Missing dustjacket so this item has a different cover than shown in the

Missing dustjacket so this item has a different cover than shown in the listing image. A former library book with all the expected stamps stickers and markings. Light sun-fading on the cover. Some shelf storage or usage wear present. The binding is tight and all pages are present. The pages appear unmarked. Pictures available upon request. Individually inspected by Shay. Thanks for supporting an independent bookseller!

Very Clean Copy-Over 500, 000 Internet Orders Filled.

Very Clean Copy-Over 500, 000 Internet Orders Filled.

First printing Torn/worn dj. Good hardcover with some shelfwear; may have previous owner's name inside. Standard-sized.

First printing Torn/worn dj. Good hardcover with some shelfwear; may have previous owner's name inside. Standard-sized.

New York. 1983. Farrar Straus Giroux. 1st Printing. Very Good in Dustjacket.

New York. 1983. Farrar Straus Giroux. 1st Printing. Very Good in Dustjacket. 0374106606. 96 pages. hardcover. Jacket design by Cynthia Krupat. Jacket illustration, 'Green Summer' by Sir Edward Coley Burne-Jones, 1868. keywords: Caribbean Antigua Literature Women America World Literature. DESCRIPTION-Reading Jamaica Kincaid is to plunge, gently, into another way of seeing both the physical world and its elusive inhabitants. Her voice is, by turns, naïvely whimsical and biblical in its assurance, and it speaks of what is partly remembered, partly divined, The memories often concern a childhood in the Caribbean-family, manners, and landscape-as distilled and transformed by Kincaid's special style and vision. ‘Girl, ' the first story in this collection of ten pieces, plays with a particular but typical upbringing: ‘Wash the white clothes on Monday and put them on the stone heap; wash the color clothes on Tuesday and put them on the clothesline to dry always eat your food in such a way that it won't turn someone else's stomach; on Sundays, try to walk like a lady and not like the slut you are so bent on becoming. ' The catalogue of demands is varied, the refrain repeated, as in a song. In ‘Holidays, ' a trip to the country is related with the same light touch. The title story, ‘At the Bottom of the River, ' is a culmination of the themes and imagery that inform most of this short but seemingly limitless book. Kincaid leads her readers to consider, as if for the first time, the powerful ties between mother and child; the beauty and destructiveness of nature; the gulf between the masculine and the feminine; the significance of familiar things-a house, a cup, a pen. Transfiguring our human form and our surroundings-shedding skin, darkening an afternoon, painting a perfect place-these stories tell us something we didn't know, in a way we hadn't expected. inventory #42547.