2013, ISBN: 9781423130703

Livro de bolso, Edição encadernada

This book is used, in 'as new' condition. No wear to covers, no markings inner pages. Spine intact, no creases. "Fantastic Mr. Fox is on the run! The three meanest farmers around are out … mais…

This book is used, in 'as new' condition. No wear to covers, no markings inner pages. Spine intact, no creases. "Fantastic Mr. Fox is on the run! The three meanest farmers around are out to get him. Fat Boggis, squat Bunce, and skinny Bean have joined forces, and they have Mr. Fox and his family surrounded. What they don't know is that they're not dealing with just any foxMr. Fox would never surrender. But only the most fantastic plan ever can save him now." Good Reads "Roald Dahl was a British novelist, short story writer and screenwriter of Norwegian descent, who rose to prominence in the 1940's with works for both children and adults, and became one of the world's bestselling authors.Dahl's first published work, inspired by a meeting with C. S. Forester, was Shot Down Over Libya. Today the story is published as A Piece of Cake. The story, about his wartime adventures, was bought by the Saturday Evening Post for $900, and propelled him into a career as a writer. Its title was inspired by a highly inaccurate and sensationalized article about the crash that blinded him, which claimed he had been shot down instead of simply having to land because of low fuel.His first children's book was The Gremlins, about mischievous little creatures that were part of RAF folklore. The book was commissioned by Walt Disney for a film that was never made, and published in 1943. Dahl went on to create some of the best-loved children's stories of the 20th century, such as Charlie and the Chocolate Factory, Matilda and James and the Giant Peach.He also had a successful parallel career as the writer of macabre adult short stories, usually with a dark sense of humour and a surprise ending. Many were originally written for American magazines such as Ladies Home Journal, Harper's, Playboy and The New Yorker, then subsequently collected by Dahl into anthologies, gaining world-wide acclaim. Dahl wrote more than 60 short stories and they have appeared in numerous collections, some only being published in book form after his death. His stories also brought him three Edgar Awards: in 1954, for the collection Someone Like You; in 1959, for the story "The Landlady"; and in 1980, for the episode of Tales of the Unexpected based on "Skin"." Good Reads, Puffin, 2013, 5, Ladybird Books Ltd, 01/20/1991. Paperback. Used; Good. **WE SHIP WITHIN 24 HRS FROM LONDON, UK, 98% OF OUR ORDERS ARE RECEIVED WITHIN 7-10 DAYS. We believe you will be completely satisfied with our quick and reliable service. All orders are dispatched as swiftly as possible! Buy with confidence! Greener Books., Ladybird Books Ltd, 01/20/1991, 2.5, Ladybird Books Ltd, 01/20/1991. Paperback. Used; Good. **WE SHIP WITHIN 24 HRS FROM LONDON, UK, 98% OF OUR ORDERS ARE RECEIVED WITHIN 7-10 DAYS. We believe you will be completely satisfied with our quick and reliable service. All orders are dispatched as swiftly as possible! Buy with confidence! Greener Books., Ladybird Books Ltd, 01/20/1991, 2.5, Disney Press, 1/1/2000. Hardcover. Like New. 000-307: Digest Size Hardcover with 20 pages. Has faint surface blemishes (scratches) from shelf or stacking. Interiors are New and Unread. A beautiful copy with clean, white, unmarked pages. Color Illustrations throughout. Book #8 in Series. 1 3 5 7 9 10 8 6 4 2 Stated First Edition 2000., Disney Press, 1/1/2000, 5, Bloomsbury (Penguin). Good. 7.99 x 10 x 1.85 inches. Paperback. 2007. 448 pages. Cover worn. <br>For decades they have remained close, sharing treasured recipes, honored customs, and the challenges of women shaped by ancient ways yet living modern lives. They are t he Hindi-Bindi Club, a nickname given by their American daughters to the mothers who left India to start anew-daughters now grown and facing struggles of their own. For Kiran, Preity, and Rani, adulthood bears the indelible stamp of their upbringing, from the ways they tweak their mothers' cooking to suit their Western lif estyles to the ways they reject their mothers' most fervent belie fs. Now, bearing the disappointments and successes of their chose n paths, these daughters are drawn inexorably home. Kiran, divor ced, will seek a new beginning-this time requesting the aid of an ancient tradition she once dismissed. Preity will confront an ol d heartbreak-and a hidden shame. And Rani will face her demons as an artist and a wife. All will question whether they have the co urage of the Hindi-Bindi Club, to hold on to their dreams-or to c reate new ones. An elegant tapestry of East and West, peppered w ith food and ceremony, wisdom and sensuality, this luminous novel breathes new life into timeless themes. Editorial Reviews From Publishers Weekly The age-old intergenerational struggle between mothers and daughters gets a curried twist in Pradhan's debut, i n which the subcontinent meets the modern West. As children, firs t-generation Americans Kiran Deshpande, Preity Chawla Lindstrom a nd Rani McGuiness Tomashot gently mocked their Indian mothers, co llectively nicknamed The Hindi-Bindi Club for their Old World lea nings. Though the three are now successful adults, they aren't ne cessarily seen as such by their parents. For starters, none marri ed Indian men. But now, Kiran's parents may get their chance to s emi-arrange a marriage for their divorced daughter as she conside rs the possibility that there may be something to the old ways. P reity, mostly happily married to business school beau Eric, carri es a small torch for a long-lost love--a Muslim her parents didn' t approve of--and considers seeking him out. Meanwhile, rocket sc ientist Rani's passion for art starts to pay off as she becomes s piritually listless. Pradhan's debut is breezy (there are enough recipes dotting the narrative to fill a cookbook), though it touc hes on not-so sunny issues--prejudice, breast cancer, infidelity. The prose isn't dynamite and the characters are stock, but the n ovel easily fulfills its ready-made requirements. (May) Copyrigh t ® Reed Business Information, a division of Reed Elsevier Inc. A ll rights reserved. --This text refers to an alternate paperback edition. From Booklist Like Amy Tan's Joy Luck Club (1988), Prad han's first novel, which features six alternating narrators, spea ks to the cultural and generational tensions between immigrant mo thers and their Westernized daughters. Recently divorced Kiran De shpande, a family doctor who longs for a family of her own, is fi nally willing to admit that her Indian parents might have been ri ght to disapprove of her marriage to a musician with a wandering eye. She's come home after a long estrangement to discuss with he r parents her wish to consider an arranged marriage. Her mother, recently diagnosed with breast cancer, is more than willing to pl ay peacemaker between her authoritarian husband and her headstron g daughter. The narrative also encompasses two other young women, childhood friends of Kiran, and their individual struggles with their parents, including battles with clinical depression and ano rexia. Although Pradhan's novel is much lighter than Tan's, her p ages are alive with the sights, sounds, and smells (recipes inclu ded) of a vibrant Indian culture. In addition, her young characte rs speak with fresh but cutting humor about the difficulties of a ssimilation. Joanne Wilkinson Copyright © American Library Associ ation. All rights reserved --This text refers to an alternate pap erback edition. Review At the beginning of this debut novel, Ame rican-born Kiran Deshpande returns home as the divorced prodigal daughter of Indian parents. But her story quickly unfolds into th e larger tale of her mother, Meenal, and Meenal's friends, whom K iran and her childhood friends Preity and Rani had dubbed the Hin di-Bindi Club... Each chapter is narrated by a different characte r and explores the diverse experiences of these mothers, daughers , and wives who struggle to be Indian and American. Readers learn about cherished family recipes and the history that brought thes e women to the present. Pradhan imbues the narrative with such ho nesty and real emotion that the novel is difficult to put down. H ighly recommended for readers who enjoy mother-daughter fiction a nd all popular fiction collections. -- Library Journal, May 1, 20 07 Everything you wanted to know about India, its culture and it s people combine here to make a fascinating read. -- Rocky Mounta in News, April 12, 2007 Pradhan's vibrant tale bears witness to the eternal struggle between mothers and daughters, with a slight Bollywood twist. Instead of elaborate musical numbers, the reade r is treated to all manner of delicious, mouth-watering recipes t hat bookend each chapter. Told from the multiple points of view o f both mothers and daughters, we see that, although cultures may be different, the problems between the generations are universal. A rich tapestry of a people, a country and three distinct famili es is woven into this story of mothers and daughters, childhood a nd adulthood, marriage and love, food and sustenance. An Indian mother feels it's her duty to pass along her recipes to her daug hter, to pass along her wisdom before she dies. Through THE HINDI -BINDI CLUB, Monica Pradhan lovingly has passed along her history , recipes and culture to hungry, grateful readers. -- BookReporte r.com THE HINDI-BINDI CLUB is a small treasure of a book. I foun d it to be a warm, loving peek into a culture about which I know little or nothing. It contains many details of the cultural and s ocial customs of India, how they have translated and changed with in our culture, and even recipes for traditional Indian dishes. I t made me look at people I know who have immigrated in a new way. It highlights the tale of generational America, and the diversit y that makes us. Weighty stuff, but written in a witty, fun way. -- Romance Reviews Today, May 1, 2007 --This text refers to an al ternate paperback edition. About the Author Monica Pradhan's par ents immigrated to the United States from Mumbai, India, in the 1 960s. She was born in Pittsburgh, PA, and grew up outside Washing ton, DC. and now lives in Minnesota and Toronto with her husband. --This text refers to an alternate paperback edition. Excerpt. ® Reprinted by permission. All rights reserved. Kiran Deshpande: Where Are You From? I have lanced many boils, but none pained lik e my own. INDIAN ADAGE I'm never sure what people want to know w hen they ask me: Where are you from? The question doesn't offend me, as I'm curious about people myself. I'm fascinated by the or igins of family trees, the land and seas over which seeds migrate , cross-pollinate, and germinate anew. In my thirty-two years, I 've traveled to all fifty United States, lived in ten of them, in every American time zone, most since I left home for college at seventeen and never moved back. A modern gypsy, I've developed an ear for accents. I'm charmed by different cadences. It's a game for me to place them, to listen for the fish out of water. Is th at Texas I hear? I ask with a smile-always a smile, the universal ambassador of goodwill-of a lady in Juno, Alaska. I never ask t hat slippery little devil, you know the one: Where are you from? Sometimes, I envy people who can answer this deceptively simple question in two words or less. Jersey or Chicago, New Orleans or Southern Cal. People who've lived most of their lives in a single state, sometimes even a single town. People whose physical appea rance or last name is unremarkable. I don't fall into any of the se categories. When I get this question-not an everyday occurren ce, but I get it more than most-I'm never certain what informatio n the person seeks. Is it the origin of my own mid-Atlantic accen t? My heritage? My married name (read off a credit card, a check, or a name tag)? To cover the bases, I supply all three. Probabl y overkill, but I figure the desired answer's somewhere in here: My parents emigrated from India in the 1960s when my father went to medical school at Harvard. I was born in Cambridge but grew up outside of Washington, D.C. My husband's last name is Italian. If I answer with a genuine smile, I almost always receive one in response, which strengthens my belief in karma. A guy once told me I looked like Disney's Princess Jasmine, except my boobs weren 't big enough. For the first four years of our marriage, I assume d he exaggerated on both counts. Princess Jasmine is prettier th an I am, but she isn't bigger than a B-cup, thankyouverymuch. In retrospect, as I reflect on his statement (something I do less a s time goes on), I wonder if he meant my boobs weren't big enough for him. This would be a logical con- clusion after coming home early to find his face sand- wiched between a pair of D-cups. Sil icon D-cups, which is my professional opinion as a practicing phy sician, not just another ex-wife whose husband screwed around on her. I am wondering about this today as I appreciate the latest and greatest water bra in the Victoria's Secret dressing room. It 's the first week of December, and I'm almost finished with my ho liday shopping, so I'm splurging on a few things for myself. The water bra has a lovely effect, I must admit as I turn from side t o side. I take it off and decide I look great, with or without th e bra. I'm young. I'm healthy. My body is well toned. Nothing sag s. So why am I crying? A tissue box sits on a ledge, as if my m eltdown is not an isolated phenomenon in these dressing rooms. I thank whomever for the forethought and mop my face. Why are you crying? I ask the woman in the mirror. You have everything going for you. Yes, but where will it go from here? the woman replies. And with whom? I turn my back because I can't bear to look at h er anymore, but I can't leave either. Not like this. Once I was s tuck in a stairwell after I lost a patient. I couldn't come out u ntil I regained control, couldn't risk the family seeing me that way. They count on me to be strong when they're weak. But who's s trong for me when I'm weak? The woman in the mirror mocks me bec ause she still looks so young, yet for the first time, I feel the acceleration of time. It doesn't seem so long ago I turned twent y-two, med school and marriage my dreams. Now here I am a decade later, a doctor, married and divorced. I've crossed thirty, and I 'm afraid if I blink, I'll be staring at forty, looking back on t oday. It seems like just yesterday I fell apart in the Victoria' s Secret dressing room, I'll say as I recollect the days when I h ad perky breasts. Stark reality presses against me, a cold steth oscope on my bare skin. I cringe and shiver, hug my arms, rub my goose bumps. The truth is I am terrified. Of squandering my preci ous time on this earth. Of wasting what's left of my youth. Of tu rning the big Four-O and looking back with regrets. I'm a family doctor. Every day, I see families. I want a family, too. I'm he althy and vibrant now, but with each passing year, my eggs age. I 'm tired of wandering. Tired of my gypsy existence as a traveling doc, temporarily filling in where there's a need. Tired of runni ng away from the fact my foolish heart betrayed me as much as Ant hony's cheating. I yank two more tissues from the box and discov er they're the last ones. Isn't that life? One day the tissues ru n out. So what's your strategy with the tissues you have, Kiran? I don't want to freeze my eggs. I don't want to visit a sperm b ank. I don't want to be a single parent, if I have any choice in the matter. I want a nuclear family. I want to put down roots, to let my seeds germinate, to watch them bloom and flourish. Not on e day, if and when I ever fall in love again, but now. While I st ill have my youth, damn it. I glance over my shoulder at the puf fy-eyed woman in the mirror. Slowly, I turn and face her. There i s a solution, if she's willing to keep an open mind, to think wit h her head this time, instead of her heart. I take a deep breath, hold it, and nod. And right there in the Victoria's Secret dress ing room, in my yuppie-chick equivalent of a midlife crisis, I al low myself to contemplate something I always deemed impossible, d ismissed as cold, archaic, backward. The mate-seeking process tha t served my parents, most of their Indian-immigrant friends, and generations of ancestors for centuries. An arranged marriage. L eaving the shopping carnival of Georgetown Park, I stand at the i ntersection of M Street and Wisconsin Avenue and wait for the wal k signal. You'd think I'd be done with malls, but no. When I got my driver's license at sixteen, Georgetown was the place to hang out, and for me, it's never lost its appeal. I love the shops and restaurants, the inter- national and academic atmosphere, the co lonial architecture. Whenever I'm back in town, I make a pit stop here on my way home. It grounds me. I walk up the brick sidewal k to 33rd and Q. It's been five years since my last visit, but my ritual's unchanged. If I can get a space, I parallel park near m y dream house, a Tudor that resembles a gingerbread house, its fe nce and gate laced with a jungle of ivy, trimmed to reveal the po inted tips of cast-iron rungs as straight as spears. When I gradu ated from high school, in addition to throwing a penny in the mal l fountain and making a wish, I put a note in the mailbox on Q St reet asking the owners to please call me when they wanted to sell the house. I hoped by the time they were ready, I would be, too. I'm still waiting. With my purchases-a red poinsettia in green foil and white roses with sprigs of fern-ensconced in the passeng er seat of my Saab, I take Key Bridge across the muddy Potomac an d cruise down the G.W. Parkway toward the 'burbs. I'm tempted to stop-and stall some more-at one of the scenic overlooks (make-out hot spots). Instead, I crack the w, Bloomsbury (Penguin), 2007, 2.5, Straight Up: The Story of Vertical Flight by Richard Gibson HublerPublisher: Duell Sloan and Pearce, 1961Hardcover5.6 x 8.2 inches, 340 pagesRichard G. Hubler (born Richard Gibson Hubler; 20 August 1912 in Dunmore, Pennsylvania 21 October 1981 in Ojai, California), was an American screenwriter, military author, and writer of biographies, fiction, and non-fiction. However, his best-known work is the 1965 autobiography he ghostwrote for Ronald Reagan, Where's the Rest of Me?.Hubler attended Wyoming Seminary then graduated from Swarthmore College in 1934. Hubler began writing for many magazines. In 1941 he wrote his first biography Lou Gehrig: The Iron Horse of Baseball followed by I Flew for China in 1942, a biography of Chiang Kai-shek's personal pilot.He enlisted in the United States Marine Corps and was commissioned as a 2nd lieutenant in December 1942. He served for three years in the Corps obtaining the rank of captain. He wrote many articles for the Marine Corps Gazette one of which criticised the American military's awarding of decorations Winning Medals and Alienating People. Hubler also published a World War II history of Marine Aviation Flying Leathernecks: The Complete History of Marine Corps Aviation 19411944 in 1944.After the war, Hubler used his Marine experience as inspiration for his first novel published in 1946 I've Got Mine that was filmed as Beachhead in 1954. It was republished as Walk Into Hell in 1963. Hubler became a Hollywood Scriptwriter with a screenplay based on Jim Corbett's Man-Eaters of Kumaon. This led him to be signed as a scriptwriter for Belsam Productions to write a trio of films for Tom Conway.In addition to Reagan's autobiography, he also wrote SAC: The Strategic Air Command (1958), St. Louis Woman with Helen Traubel (1959), Big Eight: A Biography of an Airplane (1960) Straight Up: The Story of Vertical Flight (1961) and The Cole Porter Story as told to Richard G. Hubler (1965).In February 1954 he had a piece entitled Dogs Are Dumb published in Coronet magazine, relating the lack of intelligence in dogs. He quickly became deluged by irate dog-owners' correspondence and can be heard making an apologetic appearance on the 19 May 1954 edition of You Bet Your Life defending his opinion and stating that he owned a dog himself.Hubler was commissioned by Walt Disney Productions and the Disney family to prepare a biography of Walt Disney shortly after Disney's death, which he researched and wrote during 19671968. Upon submission he was paid a contractual penalty and the manuscript never saw print. "No comments, no reasons, no nothing at all", Hubler stated to animation historian Michael Barrier as to why it remained unpublished. Animation historian Wade Sampson notes when Bob Thomas some years later was engaged to write what became Walt Disney: An American Original, Disney executives explained that "two other writers had tried their hand at writing the official biography but both of the attempts had proven unsatisfactory."A number of the interviews Hubler conducted on Disney have been published in the book series Walt's People edited by Didier Ghez.Hubler's papers are held by the Howard Gotlieb Archival Research Center at Boston University. This includes the manuscript of the unpublished Disney biography and much material from its preparation. Many of the interview transcripts are also held by the Disney Archives., Duell Sloan and Pearce, 1961, 3, Ehapa Verlag, 1985. paperback. gebraucht, gut Inkl. Beilagen !!! . 26,20 x 17,20 x 0,40, Ehapa Verlag, 1985, 2.5, Parragon, 2008. paperback. gebraucht, gut Deutliche Gebrausspuren. 19,20 x 13,00 x 1,40, Parragon, 2008, 2.5, Ehapa Verlag,, 1985. paperback. gebraucht, gut Ohne Beilagen !!! . 25,81 x 17,20 x 0,51, Ehapa Verlag, 1985, 2.5, Ehapa Verlag, 1984. paperback. gebraucht, gut Altersbedingte Gebrauchsspuren, evtl. auch gutes Mängelexemplar. 26,20 x 17,20 x 0,40, Ehapa Verlag, 1984, 2.5, Ehapa Verlag, 1984. paperback. gebraucht, gut Altersbedingte Gebrauchsspuren, evtl. auch gutes Mängelexemplarmit beilage. 26,20 x 17,20 x 0,40, Ehapa Verlag, 1984, 2.5, Parragon, 2008. paperback. gebraucht, gut Deutliche Gebrausspuren. 19,20 x 13,00 x 1,40, Parragon, 2008, 2.5, US: Disney-Hyperion, 2011. Paperback. Good. The year is 1901--it's been twenty-three years since Peter and the Lost Boy s returned from Rundoon. Since then, nobody on the island has grown a day o lder, and the Lost Boys continue their friendship with the Mollusk tribe, a nd their rivalry with Captain Hook. Meanwhile in London, Molly has married George Darling and is raising three children: Wendy, Michael, and John. One night a visitor appears at her door; it's James, one of Peter's original L ost Boys. He is now working for Scotland Yard and suspects that the heir to England's throne, Prince Albert Edward, is under the influence of shadow c reatures. These shadow creatures are determined to find a secret cache of s tartstuff which fell to London many centuries ago. The starstuff is hidden in an underground vault which has only one key: the Sword of Mercy, a legen dary weapon kept with the Crown Jewels. Molly is determined to help, but wh en she suddenly goes missing, it is up to her eleven-year-old daughter, Wen dy, to keep the starstuff out of the Others' clutches. She has heard her mo ther's stories of a flying boy named Peter Pan, and he may be her only hope in saving the world from a shadowy doom., Disney-Hyperion, 2011, 2.5<

2011, ISBN: 1423130707

[EAN: 9781423130703], Gebraucht, guter Zustand, [PU: Disney-Hyperion, US], The year is 1901--it's been twenty-three years since Peter and the Lost Boy s returned from Rundoon. Since then,… mais…

[EAN: 9781423130703], Gebraucht, guter Zustand, [PU: Disney-Hyperion, US], The year is 1901--it's been twenty-three years since Peter and the Lost Boy s returned from Rundoon. Since then, nobody on the island has grown a day o lder, and the Lost Boys continue their friendship with the Mollusk tribe, a nd their rivalry with Captain Hook. Meanwhile in London, Molly has married George Darling and is raising three children: Wendy, Michael, and John. One night a visitor appears at her door; it's James, one of Peter's original L ost Boys. He is now working for Scotland Yard and suspects that the heir to England's throne, Prince Albert Edward, is under the influence of shadow c reatures. These shadow creatures are determined to find a secret cache of s tartstuff which fell to London many centuries ago. The starstuff is hidden in an underground vault which has only one key: the Sword of Mercy, a legen dary weapon kept with the Crown Jewels. Molly is determined to help, but wh en she suddenly goes missing, it is up to her eleven-year-old daughter, Wen dy, to keep the starstuff out of the Others' clutches. She has heard her mo ther's stories of a flying boy named Peter Pan, and he may be her only hope in saving the world from a shadowy doom., Books<

2011, ISBN: 1423130707

[EAN: 9781423130703], Used, as new, [PU: Penguin Random House], Unread copy in mint condition, Books