John Moore (British Author) - Works

Works

  • Dixon's Cubs (1930)
  • The Book of the Fly-rod (ed, with Hugh Sheringham) (1931)
  • Dear Lovers (1931)
  • Tramping Through Wales (1931)
  • English Comedy (1932)
  • King Carnival
  • The Walls are Down (1933)
  • The Welsh Marches (1933)
  • The New Forest (1934)
  • Country Men (Biography) (1935)
  • The Angler's week-end Book (ed, with Eric Taverner) (1935)
  • Overture, Beginners! (1936)
  • The Cotswolds (1937)
  • Clouds of Glory (1938)
  • A Walk Through Surrey (1939)
  • The Countryman's England (1939)
  • Life and Letters of Edward Thomas (ed) (1939)
  • Wit's End (1942)
  • Fleet Air Arm (history) (1943)
  • Escort Carrier (1944)
  • The Navy and the Y Scheme (1944)
  • Portrait of Elmbury (1945)
  • Brensham Village (1946)
  • The Blue Field (1948)
  • Dance and Skylark (1951)
  • Midsummer Meadow (1953)
  • Tiger, Tiger (short stories) (1953)
  • The Season of the Year (1954)
  • The White Sparrow (1954)
  • The Boy's Country Book (ed) (1955)
  • Come Rain, Come shine (1956)
  • September Moon (1957)
  • Jungle Girl (1958)
  • Man and Bird and Beast (1959)
  • You English Words (1961)
  • The Elizabethans (1962)
  • The Year of the Pigeons (1963)
  • Best Fishing Stories (1965)
  • The Waters Under the Earth (1965)

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Famous quotes containing the word works:

    “We all agree now—by “we” I mean intelligent people under sixty—that a work of art is like a rose. A rose is not beautiful because it is like something else. Neither is a work of art. Roses and works of art are beautiful in themselves. Unluckily, the matter does not end there: a rose is the visible result of an infinitude of complicated goings on in the bosom of the earth and in the air above, and similarly a work of art is the product of strange activities in the human mind.”
    —Clive Bell (1881–1962)

    “The works of women are symbolical.
    We sew, sew, prick our fingers, dull our sight,
    Producing what? A pair of slippers, sir,
    To put on when you’re weary or a stool
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    Or else at best, a cushion, where you lean
    And sleep, and dream of something we are not,
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    This hurts most, this ... that, after all, we are paid
    The worth of our work, perhaps.”
    —Elizabeth Barrett Browning (1806–1861)

    “Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
    —Thomas Mann (1875–1955)