Margaret strong (20 Ergebnisse)

Zustand: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

PAPERBACK. 1st edition. 16pp, oblong quarto, b/w. tight binding, clean throughout, clean and colorful wraps, crisp pages, owner's name, old price tag on back, Very Good+.

Zustand: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paperback. Zustand: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Soft cover. Zustand: Near Fine. 1st Edition. Near Fine with sharp corners, clean unmarked pages. KRM/Art-Ceramics.

Paperback. Zustand: Brand New. reprint edition. 128 pages. 11.00x8.50x1.00 inches. In Stock.

Softcover. Zustand: Near Fine. Zustand des Schutzumschlags: N/A. xxii, 632pp; various in-text black and white photographs. Pictorial laminated light card covers. 8vo. Light shelf wear to covers. Internally, neat, clean, bright and tight.

Paperback. Zustand: Brand New. 349 pages. 9.00x6.00x0.88 inches. In Stock.

paperback. Zustand: Good. Most items will be dispatched the same or the next working day. A copy that has been read but remains in clean condition. All of the pages are intact and the cover is intact and the spine may show signs of wear. The book may have minor markings which are not specifically mentioned.…

Wrappers. Zustand: Near Fine. 254 pp., many illustrations 58 in color. Slight wear to the edge, some scuffing and small creases to the covers, otherwise fine. Published on the occasion of the exhibition organized by the International Museum of Ceramic Art at the New York State College of Ceramics at Alfred University in honor of the centennial of the founding of the college and seen there from April 18-July 23, 1998. From there to, the Renwick Gallery, Smithsonian Institution, Washington DC September 9, 1998-January 3, 1999, Museum of Arts & Sciences, Macon GA January 24-March 14, 1999, Muscatine Art Center, Muscatine IA April 11-June 27, 1999 and more.…

Hardcover. Zustand: Good. Zustand des Schutzumschlags: Very Good. xiii, 322 p., [16] p. of plates (1 fold-out) : ill. ; 25 cm. ; ISBN: 0060103361; 9780060103361 LCCN: 73-4061 ; OCLC: 677300 ; LC: E184.I6; Dewey: 917.3/06/9162; B ; beige cloth with gold lettering in photographic dustjacket ; Contents : The F.I.F.'s -- What happened? -- In the beginning -- Everything but the light bulb -- Murray Bay -- Mr. McDonnell's Gimmick -- The greatest nose count of them all -- The original butter-and-egg man -- The wedding of the century -- The wheeler-dealers -- Ma and Pa D -- The bubble breaks -- The decline of Mr. Fall -- The silver kings -- Mr. Ryan's fortune --- And for my eldest son, one set of pearl studs -- The troubles of one house -- Why don't the nice people like us? -- High Society -- The Duchess Brady -- Atomic Tom -- The Buckley's of Great Elm -- The upward climb -- Sons of the priory, daughters of the Sacred Heart -- Royalty -- What did happen -- Problems in the back office -- To the bitter end -- Aftermath -- Robert the roue ; spotting on froe-edge ; otherwise G/VG. Book.…

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. 1st Edition. xxii, 270 pages : map ; 24 cm ; ISBN 9780807083208, 9780807083253, 0807083208, 0807083259 ; OCLC 19886086 ; beige-yellow cloth in pictorial dustjacket ; Contents: In the middle of the fields / Mary Lavin -- Housekeeper's cut / Clare Boylan -- Midwife to the fairies / Eilis Ni Dhuibhne -- Granny / Bernadette Matthews -- The bride of Christ / Eithne Strong -- The wall-reader / Fiona Barr -- The day of the christening / Harriet O'Carroll -- Melancholy baby / Julia O'Faolain -- Pure invention / Anne Le Marquand Hartigan -- The intruders / Rita Kelly -- Naming the names / Anne Devlin -- Amnesty / Maeve Kelly -- A family picnic / Ita Daly -- Made in heaven / Maura Treacy -- Sister Imelda / Edna O'Brien -- One word / Juanita Casey -- Park-going days / Evelyn Conlon -- Trio / Jennifer Johnston -- All fall down / Helen Lucy Burke -- A day in the dark / Elizabeth Bowen -- The foundress / Emma Cooke -- Shepherd's bush / Maeve Binchy -- Failing years / Mary Beckett -- A curse / Brenda Murphy -- Village without men / Margaret Barrington -- Checkpoint / Ann McKay -- The dove of peace / Leland Bardwell ; A collection of twenty-seven short stories by Irish women writers. The first collection of contemporary short stories by Irish women writers to appear in the United States. ; Louise A. DeSalvo (1942-2018) was an American writer, editor, professor, and lecturer who lived in New Jersey. ; Kathleen Walsh D'Arcy's Irish roots stem from County Offaly and Tipperary. Her parents emigrated from Ireland in the 1920s and she was born and raised in Manhattan, in Holy Name Parish. Her mother, Kathleen Kearney Walsh, was a founding member and president of the Offaly Association, the first woman director of the United Irish Counties Association, the founder of the Irish Hospital Cheer Committee, and the president and founder of the East Hampton Irish American Club.Her father, Patrick F. Walsh, was a famous bandleader in New York, a member of the Musicians' Union, the Hotel Workers' Union, and the Tipperary Association.As a child, Kathleen was immersed in Irish culture. She was a step dancer with the McNiff School and a competitor in the U.I.C Feis, dancing and singing. She marched and step-danced up the avenue in the St. Patrick's Day Parade. She spent time in Ireland as a child and teenager, later living in Dublin in the early 70s, working for Sinn Fein. Kathleen has worked as a writer, editor, teacher and social worker. She compiled and co-edited "Territories of the Voice/Short Fiction by Irish Women Writers" (Beacon Press). As a social worker, she has worked with homebound elders, teen mothers, and domestic violence survivors. ; Katherine Hogan teaches English and Latin at Pearl River High School in New York. Her doctoral dissertation was a study of the political works of Seamus Heaney. ; FINE/FINE. Book. …

Zustand: Used - Very Good. VG paperback. Symposium Series. 2000 1st edition with spine and cover uncreased, apart from small crease to bottom front corner. A hint of pale foxing to page fore-edges; otherwise, a clean, tidy copy. Used - Very Good. VG paperback.

Taschenbuch. Zustand: Neu. Neuware - This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. …

Zustand: New.

Gebunden. Zustand: New. KlappentextThis work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original w.

Zustand: Sehr gut. Zustand: Sehr gut | Sprache: Englisch | Produktart: Bücher | Keine Beschreibung verfügbar.

Zustand: Good. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library, so some stamps and wear, but in good overall condition. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions.…

Single Issue Magazine. Zustand: Good. First Edition. A rare example of this apparently short-lived feminist-oriented depression-era periodical. 128 semi-glossy stapled pages. 7.8" x 5.5". Contains only one page of advertising, that being a two-color (black and orange) illustrated piece for Tangee cosmetics inside front cover. The eleven articles include: Why Shouldn't Women Run the World?, How to Lose a Man?, and Man's Magazine Man. The nine stories include: Men are the Darnedest, The Child Hater - There's Something Wrong When a Man's Childless, and Telephone Number, in which a housewife's calls to a gentleman are nearly discovered by her husband. Fantastic section of full-page black and white photos of women at work entitled "The Weaker Sex" includes women of Osaka's Toyo Textile factory training with rifles, Mrs. Ruth Yeamans - Idaho's only woman police judge, Welding instructor Mrs. Anne McEnally, Mlle. Nadia Boulanger - first woman Conductor in Royal Philharmonic history, diver Mrs. William Nichols of Philadelphia, Miss Bertha Sherfy - U.S. Treasury Department expert, Acme photographer Joy Lacks (in China with troops), seawoman Anna Tymanina - third officer of Soviet freighter 'Kalinin', and long-distance canoeist Marie Sarkipato. Many one and two-color cartoons. Clean, tight and unmarked with light wear. Black carrying string mounted in two holes punched by printer near top and bottom of fore-edge, per illustration of fancy lady on page one who proudly holds her copy by the string as if it was a purse. A wonderful early American feminist artifact.; 8vo - over 7¾" - 9¾" tall; Mrs. - The Last Word. In a Woman's Magazine!, No. 1 - Premier Issue Women's Liberation Movement Lib Feminism History Feminist Equal Rights Class Struggle 1930s Sexism History United States. Illustrated by Hanley, F.; Anderson, C.W.; Trafford, Margaret; Mahon;Stiles, Kirk; et al (illustrator).…

A total of 50 items, all but the three earliest of Strong's letters held together with a brass stud. The collection in good overall condition, on lightly aged and worn paper. Strong's 24 letters total 37pp., with the early letters signed 'L A G Strong' and the later ones 'Leonard', and occasional variant signatures in between ('Leonard Strong', 'LAGS'). The copies of Greenwood's 26 letters (two in autograph, the rest typed) total 32pp. An interesting correspondence, in which Strong responds with tact and patience to his inexperienced correspondent's proposals and actions. Strong had considerable experience, not only as a publisher with Methuen, but also in the film business: for example, his own novel 'The Brothers' was made into a film in 1947, and he also worked on the script of the David Niven comedy 'Happy Ever After' (1954). The three earliest of Strong's letters date from 1946, and concern her request to work as his secretary. In the first, on Methuen letterhead, 8 August 1946, he explains: 'During the war, my wife has typed my MSS but of course, I have had to do them & my letters all longhand: no dictating: with great loss of time. | I'm longing to be able to dictate letters & start work, radio scripts, etc: BUT we have no room in the house for a secretary to live in: there is no room locally: so that, since the war stopped, I've still been able to do nothing about it. | What I want at the moment is somewhere in London, with but one room & typewriter, to which I could go on three or four mornings a week for a start, at any rate.' The next two letters indicate that the scheme fails for want of accommodation. The rest of the correspondence dates from between 1949 and 1952, with Greenwood explaining (7 March 1949) that she has 'left the Bank at last and for the past few months have been working as Secretary to Mr. Robert Donat, the actor. I have always been interested in writing, as you (perhaps regretfully) may remember, and have never quite given up on the idea. On entering the film business I found, at least I hope so, a good outlet for this ambition. Yes, writing film scripts!' She explains that she has teamed up with a former secretary of his 'and started a script writing concern which we called "FILMPLAY". I did a script of Hugh Walpole's "Rogue Herries" for Robert Newton, which greatly interested him []'. In response to her request that he let her have 'a go' at working on one of his novels, whilst sending him samples of her work, he replies (10 March 1949): 'I am appalled by your industry and optimism in making scripts for which you have no contract! [] If you can interest a producer in Trevannion or The Bay or any of my books, then I shall be only too glad. There are enquiries after Trevannion, but nothing at all defininite, and the market is wide open. Cecil Parker is a good idea but I think Ralph Richardson an even better?' On 28 May 1949, in a five-page autograph letter, he strikes a note of disapproval: 'I'm afraid I didn't much care for your synopsis of TREVANNION which has a complete misstatement in the first sentence, by the way but at the same time I didn't want to hinder you from trying to place it with a producer. [] I am shocked by your letter to Eric Portman. Honestly, I cannot have my book touted around in this undignified way; apart from the fact that Portman would not at all suit the character, nor the character him. [] I think, too, that it is wrong of you to say that we are personal friends. We might be, if we had met: but what on earth would that have to do with the merits of the synopsis? I don't agree that one has to push in the film world: &, even if one did, that is hardly the way.' He elaborates on his position on 3 June 1949: 'Let me put it this way. I have been doing film work now since 1936, and my name has a certain professional goodwill as novelist and screen-writer. There could be no harm in your submitting a synopsis of one of my books, made with my permission, to producers in the ordinary way. But to submit it to an actor, to hawk it round in an unprofessional manner, is a very different thing. I have never had the slightest idea that you would be likely to do this, or I would have warned you at the start. I assumed that you knew the normal way in which to go about a business of this kind.' Despite his reservations he urges her on 30 June 1949 to have 'another go', and on 12 July 1949 he is moved to 'most earnestly suggest' that she needs 'practice at what is after all the most important part of the script writer's business, the preparation of an adequate and attractive synopsis'. By 22 July 1949, when he suggests that they drop formalities, he is acting more as a mentor than potential business associate. Two months later he writes that he 'should be delighted if Cecil Parker took an interest in the story and wanted to play in it', cautioning her that '[t]here will be time to talk about a contract if and when he is interested'. When the screenplay is rejected he urges her not to 'be discouraged [] This kind of thing is always happening. The chances against any single idea or script being taken for the films are many thousands to one against.' There is another mild reproof on 28 October 1949: 'The difficulty about using an agent is that I have my own, and therefore cannot hand over the negotiations of a script to any other. It is far better for you to offer the script yourself. Mr. Algar should therefore return the book to you. He is Cecil Parker's agent, Cecil Parker doesn't want the story, therefore his agent has no further business with it.' On learning that Algar may be interested in purchasing Greenwood's script on behalf of Cedric Hardwicke, he stresses 'that no one must offer to sell scripts on my behalf except my own agent [A. D. Peters]'. On 25 May 1950 he seeks to wind down the correspondence: 'As I never allow myself to hope anything about films, I am not disappointed when projects to do with them come to nothing. | No.…