She recalls her childhood in a sod house on a frontier that required everyone to pull together in the face of hostile weather, serious illness, and economic depression but that also held its full share of good times. "As a child of seven and up," writes Grace Snyder, ". . . I wished that I might grow up to make the most beautiful quilts in the world, to marry a cowboy, and to look down on the top of a cloud. At the time I dreamed those dreams and wished those wishes, it seemed impossible that any of them could every come true." But she saw all of them realized.No Time on My Hands is a remarkable chronicle of the sod house era and of Grace Snyder’s married life on a ranch in Nebraska’s sandhills. From there she finally flies above the clouds to exhibits where her quilts contribute to a worldwide revival of quiltmaking. Mrs. Snyder lived twenty years after the publication of these memoirs in 1963, to the age of one hundred. Her daughter, Nellie Snyder Yost, who helped to write No Time on My Hands, has added an epilogue to this Bison edition.

    It describes their culture, crafts, and language as no other book has done. Hunters, fishers, artisans of flint and skins and basketry, tellers of traditional tales, dwellers in a region of hills and barrens, of rivers and forests, they had developed a way of life adjusted to the world around them. In presenting the lore and heritage of the Lenapes, Dr. M.R. Harrington does so through the eyes of a shipwrecked English boy who became a captive of the Indians, and was eventually adopted into the tribe. The narrative is lively reading, and the facts on which it is based are accurate. With the accompanying Clarence Ellsworth line drawings, the reader can understand and even reproduce many of the objects the author describes: the Lenape bows and arrows, muccasins and mats, baskets and bowls. This new edition is a reissue of an often asked for an unavailable New Jersey classic, first published in 1938.

    The bride recounts, vividly and hilariously, her and her Mother’s plans for an English country wedding, how they dealt with Uncle George (The Head Of The Family), and their success in making sure that on her wedding day the church was filled with music and flowers (both officially banned due to the “mixed” marriage of a Catholic bridegroom and a Church of England bride). She subsequently finds herself living on a horse-rearing estate in a rural part of Portugal, coping with a truculent cook, a primitive kitchen (no electricity, no gas, no fly screens, no taps — unlike the stables, which were far more up-to-date) and watching a husband gradually turning into a horse before her eyes…. In Lisbon, a four-hour drive away, lived her husband’s parents, his nine brothers and sisters, an unending procession of aunts, uncles and cousins, and a large number of family servants. She recounts the ups and downs of the early months of her married life at Reinaldo, the family property which she struggles to make her own. Iron bedsteads, straw mattresses and numerous pictures of the Holy Family gradually make way for chintz, bookshelves, and comfortable veranda furniture; chicken-with-rice-and-peppers are replaced by duck and lemon meringue, though a new young cook is swiftly appropriated by her mother-in-law, which could be thought of (but not by the writer) as a compliment. Friends and neighbours are also keenly observed in this light-hearted, observant and humorous account of a girl’s path from an English country cottage and a London flat, to love, marriage and motherhood on a traditional country estate in Portugal.

    The purpose is to develop an integrated theory of architectural description and architectural intention (and this includes the intention of the user as well as that of the designer), insofar as architecture is an art.Norberg-Schulz is a practicing architect; his buildings stand in several countries; and he elucidates the nature of architectural reality with a practiced eye and from a practical viewpoint. Although the methods and theory that his book develops are uncompromisingly rigorous and tightly formed, they are everywhere related to actual building, through specific examples and through the use of over 100 photographs. The structure that Norberg-Schulz has fashioned is surely one of the most impressive intellectual edifices that any architect has ever produced. The materials that are organically worked into it include Gestalt psychology, the mechanics of perception, information theory, modern analytic philosophy, and in particular, linguistic analysis, and the general theory of signs and symbols. The result, however, is not an eclectic hodge-podge; all these materials have their place and purpose; none is applied extraneously for "show" or purely decorative effect. And all this divergent material had to be joined according to plan within formal bounds in order to produce a theory with equally divergent applications: one that can treat not only of the aesthetics of architecture but equally well of its social, psychological, and cultural effects. The chief focus of the book is on the symbolic and linguistic. The purpose is to develop an integrated theory of architectural description and architectural intention (and this includes the intention of the user as well as that of the designer), insofar as architecture is an art.

    

    She is notable not only for her engaging letters, but also for defying her family's wishes to marry a suitor of their choosing, despite undergoing intense and sustained pressure. She fell in love with Temple in 1649, when the pair were both about nineteen years old, but both families opposed the match on economic grounds. Seventeenth-century marriages, particularly amongst the upper classes, were frequently business arrangements, designed to bring land, titles and/or cash to the families involved. Much to the chagrin of her family, in particular Osborne's brother Henry, Dorothy Osborne stubbornly and steadfastly remained single until, after the deaths of both fathers, the families finally sanctioned the match. After nearly seven years of intermittent courtship - the latter two marked by the exchange of the famous letters - their marriage took place in 1654 and lasted until Lady Temple's death in 1695.

    With alternating interior monologues, the author conjures up the members of the Glace family: Vera, the mother who has willed herself sightless; Erlene, the daughter, who has stopped speaking; and Edward, the husband who abandons his family to make a genealogical study of a family in a distant land. Beyond this is a mind that has burst the confines of everyday individual consciousness and invented its own tormented reality.

    Here is aid and comfort for all who secretly or openly hate housekeeping chores. Among the very useful and funny contents are: "Don't Just Do Something, Sit There", "Stains, Spots, Blots, Scars, and Dueling Wounds", "How to Be Tightfisted without Having It Show", "The Hostess with the Leastest", and "How to Be Happy When You're Miserable". There are hundreds of sensible suggestions on house cleaning, handling of electrical equipment, care of clothes, and entertaining. She even includes hints on household chores that don't need to be done at all, if you're careful. Among the original and practical ideas she offers are the household "clutter deposit"; the Useful Box, Instant Housekeeping. Housekeepers of every variety will find this book as much fun to read as to follow. Included too are more uncomplicated recipes and Hilary Knight's inimitable drawings.

    Critiques of all Chaucer's poetry (except the Romaunt of the Rose, the fragmentary Anelida and Arcite, and a few of the short lyrics).