Cuaifeach is taken to Dublin to see if he can behave himself as a performance pony, before being entered into the prestigious Ballinalee Show. Will Cuaifeach become the prize-winning champion Doreen knows he can be? There are plenty more mischievous adventures ahead in this delightful conclusion to the story, by Swedish author Ann Henning. Ann Henning Jocelyn was born in Sweden in 1948. Following the death of her father, Ann and her siblings were raised by their mother in remote and beautiful Ed on the Norwegian border. Ann thrived here - by the age of four she was reading, and by five she had written her very first story. The family moved closer to Gothenburg following her mother's remarriage, where Ann struggled in the new environment and turned to her love of reading and writing for comfort. Ann wrote her very first book `Honeylove the Bearcub' by the time she was seven, and by nine she had a story published in a magazine. Ann attended Gothenburg University to study Classical Architecture and Drama, before moving to London to study theatre and drama. In 1982, Ann moved to Connemara on the west coast of Ireland to focus on her writing, where she still lives today along with her husband. The area is well-known for its' ponies, and the creatures became part of Ann's daily life, influencing her writing. Bestseller `The Connemara Whirlwind', about life in the pony world of Connemara, was followed by `The Connemara Stallion' and `The Connemara Champion'. Also a keen playwright and theatre advocate, Ann co-founded the Connemara Theatre Company which has shown several of her plays including `Baptism of Fire' and `The Alternative'.

Cet ouvrage est une réédition numérique d'un livre paru au XXe siècle, désormais indisponible dans son format d'origine.

Please note: This is a companion version & not the original book. Sample Book Insights: #1 I recently gave a speech at the Aspen Institute in which I argued that white guilt has damaged the self-esteem, if not the souls, of minorities more than white racism ever did. #2 I was used to being provocative, but my comments about race being rooted in classic Jeffersonian liberalism rather than white guilt was absolutely unpalatable to many. #3 I had the same reaction when I saw a young white man rush to the stage to confront me after my panel discussion on race and politics. He mimed his points with theatrical flair, and then looked at me as if to shudder at an unspeakable menace. #4 I had spoken at a conference in Aspen, and during my speech I had implied that post-1960s liberalism was the new enemy of minorities. The audience had largely agreed with me, but my young nemesis had come to represent me as an untouchable, someone from a dark realm of ideas who was both seductive and evil.