Morte a Pemberley (Omnibus) (Italian Edition)

Mansfield Park was published by Egerton in May While Mansfield Park was ignored by reviewers, it was a great success with the public. All copies were sold within six months, and Austen's earnings on this novel were larger than for any of her other novels. Austen learned that the Prince Regent admired her novels and kept a set at each of his residences. In November , the Prince Regent's librarian invited Austen to visit the Prince's London residence and hinted Austen should dedicate the forthcoming Emma to the Prince. Though Austen disliked the Prince, she could scarcely refuse the request.

She later wrote Plan of a Novel, according to hints from various quarters, a satiric outline of the "perfect novel" based on the librarian's many suggestions for a future Austen novel. In mid, Austen moved her work from Egerton to John Murray, a better known London publisher,who published Emma in December and a second edition of Mansfield Park in February Emma sold well but the new edition of Mansfield Park did not, and this failure offset most of the profits Austen earned on Emma. These were the last of Austen's novels to be published during her lifetime.

While Murray prepared Emma for publication, Austen began to write a new novel she titled The Elliots, later published as Persuasion. She completed her first draft in July In addition, shortly after the publication of Emma, Henry Austen repurchased the copyright for Susan from Crosby. Austen was forced to postpone publishing either of these completed novels by family financial troubles.

Henry Austen's bank failed in March , depriving him of all of his assets, leaving him deeply in debt and losing Edward, James, and Frank Austen large sums. Henry and Frank could no longer afford the contributions they had made to support their mother and sisters. Illness and death Early in , Jane Austen began to feel unwell. She ignored her illness at first and continued to work and to participate in the usual round of family activities. By the middle of that year, her decline was unmistakable to Austen and to her family, and Austen's physical condition began a long, slow, and irregular deterioration culminating in her death the following year.

The majority of Austen biographers rely on Dr. Vincent Cope's tentative retrospective diagnosis and list her cause of death as Addison's disease. However, her final illness has also been described as Hodgkin's lymphoma. One contributing factor or cause of her death, discovered by Linda Robinson Walker and described in the Winter issue of Persuasions on-line, might be Brill-Zinsser disease, a recurrent form of typhus, which she had as a child.

Brill-Zinsser disease is to typhus as shingles is to chicken pox; when a victim of typhus endures stress, malnutrition or another infection, typhus can recur as Brill-Zinsser. She became dissatisfied with the ending of The Elliots and rewrote the final two chapters, finishing them on 6 August In January , Austen began work on a new novel she called The Brothers, later titled Sanditon upon its first publication in , and completed twelve chapters before stopping work in mid-March , probably because her illness prevented her from continuing.

Austen made light of her condition to others, describing it as "Bile" and rheumatism, but as her disease progressed she experienced increasing difficulty walking or finding the energy for other activities. By mid-April, Austen was confined to her bed. Austen died in Winchester on 18 July , at the age of Through his clerical connections, Henry arranged for his sister to be buried in the north aisle of the nave of Winchester Cathedral.

The epitaph composed by her brother James praises Austen's personal qualities, expresses hope for her salvation, mentions the "extraordinary endowments of her mind", but does not explicitly mention her achievements as a writer. Henry Austen contributed a Biographical Note which for the first time identified his sister as the author of the novels.

Tomalin describes it as "a loving and polished eulogy". Murray disposed of the remaining copies in , and Austen's novels remained out of print for twelve years. In , publisher Richard Bentley purchased the remaining copyrights to all of Austen's novels and, beginning in either December or January , published them in five illustrated volumes as part of his Standard Novels series.

In October , Bentley published the first collected edition of Austen's works. Since then, Austen's novels have been continuously in print. Although her novels quickly became fashionable among opinion-makers, such as Princess Charlotte Augusta, daughter of the Prince Regent, they received only a few published reviews.

Most of the reviews were short and on balance favourable, although superficial and cautious. They most often focused on the moral lessons of the novels. Sir Walter Scott, a leading novelist of the day, contributed one of them, anonymously. Using the review as a platform from which to defend the then disreputable genre of the novel, he praised Austen's realism. The other important early review of Austen's works was published by Richard Whately in He drew favourable comparisons between Austen and such acknowledged greats as Homer and Shakespeare, praising the dramatic qualities of her narrative.

Whately and Scott set the tone for almost all subsequent 19th-century Austen criticism. Nineteenth century Because Austen's novels failed to conform to Romantic and Victorian expectations that "powerful emotion authenticated by an egregious display of sound and colour in the writing", 19th-century critics and audiences generally preferred the works of Charles Dickens and George Eliot. Though Austen's novels were republished in Britain beginning in the s and remained steady sellers, they were not bestsellers. Austen had many admiring readers in the 19th century who considered themselves part of a literary elite: Philosopher and literary critic George Henry Lewes expressed this viewpoint in a series of enthusiastic articles published in the s and s.

This theme continued later in the century with novelist Henry James, who referred to Austen several times with approval and on one occasion ranked her with Shakespeare, Cervantes, and Henry Fielding as among "the fine painters of life". Author and critic Leslie Stephen described the popular mania that started to develop for Austen in the s as "Austenolatry".

Around the turn of the century, members of the literary elite reacted against the popularization of Austen. They referred to themselves as Janeites in order to distinguish themselves from the masses who did not properly understand her works. For example, James responded negatively to what he described as "a beguiled infatuation" with Austen, a rising tide of public interest that exceeded Austen's "intrinsic merit and interest".

During the last quarter of the 19th century, the first books of criticism on Austen were published. In fact, after the publication of the Memoir, more criticism was published on Austen in two years than had appeared in the previous fifty. Twentieth century and beyond Several important works paved the way for Austen's novels to become a focus of academic study.

The first important milestone was a essay by Oxford Shakespearean scholar A. Bradley, which is "generally regarded as the starting-point for the serious academic approach to Jane Austen". In it, he established the groupings of Austen's "early" and "late" novels, which are still used by scholars today. The second was R. Chapman's edition of Austen's collected works.

Not only was it the first scholarly edition of Austen's works, it was also the first scholarly edition of any English novelist. The Chapman text has remained the basis for all subsequent published editions of Austen's works. Lascelles's innovative work included an analysis of the books Jane Austen read and the effect of her reading on her work, an extended analysis of Austen's style, and her "narrative art". At the time, concern arose over the fact that academics were taking over Austen criticism and it was becoming increasingly esoteric In a spurt of revisionist views in the s, scholars approached Austen more sceptically and argued that she was a subversive writer.

These revisionist views, together with F. Leavis's and Ian Watt's pronouncement that Austen was one of the great writers of English fiction, did much to cement Austen's reputation amongst academics. They agreed that she "combined Henry Fielding's and Samuel Richardson's qualities of interiority and irony, realism and satire to form an author superior to both". The period since World War II has seen more scholarship on Austen using a diversity of critical approaches, including feminist theory, and perhaps most controversially, postcolonial theory.

However, the continuing disconnection between the popular appreciation of Austen, particularly by modern Janeites, and the academic appreciation of Austen has widened considerably. Sequels, prequels, and adaptations of almost every sort have been based on the novels of Jane Austen, from soft-core pornography to fantasy. Beginning in the middle of the nineteenth century, Austen family members published conclusions to her incomplete novels, and by there were over printed adaptations. BBC television dramatisations, which were first produced in the s, attempted to adhere meticulously to Austen's plots, characterisations, and settings.

Books and scripts that use the general storyline of Austen's novels but change or otherwise modernise the story also became popular at the end of the twentieth century. For example, Clueless , Amy Heckerling's updated version of Emma , which takes place in Beverly Hills, became a cultural phenomenon and spawned its own television series. Clifford The Beautifull Cassandra. The original is unsigned but was believed by the family to have been made by Cassandra and remained in the family with the one signed sketch by Cassandra until The original sketch, according to relatives who knew Jane Austen well, was not a good likeness.

These included the original versions of and revisions to the novels later published as Sense and Sensibility, Pride and Prejudice and Northanger Abbey, and a novel fragment, The Watsons. Oliver MacDonagh says that Sense and Sensibility "may well be the first English realistic novel" based on its detailed and accurate portrayal of what he calls "getting and spending" in an English gentry family. All of Jane Austen's novels except Pride and Prejudice were published "on commission", that is, at the author's financial risk.

When publishing on commission, publishers would advance the costs of publication, repay themselves as books were sold and then charge a commission for each book sold, paying the rest to the author. If a novel did not recover its costs through sales, the author was responsible for them.

Jane Austen's novels were published in larger editions than was normal for this period. The small size of the novel-reading public and the large costs associated with hand production particularly the cost of hand-made paper meant that most novels were published in editions of copies or less, in order to reduce the risks to the publisher and the novelist.

Even some of the most successful titles during this period were issued in editions of not more than or copies and later reprinted if demand continued. Austen's novels were published in larger editions, ranging from about copies of Sense and Sensibility to about 2, copies of Emma. It is not clear whether the decision to print more copies than usual of Jane Austen's novels was driven by the publishers or the author. Since all but one of Jane Austen's books were originally published "on commission", the risks of overproduction were largely hers or Cassandra's after her death and publishers may have been more willing to produce larger editions than was normal practice when their own funds were at risk.

Editions of popular works of non-fiction were often much larger. The Prince Regent's admiration was by no means reciprocated, however. In a letter of 16 February to her friend Martha Lloyd, Austen says referring to the Prince's wife, whom he treated notoriously badly "I hate her Husband".

Murray's Letter is come; he is a Rogue of course, but a civil one. Addison's disease was often a secondary effect of tuberculosis or cancer. Claire Tomalin prefers a diagnosis of a lymphoma such as Hodgkin's disease, arguing that Austen's known symptoms are more consistent with a lymphoma than with Addison's disease. There is at the front of the book a list of religions, the majority, apart from Judaism, Christianity and Islam are Eastern.

Plain card cover with white-collar titles to the front panel and backstrip. Illustrated dustwrapper with yellow and white coloured titles to the front panel and white coloured titles to the backstrip. Rubbing to the book edges with creasing to the top book corner. Creasing to the dustwrapper corners with heavy rubbing of the dustwrapper edges and either side of the backstrip. Signs of the removal of a sticker can be seen to the lower edge of the backstrip with rubbing of the panels. Signs of the removal of a sticker can be seen to the lower right-hand corner of the front fold over panel.

One Thing Leading to Another: Colour illustrated card cover with black coloured titles to the front panel and backstrip. This collection of stories, written over nearly 40 years, range from the wildly fanciful to the frankly autobiographical. Edges and pages browned. Only Revolutions Danielewski, Mark Z. Photographic laminated boards wraparound with white coloured titles to the backstrip. Photographic dustwrapper with white, purple and green coloured titles to the front panel and multicoloured titles to the backstrip. Colour photograph of the author on the front and rear fold over panels.

Told by Sam and Hailey, forever 16, who are trying to out race history, and who give up everything except each other. The book is told from both Sam and Hailey's perspective, and, the book publisher themselves suggest that the book is read in eight page allotments, each of the main characters perspective, in sequence. Minor softening to the lower backstrip edges with a little rubbing of the corners. Rubbing of the dustwrapper edges and panels with a hint of sunning to the backstrip. Open Heart Yehoshua, A.

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X, pages, last four pages blank. Illustrated dustwrapper with white and yellow titles to the front panel and white titles to the backstrip. Author photograph to the rear dustwrapper panel. A hint of rubbing and creasing to the top and bottom dustwrapper edges. Translated from the Ivrit by Dalya Bilu. Ivrit inscription on half title page. This is the first UK edition. Andrzej Borkowski -- Cover Art. Grey coloured boards with gilt coloured titles to the back strip. Bumping quite heavy to the head and to the heel of the spine and to all book corners.

Shelfwear to the lower book edges and there is browning to the top paper edge. On the top right-hand corner of the free front endpaper a remains of a sticker can be seen. Illustrated dustwrapper, by Andrzej Borkowski, with peach and white coloured titles to the front panel and spine. Dustwrapper is rubbed and faded and the back panel is quite grubby. Rubbing and chipping to the dustwrapper corners and to the head and to the heel of the spine. Some creases to the dustwrapper has also occurred. A first collection of nine stories by the author. VIII, pages, with original illustrated dust jacket.

I can find no faults worth listing. The author's mesmerising 11th novel reads like an old-fashioned ghost story. But there are no ghosts of this book -- only flesh and blood human beings, wandering through the haunted realms of everyday life. At once a meditation on the nature of time on a journey through the labyrinth of one man's imagination, Oracle Night is a narrative tour de force that confirms Auster's reputation as one of the boldest, most original writers at work in America today.

VIII, pages, last page blank, photographic illustrated dust jacket. A classic of reportage, Oranges was first conceived as a short magazine article about oranges and orange juice, but the author kept encountering so much irresistible information that he eventually found that he had in fact written a book. The price has been blacked out on the back panel stop Size: The book is a secondhand book with reading creases to the spine, and darkening of the page edges, and previous owner's name on the 1st page, but is otherwise clean, and free of annotation..

Plain text dust wrapper, with red and black background and yellow, white, grey and black writing on the front panel and red and yellow on the spine. The story of five children growing up in the American South during the s, s, and s. Bumping to the head of the book and there is shelfwear to both the top and bottom book edges. Browning and staining of the buckram spine and there is heavy dust marks and marking to the top paper edge. Hand cut front fore paper edge. Slight browning of the endpapers and original owner's name to the top edge of the free front endpaper.

A few marks internally. The dust wrapper is quite heavily rubbed, faded and the back panel is incredibly dirty.

Rubbing to the dust wrapper corners. The top dust wrapper edge is slightly chipped and creased and there is rubbing to the lower dust wrapper edge. Staining to the dust wrapper to the , top and bottom dust wrapper edges of the rear panel can been seen on the verso of the dust wrapper. There is a crease running the full-length the front fold over. The book and jacket show no damage. There are notes to the text collected at the rear of the book by the publisher of this collection of 17th century melodrama Size: Slight rubbing of the top and heel of the spine of the jacket.

Trace of foxing to the top edge of the pages, previous owner's name on first page. Age toning of the page edges, slight rubbing at the heel of the spine, very light foxing of the first couple of pages. Most of the stories of been translated from their native Spanish or Portuguese. Foreword by Isabel Allende. The book has an introduction by Philip Roth and and afterword by Windy Doniger. It was written in , and the novel is an elegant and unnerving examination of just how cold and destructive a thing love, "the origin of so much story and disorder," can be.

A very clean secondhand copy, with no damage.. It is Philip Roth's stinging and uproarious version of a national leadership speaking the sort of debased language that, according to George Orwell, is ' designed to make lies sound truthful and murder respectable, and to give an appearance of solidarity to pure wind ' " -- from the front fold over blurb. Seller's sticker on the rear panel, previous owner's name on the title page. Introduction by Jean Paul Sartre. IV, pages, last page blank.

A man, a middle-aged Englishman, finds himself recruited as a spy, and has little understanding about the espionage business. Through no fault of his own, but through the seriousness of others, he caused the death of more than one person. Which has unexpected consequences. Signs of handling, darkening of the page edges, and it looks as if paint was spilt on the front edge and then removed when dry.

Out of Mind Bernlef, J. In his powerful and compassionate novel about a loving elderly couple, the writer poses the question of how to carry on the face of the irreversible process of ageing. Richard Neville, former editor of "Oz" magazine and the author of "Hippie Hippie Shake", has been observing culture and counterculture for 30 years.

The man who was at the centre of the British youth movement in the s is now in his 50s, married and the father of two girls. While still a radical thinker and writer, his views have moved on. Neville remains a controversial social commentator, constantly coming up with unexpected angles on the zeitgeist. This book comprises the best of Neville, and includes articles and essays on everything from parenthood and pot-culture to art and vasectomy: There is no damage to describe.

Illustrated paperback binding with white and blue coloured titles to the front panel and white coloured titles to the black strip. Creasing of the book corners with reading creases to the back strip. Rubbing of the book edges and panels with uniform tanning of the text block edges and pages. Remnants of a sticker can be seen to the top right hand corner of the half title page. Chipping to the back strip corners. His daughter is left to try and reconcile the fragments of her life.

The previous owner has made notes on the 1st 2 blank pages of the book, referring to pages within the book, and the book is otherwise without annotation. A clean copy age toning of page edges. Black ink rubberstamp star at the bottom right of the first page, no other damage. This book is the first part of a livelier penetrating one-man survey into one of the major issues of our time: This book celebrates the Centenary of the founding of the first Lyceum club in London, and the Writers' Circle of the Lyceum club in Melbourne decided to mark the Centenary by producing a book in the same spirit of enterprise, energy and collaboration is that displayed by the club's founders.

Colorised photographic card cover with white titles to the front panel and black to the backstrip. The third in the Langton Quartet. For 23 years Diana, born Langton, has accepted her husband's immorality. This changes when she finds out about her husband's mistress and the agreeable dilettante returns into her life No other damage to note.

Internally clean and free of annotation. Previous owner's name on first page, and remnants of tape and damage from tape removal on the inside of front and rear covers. Colourised photographic card cover with black coloured titles to the front panel and backstrip. There is a triangular crease to the top left-hand corner of the rear panel. Colour illustrated card cover with white, purple and black coloured titles to the front panel and white and black coloured titles to the backstrip.

Minor creasing to the book corners and age toning of the textblock edges and internal text. Previous bookseller's sticker to the lower edge of the rear panel. A series of short stories about Joe Cassidy growing up in post-war Australia. Age toning of the textblock edges and internal text. Previous owner's name at the top of the 1st page, browning of the page edges, no other damage..

A swashbuckling adventure of cross pressing, and romance in the Army in Germany in Size: In this issue American writers describe their encounters abroad and how they were affected by then, while in reportage and fiction, outsiders to America come upon the strangeness of the place itself. Ageing of the page edges no other damage. Green coloured boards with white titles to the backstrip. Bumping to the backstrip corners and rubbing to the book corners.

Browning to the text block edges and to the internal text. Colour photographic dustwrapper with white titles to the front panel and back titles to the backstrip. Here two opposing cultures -- the rough-diamond, boozing, fiercely individualistic Bush folk and the teetotaller, church-going fundamentalists -- used to co-exist.

Until the arrival of the cult messiah Oyster. It won the Booker Prize that year. The story is about a year-old boy living in Barrytown, North Dublin, and the events that happen within his age group, school and home in around a very clean copy, aside from a small tear drop Splash mark top edge of the text block Size: This is illustrated volume contains collections from 25 of Cooper's novels, including the Pathfinder, the deer-slayer, the last of the Mohicans, and the spy, along with commentary by his daughter.

Trace of insect damage to the top edge of the rear board. This book transport fluff into the lives of a Muslim family in Cairo during Egypt's occupation by the British forces in the early s. VIII, pages, includes index, text illustrated with black-and-white photographs 32 pages. Translucent illustrated dust jacket laid over illustrated softcover binding.

The dustjacket has a couple of short splits around the top of the spine. But now, surprisingly, he has turned his wit and elegant storytelling gift to a candid memoir of the first 40 years of his life. Palimpsest is written from the vantage point of the Vidal's library in his villa on the Italian coast.

As visitors come and go, his memory ranges back and forth across a rich history. The book is a secondhand book with reading creases to the spine, and darkening of the page edges, but is otherwise clean, and free of annotation.. The dustjacket has a couple of short splits across the top edge. Aged toning of the page edges.

He spent his childhood in Washington DC, in the household of his grandfather, the blind senator from Oklahoma, T. Gore, and in the various domestic situations of his complicated and exasperating mother, Nina. Then come schooldays at St Albans and Exeter; the army; life as a literary wunderkind in New York, London, Rome and Paris in the '40s and '50s; sex in an age of promiscuity; and a campaign for Congress in Binding is tight, covers and spine fully intact, but spine is faded.. Edges and internal pages are brown..

Nicholas Jose's bestselling novel. Richly evocative of postwar Australian life, Paper Nautilus subtly illuminates the complexities of ordinary people and the surprising powers of the human spirit. A very clean copy with no damage to describe apart from age-toning of the top edge of the pages. Previous bookseller's sticker on rear panel.. Translated from the original German by Christopher Middleton Size: Photographic card cover with white and green coloured titles to the front panel and white coloured titles to the backstrip.

Rubbing to the book edges and panels with browning of the text block edges and pages. Two black stripes to the top textblock edge. John Mortimer recounts the delightful and darstedly goings on in Rapstone Fanner, recreating a wickedly funny, totally absorbing portrait of British life from the austerity of World War II to the dubious prosperity of the 80s.

This social comedy has been adapted by the author into an 11 part series for masterpiece Theatre the book has been well read, and has reading creases on the spine, and is slightly cocked. Previous owner's name on the 1st page. Edges and internal pages are lightly age toned. Previous bookseller's sticker to the rear panel. Creases to the book corners. Stain to the lower right-hand corner of the front panel.. Colour illustrated card cover with black coloured titles to the front panel and black and blue coloured titles to the backstrip. Creasing to the book corners.

Light browning of the textblock edges and internal pages. Previous bookshop's sticker to the lower book edge. A novel of vastly different people's lives, who have lived in parallel and at a distance, converged suddenly and explosively. Good Condition Remainder Price: A collection of short stories on the themes of solitude and strategies to relieve the same. It does not look as if it has been handled, there is no damage to describe. Colour illustrated card cover with gray coloured titles to the front panel and backstrip.

The book has French flaps. Rubbing to the book edges and panels with fading to the backstrip. Sunning to the rear book panel. The dust jacket has no damage, age toning of the page edges, and slight over opening of the pages at the title page stop free of annotations. Blue coloured boards with silver coloured titles to the back strip.

Plain text dustwrapper with light and dark blue, white coloured titles to the front panel and light and dark blue coloured titles to the back strip. A foetus who has his own fiercely independent personality while having access to his mothers consciousness. He watches his parents marriage disintegrate, his mother being manoeuvred into a mental institution, her rescue and eventual fleeing to Australia, whereupon the passenger is born.

Softening and fading to the back strip, with fading to the top book edge and rubbing of the book corners. A little rubbing of the dustwrapper edges and panels. A collection of 20 stories, the work of an old man in supreme control of his craft. XX, pages, in photographic illustrated paperback binding, slightly bumped at the heel of the spine, with bookseller's sticker on the rear panel.

No other damage to describe.. VIII, pages, including statement "this book was published on September 30, in a limited edition of hard backs. Photographic illustrated dust jacket is complemented with 16 pages of black-and-white photography. There is also a check list of Patrick White's works, and notes on contributors. The front panel of the dust jacket has two bits of tobacco? Photographic illustrated cover is complemented with 16 pages of black-and-white photography.

At the beginning of the text and at the rear of the text are two pages of facsimile reproduction of a letter from Patrick White. Black-and-white illustrated frontispiece, of Patrick White by Spooner. Colour illustrated card cover, of Patrick White, with apricot and white coloured titles to the front panel and backstrip. A selection of Patrick White's letters.

As the editor has said in his note, page IX, " Occasionally I have given other version of events, reported dissenting views and corrected facts, but I have not tried to adjudicate all the rows or balance every one of White's sharp but sometimes partial judgement. My aim in editing the letters is to allow the man to speak, as much as possible, for himself. A Note On the Book, acknowledgements, abbreviations, editions of White's work, the letters, notes, picture credits and index.

At the beginning of the text there is a family tree and within the text there are two inserts, of 16 pages each, of black and white photography and there are two maps within the text. Colour illustrated card cover with black, blue and orange coloured titles to the front panel and backstrip. The title says it all. Signed by the author on the title page. Minor creasing to the book corners and rubbing to the book edges and panels.

Light age toning of the textblock edges and pages. The book and binding show no sign of damage. A poignant, vivid novel with credible insights into the hardship and struggle of people set against a background of wartime Auckland This is the first Penguin edition. Black-and-white illustrated frontispiece of author. Illustrated card cover with dark brown coloured titles to the front panel and lighter brown coloured titles to the backstrip.

First published in the late 19th century, and this being the second edition of the translator's translation of the work. The tragic and doomed love of Paul and Virginie, when their ship that they were travelling in founded off the coast of Mauritius, or as it was known then The Isle de France. Light browning of the text block edges. Gift in description to the verso of the front panel.

The text is illustrated with copious black and white photography and illustrations. Colour photographic card cover with black coloured titles to the front panel and backstrip. Creasing to the book corners and rubbing to the book edges and book panels. Some sunning to the book panels and textblock edges. Previous owners name to the top right-hand corner of the title page. An anthology of modern American poets from the s.

The text is illustrated with black-and-white illustrations by Louise Brierley. Blue coloured boards with white writing on the spine. A few dust marks to the top book edge and slight browning to the paper edges. Coloured illustrated dust wrapper wraparound , again by Louise Brierley, with white writing on the front panel and spine. Some browning to the top edges of the fold over the panels and fading to the spine.

The Chimes Dickens, Charles, A. The text is illustrated with approximately 30 black-and-white illustrations by Charles Green. At the beginning and at the end of the book there are advertisements for Pears Soap Company. Blue coloured cloth covered boards with black coloured embossed decoration to the front edge, gilt embossed coloured titles to the front panel and back strip and with a small cameo of "Bubbles" to the front panel. Softening of the back strip edges with some fraying to the top back strip corners.

Bumping of the book corners with rubbing to the lower book edges and to the rear panel. Rubbing to either side of the back strip and agent of sunning to the same panel. Some flecking to the front panel. Scattered foxing to the text block edges, particularly the top edge. Foxing to the first few and last few pages of the book. There is a small stains to the top right hand corner of the title page.

The text is illustrated with hundred illustrations by True Williams. Colour illustrated paperback binding with black and white coloured titles to the front panel and back strip. This is an omnibus edition of the two volumes that was printed in The adventures, or perhaps misadventures, of the two characters of the title. Minor creasing of the book corners with rubbing of the book edges and panels. Sunning to the back strip with sunning also present to the rear panel. Age toning of the text block edges.

Original bookseller's sticker to the top right hand corner of the front panel. Illustrated endpapers, showing a charcoal rendering of "Pemberley". Tan coloured boards with gilt coloured titles to the backstrip. Green faux silk place marker with a hint of fraying at the end. Colour illustrated dustwrapper with gilt and black coloured titles to the front panel and backstrip.

Previous owner's name on first page, no other damage. Index of first lines, list of illustrations and index of authors and illustrators. The text is illustrated with black and white woodcuts from artists from the 'Art Club', and at the rear of the book is a tipped in photograph. Plain coloured paperback binding with white insert to the front panel and within that white insert blue coloured titles. As the title would suggest a series of prose and verse written by The Frensham Pen and Ink Club, from to Rubbing of the edges and panels with the aforementioned sunning to the back strip, either side of the back strip and to the book panel edges.

Uniform tanning of the text block edges with foxing present. Offset tanning to the endpages with age toning of the pages. Browning to the textblock edges and internal pages. In a pompous and cruel Nazi Colonel wishes to occupy a vacant chair in the Brazilian Academy of Letters. The Chair had become vacant on the death of the poet Antonio Bruno, and it becomes obvious that an audacious plan is needed to stop this travesty. Two ageing academics and former lovers of the poet put such a plan together. Penguin Modern European Poets: Plain text card cover with black and red coloured titles to the front panel and backstrip.

Creasing to the book corners, rubbing to the book edges and book panels. Browning to the textbook edges and internal text.

Fading to the backstrip. A selection of poetry from the Russian poet Yevgeny Yevtushenko. Fading to the backstrip and the signs of removal of a sticker can be seen to the lower edge of the rear panel. Black, Peter Redgrove and D. Plain text card cover with white coloured titles to the front panel and backstrip. Creasing to the book corners, heavy rubbing to the book edges and book panels. Previous owners name to the verso of the front panel. Penguin Modern Poets Series, number 11, D. Plain text card cover with white and gold coloured titles to the front panel and backstrip.

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Missing the free front end paper. The remains of tape can be seen to the verso of the covers. Free front end paper is missing. Previous owner's name to the free front end paper. Plain text card cover with white and green coloured titles to the front panel and backstrip. Reading creases to the backstrip. Plain text card cover with white and purple coloured titles to the front panel and backstrip. Tape marks to the verso of the card covers and endpapers along with some running to the card covers.

Previous owners name to the top right-hand corner of the free front end paper. Previous owners details to the verso of the front panel. Previous bookseller's sticker to the rear book panel. Small piece has been cut from the top right-hand corner of the half title page.

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Plain text card cover with white and orange coloured titles to the front panel and backstrip. Previous owner's details to the top right-hand corner of the half title page. Previous owner's details to the top right-hand corner of the half title page and remains of tape to the endpapers. Plain text card cover with white and yellow coloured titles to the front panel and backstrip.

A piece has been cut from the top right-hand corner of the half title page. Previous owners name to the top right-hand corner of the half title page and original bookseller's rubber stamp to the lower right-hand corner of the same page. Previous owners name to the top right-hand corner of the half title page. New Stories, Poems etc. Publisher's note and list of contributors. The text is illustrated with small black and white drawings. Orange coloured paperback binding with black coloured titles to the front panel and back strip.

Plain text dustwrapper with black coloured titles to the front panel and back strip. Title says it all. Chipping to the back strip edges with a little rubbing of the book edges and panels. Uniform tanning of the text block edges with very scattered foxing. Age toning of the pages with previous owners name to the top edge of the half title page. Chipping to the dustwrapper corners and back strip edges. Heavy rubbing of the dustwrapper creases with sunning of the back strip. Lighter rubbing of the dustwrapper panels with Browning and a few foxing spots to the verso.

Some splits along the fold over creases. Chipping of the back strip edges with a little creasing of the book corners. Some scattered foxing to the text block edges. Chipping of the top back strip edge and to the book corners. In fact the dust wrapper is slightly smaller than the book it's covering. Rubbing of the edges and panels of the dust wrapper with sunning of the back strip. A little tanning of the verso. Blue coloured paperback binding with black coloured titles to the front panel and back strip. Chipping to the back strip corners with rubbing of the panels and edges.

Some signing to the book panels. Previous owners name to the top edge of the free front endpages. Chipping of the dustwrapper corners and back strip edges. Very noticeable rubbing of the creases of the dustwrapper and sunning of the back strip. The rear fold over panel has almost come away from the rest of the dustwrapper, and, there is a large triangular crease also present. Nasty stain to the lower edge of the front panel. The editor says and list of contributors. The text is illustrated with small black and white drawings by Victor Clarke, Raymond Watkinson and J.

Green coloured paperback binding with black coloured titles to the front panel and back strip. A little chipping to the back strip edges and creasing of the corners. Light rubbing of the book panels with heavy tanning of the text block edges and lighter tanning of the pages. Chipping of the dustwrapper corners and there are pieces missing from the back strip edges. The rear panel fold over is missing. Rubbing to the fold over edges and back strip edges with splits and chipping noted.

Sunning of the back strip with previous owners name to the top edge of the front panel. Purple coloured paperback binding with black coloured titles to the front panel and back strip. Chipping to the lower back strip edge with creasing of the book corners and rubbing of the book edges and panels. Sunning to the back strip with lighter sunning to the book panels. Previous owners name can be seen, in pencil, to the top edge of the front panel and title page. Uniform tanning of the text block edges and pages.

Red coloured paperback binding with black coloured titles to the front panel and back strip. The text is illustrated with a section of eight pages of photographs. Plain text dust wrapper with black coloured titles to the front panel and back strip. Chipping to the lower back strip edge and fading to both edges. Rubbing of the book edges and panels with uniform tanning of the text box edges and lighter tanning of the pages. Foxing to the top text block edge. Heavy rubbing of the fold over creases and either side of the back strip, in fact crease has a split of 6 inches.

Signing of the back strip with numerous small tears to the top dust wrapper edge. Previous owners name to the top edge of the front panel, in a red coloured pencil. Foxing to the verso. Second Series Number 1 Morpurgo, J. Foreword by editor and acknowledgements. Pojman, Classics of Philosophy [[[by]]] Louis P. SandraArdnas combined Orderly Chaos: Penguin Classics Deluxe Edition [[[by]]] Vatsyayana see work. Lee, Junior Achievement [[[by]]] William M. Ballard, Say Goodbye to the Wind [short story] [[[by]]] J. The Will to Prevail [[[by]]] Danny Danon see work.

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