2000, ISBN: 9780871136107

Edição encadernada

New York:: V.G. Audubon,, 1849-54.. First Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo (10.5 x 7 inches). Drawn… mais…

New York:: V.G. Audubon,, 1849-54.. First Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo (10.5 x 7 inches). Drawn from nature by John Audubon, drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. Accompanied by the original text written by the Reverend John Bachman, DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment, was a collaborative effort between the premier nineteenth century American Ornithologist, Naturalist, Artist and Frontiersman, John James Audubon (1785-1851), his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental, the journey is recognized in the pathos of the compositions. However, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors, artists and artisans of which are our own citizens, the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000). Sabin 2368. Wood 208. Matted in Ivory Rag Board, 12 x 16 inches., V.G. Audubon, 1849-54., 5, New York:: V.G. Audubon,, 1856.. Second Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo (10.5 x 7 inches). Drawn from nature by John Audubon, drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. Accompanied by the original text written by the Reverend John Bachman, DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment, was a collaborative effort between the premier nineteenth century American Ornithologist, Naturalist, Artist and Frontiersman, John James Audubon (1785-1851), his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental, the journey is recognized in the pathos of the compositions. However, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors, artists and artisans of which are our own citizens, the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000). Sabin 2368. Wood 208. Matted in Ivory Rag Board, 12 x 16 inches., V.G. Audubon, 1856., 5, New York:: V.G. Audubon,, 1849-54.. First Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo (10.5 x 7 inches). Drawn from nature by J. J. Audubon, FRS,FLS; drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. Accompanied by the original text written by the Reverend John Bachman, DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment, was a collaborative effort between the premier nineteenth century American Ornithologist, Naturalist, Artist and Frontiersman, John James Audubon (1785-1851), his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental, the journey is recognized in the pathos of the compositions. However, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors, artists and artisans of which are our own citizens, the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000). Sabin 2368. Wood 208. Matted in Ivory Rag Board, 12 x 16 inches., V.G. Audubon, 1849-54., 5, New York:: V.G. Audubon,, 1849-54.. First Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo (10.5 x 7 inches). Drawn from nature by John Audubon, drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. Accompanied by the original text written by the Reverend John Bachman, DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment, was a collaborative effort between the premier nineteenth century American Ornithologist, Naturalist, Artist and Frontiersman, John James Audubon (1785-1851), his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental, the journey is recognized in the pathos of the compositions. However, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors, artists and artisans of which are our own citizens, the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000). Sabin 2368. Wood 208. Matted in Ivory Rag Board, 12 x 16 inches., V.G. Audubon, 1849-54., 5, New York:: V.G. Audubon,, 1849-54.. First Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo (10.5 x 7 inches). Drawn from nature by John Audubon, drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. Accompanied by the original text written by the Reverend John Bachman, DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment, was a collaborative effort between the premier nineteenth century American Ornithologist, Naturalist, Artist and Frontiersman, John James Audubon (1785-1851), his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental, the journey is recognized in the pathos of the compositions. However, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors, artists and artisans of which are our own citizens, the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000). Sabin 2368. Wood 208. Matted in Ivory Rag Board, 12 x 16 inches., V.G. Audubon, 1849-54., 5, New York:: V.G. Audubon,, 1849-54.. First Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo (10.5 x 7 inches). Drawn from nature by J. J. Audubon, FRS, FLS; drawn on stone by Wm E. Hitchcock. Lithographed, printed and colored by JT Bowen, Philadelphia. Accompanied by the original text written by the Reverend John Bachman, DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment, was a collaborative effort between the premier nineteenth century American Ornithologist, Naturalist, Artist and Frontiersman, John James Audubon (1785-1851), his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental, the journey is recognized in the pathos of the compositions. However, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors, artists and artisans of which are our own citizens, the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000). Sabin 2368. Wood 208. Matted in Ivory Rag Board, 12 x 16 inches., V.G. Audubon, 1849-54., 5, New York:: V.G. Audubon,, 1849-54.. First Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo (10.5 x 7 inches). Drawn from nature by John Audubon, drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. Accompanied by the original text written by the Reverend John Bachman, DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment, was a collaborative effort between the premier nineteenth century American Ornithologist, Naturalist, Artist and Frontiersman, John James Audubon (1785-1851), his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental, the journey is recognized in the pathos of the compositions. However, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors, artists and artisans of which are our own citizens, the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000). Sabin 2368. Wood 208. Matted in Ivory Rag Board, 12 x 16 inches., V.G. Audubon, 1849-54., 5, New York:: V.G. Audubon,, 1849-54.. First Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo (10.5 x 7 inches). Drawn from nature by John Audubon, drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. Accompanied by the original text written by the Reverend John Bachman, DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment, was a collaborative effort between the premier nineteenth century American Ornithologist, Naturalist, Artist and Frontiersman, John James Audubon (1785-1851), his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental, the journey is recognized in the pathos of the compositions. However, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors, artists and artisans of which are our own citizens, the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000). Sabin 2368. Wood 208. Matted in Ivory Rag Board, 12 x 16 inches., V.G. Audubon, 1849-54., 5, New York:: V.G. Audubon,, 1849-54.. First Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo (10.5 x 7 inches). Drawn from nature by John Audubon, drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. Accompanied by the original text written by the Reverend John Bachman, DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment, was a collaborative effort between the premier nineteenth century American Ornithologist, Naturalist, Artist and Frontiersman, John James Audubon (1785-1851), his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental, the journey is recognized in the pathos of the compositions. However, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors, artists and artisans of which are our own citizens, the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000). Sabin 2368. Wood 208. Matted in Ivory Rag Board, 12 x 16 inches., V.G. Audubon, 1849-54., 5, New York:: V.G. Audubon,, 1856.. Second Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo (10.5 x 7 inches). Drawn from nature by John Audubon, drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. Accompanied by the original text written by the Reverend John Bachman, DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment, was a collaborative effort between the premier nineteenth century American Ornithologist, Naturalist, Artist and Frontiersman, John James Audubon (1785-1851), his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental, the journey is recognized in the pathos of the compositions. However, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors, artists and artisans of which are our own citizens, the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000). Sabin 2368. Wood 208. Matted in Ivory Rag Board, 12 x 16 inches., V.G. Audubon, 1856., 5, New York:: V.G. Audubon,, 1849-54.. First Royal Octavo Edition. Fine condition with original hand-coloring . A fine original hand-colored lithograph on paper. Royal Octavo (10.5 x 7 inches). Drawn from nature by John J. Audubon, FRS, FLS; drawn on stone by R. Trembly. Printed and colored by Nagel & Weingærtner. Accompanied by the original text written by the Reverend John Bachman, DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment, was a collaborative effort between the premier nineteenth century American Ornithologist, Naturalist, Artist and Frontiersman, John James Audubon (1785-1851), his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental, the journey is recognized in the pathos of the compositions. However, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors, artists and artisans of which are our own citizens, the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000). Sabin 2368. Wood 208. Matted in Ivory Rag Board, 12 x 16 inches., V.G. Audubon, 1849-54., 5, New York:: V.G. Audubon,, 1849-54.. First Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo (10.5 x 7 inches). Drawn from nature by John Audubon, drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. Accompanied by the original text written by the Reverend John Bachman, DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment, was a collaborative effort between the premier nineteenth century American Ornithologist, Naturalist, Artist and Frontiersman, John James Audubon (1785-1851), his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental, the journey is recognized in the pathos of the compositions. However, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors, artists and artisans of which are our own citizens, the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000). Sabin 2368. Wood 208. Matted in Ivory Rag Board, 12 x 16 inches., V.G. Audubon, 1849-54., 5, New York:: V.G. Audubon,, 1849-54.. First Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo (10.5 x 7 inches). Drawn from nature by J. J. Audubon, FRS, FLS; drawn on stone by W[illiam] E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. Accompanied by the original text written by the Reverend John Bachman, DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment, was a collaborative effort between the premier nineteenth century American Ornithologist, Naturalist, Artist and Frontiersman, John James Audubon (1785-1851), his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental, the journey is recognized in the pathos of the compositions. However, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors, artists and artisans of which are our own citizens, the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000). Sabin 2368. Wood 208. Matted in Ivory Rag Board, 12 x 16 inches., V.G. Audubon, 1849-54., 5, New York:: V.G. Audubon,, 1849-54.. First Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo (10.5 x 7 inches). Drawn from nature by J. J. Audubon, FRS,FLS; drawn on stone by Wm E. Hitchcock. Printed and colored by JT Bowen, Philadelphia. Accompanied by the original text written by the Reverend John Bachman, DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment, was a collaborative effort between the premier nineteenth century American Ornithologist, Naturalist, Artist and Frontiersman, John James Audubon (1785-1851), his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental, the journey is recognized in the pathos of the compositions. However, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors, artists and artisans of which are our own citizens, the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000). Sabin 2368. Wood 208. Matted in Ivory Rag Board, 12 x 16 inches., V.G. Audubon, 1849-54., 5, New York:: V.G. Audubon,, 1856.. Second Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo (10.5 x 7 inches). Drawn from nature by John Audubon, drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. Accompanied by the original text written by the Reverend John Bachman, DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment, was a collaborative effort between the premier nineteenth century American Ornithologist, Naturalist, Artist and Frontiersman, John James Audubon (1785-1851), his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental, the journey is recognized in the pathos of the compositions. However, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors, artists and artisans of which are our own citizens, the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000). Sabin 2368. Wood 208. Matted in Ivory Rag Board, 12 x 16 inches., V.G. Audubon, 1856., 5, New York:: V.G. Audubon,, 1849-54.. First Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo (10.5 x 7 inches). Drawn from nature by John Audubon, drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. Accompanied by the original text written by the Reverend John Bachman, DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment, was a collaborative effort between the premier nineteenth century American Ornithologist, Naturalist, Artist and Frontiersman, John James Audubon (1785-1851), his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental, the journey is recognized in the pathos of the compositions. However, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors, artists and artisans of which are our own citizens, the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000). Sabin 2368. Wood 208. Matted in Ivory Rag Board, 12 x 16 inches., V.G. Audubon, 1849-54., 5, New York:: V.G. Audubon,, 1849-54.. First Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo (10.5 x 7 inches). Drawn from nature by J.J. Audubon, FRS, FLS; drawn on stone by Wm E. Hitchcock. Lithographed, printed and colored by JT Bowen, Philadelphia. Accompanied by the original text written by the Reverend John Bachman, DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment, was a collaborative effort between the premier nineteenth century American Ornithologist, Naturalist, Artist and Frontiersman, John James Audubon (1785-1851), his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental, the journey is recognized in the pathos of the compositions. However, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors, artists and artisans of which are our own citizens, the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000). Sabin 2368. Wood 208. Matted in Ivory Rag Board, 12 x 16 inches., V.G. Audubon, 1849-54., 5, New York:: V.G. Audubon,, 1849-54.. First Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo (10.5 x 7 inches). Drawn from nature by John Audubon, drawn on stone by William E. Hitchcock and lithographed, printed and colored by JT Bowen, Philadelphia. Accompanied by the original text written by the Reverend John Bachman, DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment, was a collaborative effort between the premier nineteenth century American Ornithologist, Naturalist, Artist and Frontiersman, John James Audubon (1785-1851), his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental, the journey is recognized in the pathos of the compositions. However, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors, artists and artisans of which are our own citizens, the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000). Sabin 2368. Wood 208. Matted in Ivory Rag Board, 12 x 16 inches., V.G. Audubon, 1849-54., 5, New York:: V.G. Audubon,, 1849-54.. First Royal Octavo Edition. Fine with original hand-coloring. A fine original hand-colored lithograph on paper. Royal Octavo (10.5 x 7 inches). Drawn from nature by J.J. Audubon, FRS, FLS; drawn on stone by R. Trembly and lithographed, printed and colored by JT Bowen, Philadelphia. Accompanied by the original text written by the Reverend John Bachman, DD. The Quadrupeds of North America; portrayals of 155 four-legged mammals native to North America depicted in their natural environment, was a collaborative effort between the premier nineteenth century American Ornithologist, Naturalist, Artist and Frontiersman, John James Audubon (1785-1851), his sons John Woodhouse Audubon and Victor Gifford Audubon and the naturalist Reverend John Bachman. The four men were unified in their desire to document and portray what they recognized as a dwindling resource; America's native animals amidst the natural beauty of the untouched American landscape. Their collective wisdom predicted the impending effects of Manifest Destiny- man's encroachment on the wilderness and natural landscape of North America- and as such was the impetus for the journey. To document and then portray America's native animals in the splendor and majesty of the uninhabited North American landscape, the team traveled westward from Audubon's home in Mill Grove, Pennsylvania up the Missouri River and through territory just previously explored by Lewis and Clark; from the Canadian border of the Northern Russian Territories- now Alaska- then southward to Mexico. Arduous and monumental, the journey is recognized in the pathos of the compositions. However, the true legacy of the work rests on John James Audubon's prolific vision and mastery of his subject and medium. Heretofore unseen, The Quadrupeds of North American is a wildlife classic: an essential and timeless contribution to both Early American culture and the Art of American Wildlife Painting. The American Review, a Whig journal, heralded the national origin of the Quadrupeds: "We have at last have a Great National Work; originated and completed among us- authors, artists and artisans of which are our own citizens, the Bible of Nature!" (John James Audubon in the West. New York: Henry H. Abrams, 2000). Sabin 2368. Wood 208. Matted in Ivory Rag Board, 12 x 16 inches., V.G. Audubon, 1849-54., 5, New York: The Atlantic Monthly Press, 1995. First Edition [Stated], First Printing [Stated]. Hardcover. Very good/Very good. Michele McDonald (author photography). x, [6], 232, [8] pages. Signed by the author on the title page. The chapters are: Red Sky at Night; Red Sky at Morning; Ransom, Passing; Baby, Leaving; The Choosing of Little Jewel; and The Salvation of Cora Emery McRae. Myra Dell McLarey was born on September 5, 1942, in Okay, Arkansas. McLarey earned a bachelor's degree in history from Southern State College in Magnolia in 1964 and a master's degree in history from Central Missouri State in Warrensburg in 1965. She later studied at the Breadloaf School of English at Middlebury College in Middlebury, Vermont, and did doctoral work in African-American history and the history of the West at the University of Arkansas (UA) in Fayetteville before completing course work for a doctorate in education at the Harvard Graduate School of Education in 1995. McLarey served on the faculty of the Tennessee Governor's Academy for Writing Teachers (1987-1995) and taught writing at Harvard (1991-2000). She has also taught at Emerson University, the University of New Hampshire, and the New England Conservatory of Music. She has served on the faculty of the Institute for Writing and Thinking at Bard College. McLarey is the co-author of Moncrief, My Journey to the NBA, written with Arkansas basketball legend Sidney Moncrief. Her novel, The Road to Eden's Ridge, was co-authored with Linda Weeks under the pen name M. L. Rose. Her novel, The Last Will and Testament of Rosetta Sugars Tramble, was nominated for the Lillian Smith Book Award, given to recognize books on issues of racial and social justice. McLarey's Water from the Well has been described as a work of "place" and brings to life the characters, locations, and memories of southwest Arkansas through a century's worth of short tales that explore a rural community divided by race. Water from the Well was a finalist for the Lillian Smith Award, which "honors those authors who, through their writing, carry on [Lillian] Smith's legacy of elucidating the condition of racial and social inequity and proposing a vision of justice and human understanding." Spanning over a century of history as rich as the Delta's many-hued soil, and in language vivid with imagery, humor, idiom,and suggestion, the intertwined stories of the novel have a brilliant dramatic and moral inevitability; the secret rape of a young black woman named Baby and the even more secret murder of her rapist; the abiding rage of former slave Ransom Tramble; the displacement of the Yankee woman Cora Emery McRae; the passions of Sheriff David Ben Sugars; the magical power of the beautiful Delie Turner; the mystical, green-eyed vision of Delie's grandmother, Rebekah Sarah; and the strength anguish, desire, courage. and mystery of Samuel Daniel McElroy, the grandson of slaves. Powerful, transporting, filled with color, light, and character, Myra McLarey's consummately rendered novel speaks to us eloquently about a time and a place that are all but lost. In her accomplished hands, the voices from that world come alive again to tell us what we still need to know about America, and about ourselves. Derived from a Publishers Weekly article: Boston-based writer McLarey proves that you can go home again in this lyrical first novel set in her native southwest Arkansas. Segueing back and forth in time from 1905 to 1972, she uses brief episodes to illuminate the multifarious incidents that form the web of local history: a baseball game between black and white men; a tornado that destroys some homes and lives while capriciously sparing others; a sheriff's passion for a woman with flaming hair; an old black woman's revenge for the rape of her great-granddaughter; a Maine woman who travels to Sugars Spring to make good on her grandfather's Civil War promise. With their often double first names, the welter of characters who people the side-by-side and inextricably intertwined rural communities of Sugars Spring (white) and Bethel (``colored'') are at first hard to untangle. But the singsong descriptions help to keep everyone sorted out, as well as give the narrative the incantatory cadence of an oft-recited epic. A fine read for those who enjoy being immersed in a rich torrent of language., The Atlantic Monthly Press, 1995, 3<

2010, ISBN: 9780871136107

Livro de bolso, Edição encadernada

Philadelphia, Gratz College. 1971. Hardcover. FEST2, FEST2, HEB2, CDS, bible2, amr4, rab8, music1 . Original Publisher’s Cloth. 8vo. X, 284, xxvi pages. Final Section in Hebrew. &qu… mais…

Philadelphia, Gratz College. 1971. Hardcover. FEST2, FEST2, HEB2, CDS, bible2, amr4, rab8, music1 . Original Publisher’s Cloth. 8vo. X, 284, xxvi pages. Final Section in Hebrew. "Gratz College is the oldest independent college of Jewish studies in North America." (EJ) CONTENTS: "A Community's Involvement in Jewish Education," Mitchell E. panzer, "Problems of Pronunciation in Hebrew," William Chomsky, "A Note on Disinterment in Jeremiah," Morton Cogan, "Being Jewish: An Approach to Conceptualization and Operationalization," Arnold Dashefsky, "The Ancestral Heritage of the Gratz Family," Sidney M. Fish, "The Ransom clause of the Jewsih Marriage Contract," Mordechai A. friedman, "Some Aspects of the Development of Ivrit BeIvrit in America," Elazar Goelman, "Side Lights on Jewsih Education from the cairo Geniza," S.D. Goitein, "Vergil and the Bible World," Cyrus H. Gordon, "Bishop to Bishop 1," Solomon Grayzel, "Jewish Education in America-1971: An Analysis," Daniel Isaacman, "Kes and Its Fate: Laments, Blessings, Omens, "Samuel Noah Kramer," "Option for Survival," Samuel Kurland, "Midrash Hillel and Merkavah Mysticism, Samuel Tobias Lachs, "The First Yiddish Language Conference," Isadore David Passow, "Rapoport's Contribution to Jewish Historiography, " Samuel Pitnik, "Seventy-Five Years in Jewish Music, " Claire Polin Schaff, "The restoration of Fragmentary Aramaic Marriage Contracts, " Bezalel Porten, "Inversions in Rashi's Commentary, " Esra Shereshevsky, "Rabbinic Homilies and Cognate Languages, " Nahum M. Waldman, Financial Arrangements for a Widow in a Cairo Geniza, " Gershon Weiss and three articles in Hebrew. Very good condition. (FEST1-9) ., Philadelphia, Gratz College, 1971, 0, New York: David Mccay. 1962. Cloth. holo13, inbt ae , 208-210 . 8vo; 312 pages; Inscribed by Hirschmann. Includes 6-page index Hirschmann was a trustee of the New School for Social Research, a member of La Guardia's "kitchen cabinet, " worked for the UNRRA, and, remarkabley, the first person ever to offer FM music ot the public (over WABF-FM) . More importantly, Hirschmann was sent by Roosevelt on a secret mission to Turkeyto negotiate with Eichmann's agents for the rescue of Jewish children. "In one instance, he traded four Americna visas for the lives of 100, 000 Roumanian Jews and on another occation he arrangged with Apostolic DelegateAngelo Roncalli, now Pope John XXIII, for the exodus of thousands of Jews from Hungary. " Hirschmann's memoirs includes these reminiscences, as well as material on Tito, Nasser, Toscanini, and Justices Brandeis & Frakfurter. Ex-library with usual markings. Very Good Condition. (HOLO2-129-2) ., David Mccay, 1962, 0, New York: Broadway Play Publishing Inc, 2000. Reprint. Second printing, 2003. Trade paperback. Very good. [10], 79, [7] p. Signed by Austin [Tichenor] and Matt [Rippy] The Reduced Shakespeare Company is a three-man comedy troupe that takes long, serious subjects and reduces them to short, sharp comedies. The Bad Boys of Abridgement have created seven stage shows, two television specials, several failed TV pilots, and numerous radio pieces all of which have been performed, seen, and heard the world over. Since its 1981 origins as a pass-the-hat act in California, the Reduced Shakespeare Company has created seven stage shows, two television specials, several failed TV pilots, and numerous radio pieces all of which have been performed, seen, and heard the world over. The company s itinerary has included stops at the White House, the Kennedy Center, Lincoln Center, London s West End, Seattle Repertory Theatre, American Repertory Theatre and Montreal s Just For Laughs Festival, as well as performances in Israel, Australia, New Zealand, Hong Kong, Japan, Malta, Belgium, The Netherlands, Singapore and Bermuda plus countless civic and university venues throughout the USA, Great Britain and Ireland. The company s first three shows, The Complete Works of William Shakespeare (abridged), The Complete History of America (abridged) and The Bible: The Complete Word of God (abridged) ran for nine years at the Criterion Theatre in Piccadilly Circus. They were London s longest-running comedies, and the RSC had more shows running in the West End than Andrew Lloyd Webber. They were also funnier. The Bad Boys of Abridgment unveiled a brand-new show in 2010: The Complete World of Sports (abridged), which reduces every sport ever played on every continent in the entire history of the world. It s got balls. They also condensed literature into a 90-minute roller-coaster ride in All The Great Books (abridged), which has played to great acclaim at the Kennedy Center, Pittsburgh Public Theatre, San Diego Repertory Theatre, Cincinnati Playhouse in the Park, Seattle s ACT Theatre, and Alabama Shakespeare Festival, as well as Great Britain, Holland, Ireland, and Sweden (in Swedish! ). They also applied their fast, funny and physical approach to World History in Western Civilization: The Complete Musical (abridged) [original title: The Complete Millennium Musical (abridged)], which toured simultaneously in the US, UK and Australia, and the Movies in Completely Hollywood (abridged), which skewers the 197 greatest films of all time and has received critical acclaim across the US, UK, Belgium, Holland, Hong Kong, and Barbados. For television, the RSC compressed the first five seasons of Lost into a ten-minute film called Lost Reduced, and was a Jeopardy! category in the 2005 and 2006 Tournaments of Champions. They wrote and starred in The Ring Reduced, a half-hour version of Wagner s Ring Cycle for Channel 4 (UK), and reduced the Edinburgh Festival for BBC and the soap opera Glenroe for RTE Ireland. Shakespeare (abridged) aired on PBS and is available on DVD, as is America (abridged). Numerous other TV appearances include NBC s Today Show, CBS Sunday Morning, Entertainment Tonight, CNN s Showbiz This Week, and New Zealand s Celebrity Wheel of Fortune (they lost). For National Public Radio, the RSC has been heard on All Things Considered, Weekend Edition, Talk of the Nation, Day to Day, West Coast Live, and To The Best of Our Knowledge. The BBC World Service commissioned the six-part Reduced Shakespeare Radio Show. The Reduced Shakespeare Company Christmas was heard on Public Radio International. RSC scripts are published in the US and UK, and translated into over a dozen languages. The Radio Show, RSC Christmas, and Millennium Musical (abridged) are all available on CD and from iTunes. The RSC won the prestigious Shorty Award and has been nominated for an Olivier Award in London, two Helen Hayes Awards in Washington, DC, the SF Bay Area Theatre Critics Circle Award, and several podcast awards. RSC scripts are published in the US and UK, and translated into over a dozen languages. The RSC Radio Show, RSC Christmas, and., Broadway Play Publishing Inc, 2000, 3, Philadelphia, Gratz College. 1971. Hardcover. FEST2, HEB2, CDS, bible2, amr4, rab8, music1 . Original Publisher’s Cloth. 8vo. X, 284, xxvi pages. Final Section in Hebrew. “Gratz College is the oldest independent college of Jewish studies in North America. ” (EJ)  CONTENTS: "A Community's Involvement in Jewish Education, " Mitchell E. Panzer, "Problems of Pronunciation in Hebrew, " William Chomsky, "A Note on Disinterment in Jeremiah, "Morton Cogan, "Being Jewish: An Approach to Conceptualization and Operationalization, " Arnold Dashefsky, "The Ancestral Heritage of the Gratz Family, " Sidney M. Fish, "The Ransom clause of the Jewish Marriage Contract, " Mordechai A. Friedman, "Some Aspects of the Development of Ivrit BeIvrit in America, " Elazar Goelman, "Side Lights on Jewish Education from the cairo Geniza, " S. D. Goitein, "Vergil and the Bible World, " Cyrus H. Gordon, "Bishop to Bishop 1, "Solomon Grayzel, "Jewish Education in America-1971: An Analysis, "Daniel Isaacman, "Kes and Its Fate: Laments, Blessings, Omens, "Samuel Noah Kramer, "Option for Survival, " Samuel Kurland, "Midrash Hillel and Merkavah Mysticism, Samuel Tobias Lachs, "The First Yiddish Language Conference, " Isadore David Passow, "Rapoport's Contribution to Jewish Historiography, " Samuel Pitnik, "Seventy-Five Years in Jewish Music, " Claire Polin Schaff, "The restoration of Fragmentary Aramaic Marriage Contracts, " Bezalel Porten, "Inversions in Rashi's Commentary, " Esra Shereshevsky, "Rabbinic Homilies and Cognate Languages, " Nahum M. Waldman, Financial Arrangements for a Widow in a Cairo Geniza, " Gershon Weiss and three articles in Hebrew.  Very good condition.  (FEST1-9) ., Philadelphia, Gratz College, 1971, 0, Wellington: Lyon & Blair / Government Printer. Good with no dust jacket. 1892. First Edition. Hardcover. Ex-library, with label and rubber stamps of the California Academy of Sciences on front endpaper. Also "Withdrawn" rubber stamp on front endpaper. No other library markings. Lacking the folding map. Gutter split at front hinge. Contemporary owner's inscription "To Dear Papa from Stuary 1/13/93". ; [4] pages advertisements + ix, [1], 134, [2] pages + frontispiece + 14 plates + [16] pages advertisements + publisher's slip tipped in at title page "This work is published by Lyon & Blair, Wellington, N.Z." Lacking the folding map. Brown cloth boards with blind-stamped borders. Gilt lettering on front board. Page dimensions: 213 x 137mm. The plates are printed on pink paper. "Since privileged last year to survey the exceeding marvels of that portion of Fiordland lying between Te Anau and Milford Sound, the desire to impart some of the pleasure then enjoyed, and to induce others, if possible, to sample for themselves this incomparable Alpine Wonderland, has strongly possessed this writer. " - from the author's preface. "The academic copestone of Zealandia's unapproachable curriculum is undoubtedly the mountains, lakes, and valleys of Fiordland [...] Art thou a teacher or preacher by pen or by voice? Go, wander in Fiordland, and thou shalt never lack a theme [...] Art thou a philosopher whi hast said in thine heart 'There is no God'? Go tell thy dread secret to the sleeping glacier, whisper it to the brimming river, tell it out among the everlasting hills: 'twill do thee good, and may be news to them. " - from the author's conclusion. Contents: Preface; A Public Benefactor; The Picturesque Route to Te Anau; The Pastures of Southland - A Jocund Land; The Merrivale Estate; First Glimpse of the Waiau; A Steep Descent; The Wonderful Waiau Caves; Misleading Maps and Rival Topographers; A Moonlight Stroll; Was is Six, Sixteen, or Sixty Miles? ; The Blackmount Hill; A Picturesque Scene; Our Midday Camp; 'On the Wallabi'; Excelsior! ; Manipori; Fording the Mararoa; Lynwood Station; Te Anau Lake; An Alpine Steamer and Crew; Loading up Firewood; 'Greased Lightning'; Incidents of Sea Life; 'Tea O! '; Fire on Ship-board; A Soft-soap Pantomime; 'Full Bustin'-power in the Toobes'; Scenery of Te Anau; Shipwreck extraordinary; Landing at the Clinton; An Alpine Cottage; A keen Artist; The Soft-soap Rehearsal; 'Full Bustin'-power in the Toobes' again; Morn in an Alpine Fiord; A Boating Picnic; Magnificent Scenery; A Crystal Sea; A marvellous Picture; Duck-shooting extraordinary; More Duck-shooting extraordinary; 'You shut the wrong Eye! '; Exploring the Worsley; An Alpine Gorge; St. Mary's Falls; Scudding Home; The 'Falls Party'; A Clinton Guide; A silent Millionaire and the loquacious Cockney; 'Fried Eel an' stooed Duck'; 'I likes my Muffins steaming 'ot'; A New Zealand Marmion and Douglas; 'And dar'st thou then to beard the Weka in his Den? '; Maister Broon o' Kilmarnock; A substantial 'Tocher'; A heartless Plot; Alone on a drifting Steamer; 'Am I tae be blawn up or sookit doon? '; 'It's a deevilish intack, that's whit it is'; The Bush Swag; Getting ready for the Road; A swell Jacket; Farewell to the 'Te Uira'; Travelling up the Clinton; Bush and River Scenery; The Clinton Valley; Unparalleled Grandeur; The New Zealand Yosemite; An Alpine Avalanche; 'Get under and weigh it yourself'; Pompalona Settlement; Pilgrim; Rob Roy Macgregor O! ; St. Quentin Falls; 'Twas a calm, still Night'; An Alpine summer Shower; Clinton Appetites; A tall Yarn; A bush Librarian; Pompalonas; Mr. Jones and the suet Candles; 'Am, Sammy! 'am! And in this 'ere ut'! '; Killing Time in Camp; The Philosopher's Paradoxes; Mac and his Pocket Aneroid; Clericus; Divine Service in the Clinton; A Transformation-scene; Heights of glistening Alabaster and Walls or Parian Marble; A sun-lit Temple of surpassing Beauty; Memory a gracious Handmaiden; Starting for Sutherland Falls; Mysterious Death of a Kaka; A Magistrate in Trouble; Serious Court-case; An exquisite piece of Scenery; Lake Mintaro; A canyon of the Rocky Mountains; A steep Climb; Climbing through the Snow; Summit of the Pass; View from Mount Hart; The grandest View in the World; Gleaming Icefields; 'But what of the Valleys below? '; Descending a Snow-slope; The Philosopher's dynamic Discourses; Making a Bee-line over the Snow; A 2, 000ft. Staircase; Hopping extraordinary; Beech Hut; A But but no Ben; A midday Lunch; A shady Avenue; Voices of the Night; Sutherland Falls: the Eighth Wonder; A superb Picture; Quill's 2, 000ft. Climb; The noblest Monument in the World; A Shaft of polished Granite, A Mile and a Quarter High! ; Early Explorations; Joe's River; In the Valley of the Arthur; Discovery of McKinnon's Pass; Perils of Exploring; Unexplored Fiordland; First Ascent of Mount Hart; The grandest view in the World; Re-ascending the Pass; Making Poetry; The Flora of Fiordland; A Legend about 'Ashfelters'; 'Seven Miles and a Bittock'; 'Glissading'; 'Sair forfouchen an' disjaskit'; 'They; ll no dee! '; An aqueus Journey; Fording a Mountain-torrent; A thousand Waterfalls: a glorious Spectacle; A prodigious Rainfall; Return to Te Anau; A State Banquet; 'Four by Honours'; An Alpine Scene by Moonlight; Amateur Settlers; The unresponsive Oar; Leaving the Clinton; The romping North Wind; A superb Soil; The musical Divine; The Philosopher; 'Whose Socks? '; 'Mine? '; An amazing Problem; Butchered to make a marine Holiday; A powerful Imagination broke adrift; Depth of Te Anau; Stocking with Fish; Disappearance of Native Game; Last of the Apteryx; Supplying the Vacuum; 'A Rattling Run'; Garden Point; Attacked by a Moa; Last Night of Camp-life; Making Things 'hum'; The Philosopher's Song; A Gaelic Song and alarmed Englishman; 'Man, that's a Peety'; An old philological Battle; Ossian and Macpherson; Fingal, the King of Stormy Sema; A Monkey Yarn; Concluding Thoughts; The Switzerland of the Southern Hemisphere; Physical Features of Fiordland; The Botanist's Paradise; Scenic Comparison; Swiss and American Scenery; The Scenic Route of the World; The Undeveloped Wealth of Fiordland; The Storehouse of future Energy; The Tourist Traffic; A greater than Mount Morgan; A Mine of perpetual Wealth; The real value of Fiordland; The Future New-Zealander; The true home of Genius; Zealander's Divine Heritage; 'Go to the Land of the Mist'. [Bibliographical reference: Bagnall M285]. ; 8vo ., Lyon & Blair / Government Printer, 1892, 2.5, New York: The Atlantic Monthly Press, 1995. First Edition [Stated], First Printing [Stated]. Hardcover. Very good/Very good. Michele McDonald (author photography). x, [6], 232, [8] pages. Signed by the author on the title page. The chapters are: Red Sky at Night; Red Sky at Morning; Ransom, Passing; Baby, Leaving; The Choosing of Little Jewel; and The Salvation of Cora Emery McRae. Myra Dell McLarey was born on September 5, 1942, in Okay, Arkansas. McLarey earned a bachelor's degree in history from Southern State College in Magnolia in 1964 and a master's degree in history from Central Missouri State in Warrensburg in 1965. She later studied at the Breadloaf School of English at Middlebury College in Middlebury, Vermont, and did doctoral work in African-American history and the history of the West at the University of Arkansas (UA) in Fayetteville before completing course work for a doctorate in education at the Harvard Graduate School of Education in 1995. McLarey served on the faculty of the Tennessee Governor's Academy for Writing Teachers (1987-1995) and taught writing at Harvard (1991-2000). She has also taught at Emerson University, the University of New Hampshire, and the New England Conservatory of Music. She has served on the faculty of the Institute for Writing and Thinking at Bard College. McLarey is the co-author of Moncrief, My Journey to the NBA, written with Arkansas basketball legend Sidney Moncrief. Her novel, The Road to Eden's Ridge, was co-authored with Linda Weeks under the pen name M. L. Rose. Her novel, The Last Will and Testament of Rosetta Sugars Tramble, was nominated for the Lillian Smith Book Award, given to recognize books on issues of racial and social justice. McLarey's Water from the Well has been described as a work of "place" and brings to life the characters, locations, and memories of southwest Arkansas through a century's worth of short tales that explore a rural community divided by race. Water from the Well was a finalist for the Lillian Smith Award, which "honors those authors who, through their writing, carry on [Lillian] Smith's legacy of elucidating the condition of racial and social inequity and proposing a vision of justice and human understanding." Spanning over a century of history as rich as the Delta's many-hued soil, and in language vivid with imagery, humor, idiom,and suggestion, the intertwined stories of the novel have a brilliant dramatic and moral inevitability; the secret rape of a young black woman named Baby and the even more secret murder of her rapist; the abiding rage of former slave Ransom Tramble; the displacement of the Yankee woman Cora Emery McRae; the passions of Sheriff David Ben Sugars; the magical power of the beautiful Delie Turner; the mystical, green-eyed vision of Delie's grandmother, Rebekah Sarah; and the strength anguish, desire, courage. and mystery of Samuel Daniel McElroy, the grandson of slaves. Powerful, transporting, filled with color, light, and character, Myra McLarey's consummately rendered novel speaks to us eloquently about a time and a place that are all but lost. In her accomplished hands, the voices from that world come alive again to tell us what we still need to know about America, and about ourselves. Derived from a Publishers Weekly article: Boston-based writer McLarey proves that you can go home again in this lyrical first novel set in her native southwest Arkansas. Segueing back and forth in time from 1905 to 1972, she uses brief episodes to illuminate the multifarious incidents that form the web of local history: a baseball game between black and white men; a tornado that destroys some homes and lives while capriciously sparing others; a sheriff's passion for a woman with flaming hair; an old black woman's revenge for the rape of her great-granddaughter; a Maine woman who travels to Sugars Spring to make good on her grandfather's Civil War promise. With their often double first names, the welter of characters who people the side-by-side and inextricably intertwined rural communities of Sugars Spring (white) and Bethel (``colored'') are at first hard to untangle. But the singsong descriptions help to keep everyone sorted out, as well as give the narrative the incantatory cadence of an oft-recited epic. A fine read for those who enjoy being immersed in a rich torrent of language., The Atlantic Monthly Press, 1995, 3<

2005, ISBN: 9780871136107

Livro de bolso, Edição encadernada

Timonium, Maryland: Gemstone Publishing, 2005. Number 844 of a Limited Edition of 1000 Copies. Hardcover. VG Very Good/VG Very Good. Demy folio, [30cm/12inches], full pictorial cloth wi… mais…

Timonium, Maryland: Gemstone Publishing, 2005. Number 844 of a Limited Edition of 1000 Copies. Hardcover. VG Very Good/VG Very Good. Demy folio, [30cm/12inches], full pictorial cloth with mylar-protected dust jacket, pp. 369, indexed. Illustrated with b-w halftones, colour plates &ct. Please feel free to ask for particulars and/or additional photographs. ... Mouseplanet.com noted: "Here's my instant recommendation: You don't really need to read any of the following if you're a fan of Disney animation in either its cinematic or printed forms, the Silly Symphonies, Mickey Mouse, or Donald Duck. Just go to the Amazon link above and buy this whopping, enormous, it's-so-damn-big-it's-hard-to-read, 350-page, you'll-get-lost-in-it-for-a-weekend, four-pound book. The publisher sent MousePlanet a copy of the softcover edition for review. After a quick perusal, I moved my cursor right over to paid $100 for the hardcover edition. You should do the same because there are only 1,000 copies of the more expensive edition and they'll probably sell out shortly. Your next question (well, it was my wife's next question) is why would I spend $100 on another copy of a book I already own? Simple answer: this is a great book and an enormous bargain at almost any price. Where else can you find the original 124 cartoon pages which the Disney studios provided to Good HouseKeeping magazine from 1934 to 1944? Unless you're a collector with a lot of spare time, the answer is nowhere. And those 124 full-page reproductions comprise less than half the goodies in this book. (Disney animation and published stories are not my area of expertise, so please consider my comments those of an avid reader rather than an expert.)", Gemstone Publishing, 2005, 3, New York: The Atlantic Monthly Press, 1995. First Edition [Stated], First Printing [Stated]. Hardcover. Very good/Very good. Michele McDonald (author photography). x, [6], 232, [8] pages. Signed by the author on the title page. The chapters are: Red Sky at Night; Red Sky at Morning; Ransom, Passing; Baby, Leaving; The Choosing of Little Jewel; and The Salvation of Cora Emery McRae. Myra Dell McLarey was born on September 5, 1942, in Okay, Arkansas. McLarey earned a bachelor's degree in history from Southern State College in Magnolia in 1964 and a master's degree in history from Central Missouri State in Warrensburg in 1965. She later studied at the Breadloaf School of English at Middlebury College in Middlebury, Vermont, and did doctoral work in African-American history and the history of the West at the University of Arkansas (UA) in Fayetteville before completing course work for a doctorate in education at the Harvard Graduate School of Education in 1995. McLarey served on the faculty of the Tennessee Governor's Academy for Writing Teachers (1987-1995) and taught writing at Harvard (1991-2000). She has also taught at Emerson University, the University of New Hampshire, and the New England Conservatory of Music. She has served on the faculty of the Institute for Writing and Thinking at Bard College. McLarey is the co-author of Moncrief, My Journey to the NBA, written with Arkansas basketball legend Sidney Moncrief. Her novel, The Road to Eden's Ridge, was co-authored with Linda Weeks under the pen name M. L. Rose. Her novel, The Last Will and Testament of Rosetta Sugars Tramble, was nominated for the Lillian Smith Book Award, given to recognize books on issues of racial and social justice. McLarey's Water from the Well has been described as a work of "place" and brings to life the characters, locations, and memories of southwest Arkansas through a century's worth of short tales that explore a rural community divided by race. Water from the Well was a finalist for the Lillian Smith Award, which "honors those authors who, through their writing, carry on [Lillian] Smith's legacy of elucidating the condition of racial and social inequity and proposing a vision of justice and human understanding." Spanning over a century of history as rich as the Delta's many-hued soil, and in language vivid with imagery, humor, idiom,and suggestion, the intertwined stories of the novel have a brilliant dramatic and moral inevitability; the secret rape of a young black woman named Baby and the even more secret murder of her rapist; the abiding rage of former slave Ransom Tramble; the displacement of the Yankee woman Cora Emery McRae; the passions of Sheriff David Ben Sugars; the magical power of the beautiful Delie Turner; the mystical, green-eyed vision of Delie's grandmother, Rebekah Sarah; and the strength anguish, desire, courage. and mystery of Samuel Daniel McElroy, the grandson of slaves. Powerful, transporting, filled with color, light, and character, Myra McLarey's consummately rendered novel speaks to us eloquently about a time and a place that are all but lost. In her accomplished hands, the voices from that world come alive again to tell us what we still need to know about America, and about ourselves. Derived from a Publishers Weekly article: Boston-based writer McLarey proves that you can go home again in this lyrical first novel set in her native southwest Arkansas. Segueing back and forth in time from 1905 to 1972, she uses brief episodes to illuminate the multifarious incidents that form the web of local history: a baseball game between black and white men; a tornado that destroys some homes and lives while capriciously sparing others; a sheriff's passion for a woman with flaming hair; an old black woman's revenge for the rape of her great-granddaughter; a Maine woman who travels to Sugars Spring to make good on her grandfather's Civil War promise. With their often double first names, the welter of characters who people the side-by-side and inextricably intertwined rural communities of Sugars Spring (white) and Bethel (``colored'') are at first hard to untangle. But the singsong descriptions help to keep everyone sorted out, as well as give the narrative the incantatory cadence of an oft-recited epic. A fine read for those who enjoy being immersed in a rich torrent of language., The Atlantic Monthly Press, 1995, 3<

1995, ISBN: 0871136104

Edição encadernada, primeira edição

[EAN: 9780871136107], Gebraucht, sehr guter Zustand, [PU: The Atlantic Monthly Press, New York], DEBUT NOVEL, FIRST RAPE, MURDER, SLAVERY, RACE RELATIONS, DELIE TURNER, CORA EMERY MCRAE, … mais…

[EAN: 9780871136107], Gebraucht, sehr guter Zustand, [PU: The Atlantic Monthly Press, New York], DEBUT NOVEL, FIRST RAPE, MURDER, SLAVERY, RACE RELATIONS, DELIE TURNER, CORA EMERY MCRAE, RANSOM TRAMBLE, REBEKAH SARAH, ARKANSAS, SUGARS SPRING, REVENGE, LUST, PASSION, SAMUEL DANIEL MCELROY, Jacket, x, [6], 232, [8] pages. Signed by the author on the title page. The chapters are: Red Sky at Night; Red Sky at Morning; Ransom, Passing; Baby, Leaving; The Choosing of Little Jewel; and The Salvation of Cora Emery McRae. Myra Dell McLarey was born on September 5, 1942, in Okay, Arkansas. McLarey earned a bachelor's degree in history from Southern State College in Magnolia in 1964 and a master's degree in history from Central Missouri State in Warrensburg in 1965. She later studied at the Breadloaf School of English at Middlebury College in Middlebury, Vermont, and did doctoral work in African-American history and the history of the West at the University of Arkansas (UA) in Fayetteville before completing course work for a doctorate in education at the Harvard Graduate School of Education in 1995. McLarey served on the faculty of the Tennessee Governor's Academy for Writing Teachers (1987-1995) and taught writing at Harvard (1991-2000). She has also taught at Emerson University, the University of New Hampshire, and the New England Conservatory of Music. She has served on the faculty of the Institute for Writing and Thinking at Bard College. McLarey is the co-author of Moncrief, My Journey to the NBA, written with Arkansas basketball legend Sidney Moncrief. Her novel, The Road to Eden's Ridge, was co-authored with Linda Weeks under the pen name M. L. Rose. Her novel, The Last Will and Testament of Rosetta Sugars Tramble, was nominated for the Lillian Smith Book Award, given to recognize books on issues of racial and social justice. McLarey's Water from the Well has been described as a work of "place" and brings to life the characters, locations, and memories of southwest Arkansas through a century's worth of short tales that explore a rural community divided by race. Water from the Well was a finalist for the Lillian Smith Award, which "honors those authors who, through their writing, carry on [Lillian] Smith's legacy of elucidating the condition of racial and social inequity and proposing a vision of justice and human understanding." Spanning over a century of history as rich as the Delta's many-hued soil, and in language vivid with imagery, humor, idiom,and suggestion, the intertwined stories of the novel have a brilliant dramatic and moral inevitability; the secret rape of a young black woman named Baby and the even more secret murder of her rapist; the abiding rage of former slave Ransom Tramble; the displacement of the Yankee woman Cora Emery McRae; the passions of Sheriff David Ben Sugars; the magical power of the beautiful Delie Turner; the mystical, green-eyed vision of Delie's grandmother, Rebekah Sarah; and the strength anguish, desire, courage. and mystery of Samuel Daniel McElroy, the grandson of slaves. Powerful, transporting, filled with color, light, and character, Myra McLarey's consummately rendered novel speaks to us eloquently about a time and a place that are all but lost. In her accomplished hands, the voices from that world come alive again to tell us what we still need to know about America, and about ourselves. Derived from a Publishers Weekly article: Boston-based writer McLarey proves that you can go home again in this lyrical first novel set in her native southwest Arkansas. Segueing back and forth in time from 1905 to 1972, she uses brief episodes to illuminate the multifarious incidents that form the web of local history: a baseball game between black and white men; a tornado that destroys some homes and lives while capriciously sparing others; a sheriff's passion for a woman with flaming hair; an old black woman's revenge for the rape of her great-granddaughter; a Maine woman who travels to Sugars Spring to make good on her grandfather's Civil War promise. With their often double first names, the welter of characters who people the side-by-side and inextricably intertwined rural communities of Sugars Spring (white) and Bethel (``colored'') are at first hard to untangle. But the singsong descriptions help to keep everyone sorted out, as well as give the narrative the incantatory cadence of an oft-recited epic. A fine read for those who enjoy being immersed in a rich torrent of language. First Edition [Stated], First Printing [Stated]., Books<

2000, ISBN: 9780871136107

Edição encadernada

New York: The Atlantic Monthly Press, 1995. First Edition [Stated], First Printing [Stated]. Hardcover. Very good/Very good. Michele McDonald (author photography). x, [6], 232, [8] page… mais…

New York: The Atlantic Monthly Press, 1995. First Edition [Stated], First Printing [Stated]. Hardcover. Very good/Very good. Michele McDonald (author photography). x, [6], 232, [8] pages. Signed by the author on the title page. The chapters are: Red Sky at Night; Red Sky at Morning; Ransom, Passing; Baby, Leaving; The Choosing of Little Jewel; and The Salvation of Cora Emery McRae. Myra Dell McLarey was born on September 5, 1942, in Okay, Arkansas. McLarey earned a bachelor's degree in history from Southern State College in Magnolia in 1964 and a master's degree in history from Central Missouri State in Warrensburg in 1965. She later studied at the Breadloaf School of English at Middlebury College in Middlebury, Vermont, and did doctoral work in African-American history and the history of the West at the University of Arkansas (UA) in Fayetteville before completing course work for a doctorate in education at the Harvard Graduate School of Education in 1995. McLarey served on the faculty of the Tennessee Governor's Academy for Writing Teachers (1987-1995) and taught writing at Harvard (1991-2000). She has also taught at Emerson University, the University of New Hampshire, and the New England Conservatory of Music. She has served on the faculty of the Institute for Writing and Thinking at Bard College. McLarey is the co-author of Moncrief, My Journey to the NBA, written with Arkansas basketball legend Sidney Moncrief. Her novel, The Road to Eden's Ridge, was co-authored with Linda Weeks under the pen name M. L. Rose. Her novel, The Last Will and Testament of Rosetta Sugars Tramble, was nominated for the Lillian Smith Book Award, given to recognize books on issues of racial and social justice. McLarey's Water from the Well has been described as a work of "place" and brings to life the characters, locations, and memories of southwest Arkansas through a century's worth of short tales that explore a rural community divided by race. Water from the Well was a finalist for the Lillian Smith Award, which "honors those authors who, through their writing, carry on [Lillian] Smith's legacy of elucidating the condition of racial and social inequity and proposing a vision of justice and human understanding." Spanning over a century of history as rich as the Delta's many-hued soil, and in language vivid with imagery, humor, idiom,and suggestion, the intertwined stories of the novel have a brilliant dramatic and moral inevitability; the secret rape of a young black woman named Baby and the even more secret murder of her rapist; the abiding rage of former slave Ransom Tramble; the displacement of the Yankee woman Cora Emery McRae; the passions of Sheriff David Ben Sugars; the magical power of the beautiful Delie Turner; the mystical, green-eyed vision of Delie's grandmother, Rebekah Sarah; and the strength anguish, desire, courage. and mystery of Samuel Daniel McElroy, the grandson of slaves. Powerful, transporting, filled with color, light, and character, Myra McLarey's consummately rendered novel speaks to us eloquently about a time and a place that are all but lost. In her accomplished hands, the voices from that world come alive again to tell us what we still need to know about America, and about ourselves. Derived from a Publishers Weekly article: Boston-based writer McLarey proves that you can go home again in this lyrical first novel set in her native southwest Arkansas. Segueing back and forth in time from 1905 to 1972, she uses brief episodes to illuminate the multifarious incidents that form the web of local history: a baseball game between black and white men; a tornado that destroys some homes and lives while capriciously sparing others; a sheriff's passion for a woman with flaming hair; an old black woman's revenge for the rape of her great-granddaughter; a Maine woman who travels to Sugars Spring to make good on her grandfather's Civil War promise. With their often double first names, the welter of characters who people the side-by-side and inextricably intertwined rural communities of Sugars Spring (white) and Bethel (``colored'') are at first hard to untangle. But the singsong descriptions help to keep everyone sorted out, as well as give the narrative the incantatory cadence of an oft-recited epic. A fine read for those who enjoy being immersed in a rich torrent of language., The Atlantic Monthly Press, 1995, 3<