The Last Word

A’ Choisir-chiul: The St. Columba Collection of Gaelic Songs, Arranged for Part-Singing. London: Bayley and Ferguson, n.d. Notes: Flyleaf: Inscribed "Una Jeffers, On board ship Oban--to Iona and Staffa, September 1929." Inside front cover: Pasted-in clipped verse: "From the lone shieling of the misty island / Mountains divide us, and the waste of the seas-- / Yet still the blood is strong, the heart is Highland, / And we in dreams behold the Hebrides."

A Practical Hand-Book to Galway, Connemara, Achill, and the West of Ireland, with a Description of the Principal Objects of Interest on the Journey from Dublin. Dublin: The Midland Great Western Railway Company, 1896. Notes: Flyleaf: In Una’s hand, "Round Towers--Donoughmore 12; Taghadre 23; Clonmachnors 37; Aran Islands 50; Aghagower (near Westport) 94; Killala (nr. Belfast) 120."

A. E. (George William Russell). Voices of the Stones. New York: The Macmillan Company, 1925. Notes: Inside front cover: Clipped drawing of A. E. by William Rothenstein. In Una’s hand, two poems: (1) "Ah, when I think the earth on which I tread / Hath borne these blossoms of the lovely dead / And makes the living heart I love, to beat / I look with sudden awe beneath my feet / As you, with erring reverence, overhead." (2) "‘I look on wood and hill and sky, / Yet without any tears; / To the warm earth I bid goodbye / For what unnumbered years. / So many times my spirit went / This dark transfiguring way, / Nor ever knew what dying meant / Deep night or a new day, / So many times it went and came, / Deeper than thought it knows / Unto what majesty of flame / In what wide heaven it goes’ (The last poem in A. E.’s last book of verse)." Half-title page: clipped verses pasted in: "Call now thy wanderer home as yet, / Though he be late. / Now is his first assailing of / The invisible gate. / Be still through that light knocking. The hour / Is thronged with fate. • • • Let thy young wanderer dream on, / Call him not home. / A door opes, a breath, a voice / From the ancient room / Speaks to him now. / Be it dark or bright, / He is knit with his doom." Title page: Loose, a small card, with a brightly colored Irish symbol printed on it, and inscribed in Una’s hand, "Mrs. Jeffers." Page 62: Four clipped poems: (1) "Still rests the heavy share on the dark soil; / Upon the black mold thick the dew-damp lies. / The horse waits patient: from his lowly toil / The plowboy to the morning lifts his eyes. / The unbudding hedgerows dark against the day’s fires / Glitter with gold-lit crystals: on the rim / Over the unregarding city’s spires / The lonely beauty shines alone for him. / And day by day the dawn or dark enfolds / And feeds with beauty eyes that cannot see / How in her womb the Mighty Mother molds / The infant spirit for eternity." (2) "Vale." "This was the heavenly hiding place / wherein the spirit laughed a day, / All its proud ivories and fires / Shrunk to a shoveful of clay. / It must have love, this silent earth, / To leap at the King’s desire, / Moving in such a noble dance / Of wreathed ivory and fire. / It will not stir for me at all, / Nor answer me with voice or gleam. / Adieu, sweet-memoried dust, I go / After the Master for His dream." (3) Now the silver light of dawn, / Slipping through the leaves that fleck / My one window, hurries on; / Throws its arms around my neck. / Darkness to my doorway hies, / Lays her chin upon the roof, / And her burning seraph eyes / Now no longer keep aloof. / And the ancient mystery / Holds its hands out day by day, / Takes a chair and croons with me / By my cabin built of clay." (4) "Platonics." // "I walked with a young dryad through the woods, / And though the town poured out its noisy folk / That all might seem as common as the street / Under the palace of leaves, yet nothing broke / The sweet antiquity wherein my feet / Kept pace with a young dryad through the woods. / Was not thy light-limbed beauty an evocation / Of the gay Child that ever in us bides / Ancient with youth? Even under gray hair / It leaped up golden, the shining wanderer, / The unwithering life that in the mortal hides. / Of this was thy light beauty the evocation. / Unknowing the subtle Master of Every Art, / Thy gentle finger shaping thee to His mind / With airy touches, think not fantastical / The words that praise thee as being over kind-- / A friend’s blindness. No. I see but in all / The subtle hand of the Master of Every Art." Page 63: In Una’s hand, "Sacred Hazel = the Celtic Tree of Life. It grew over Comla’s Well and the fruit which fell from it were the Nuts of Knowledge which give wisdom and inspiration. Comla’s Well is a Celtic equivalent of the First Fountain of Mysticism. ["Comla’s" is my best guess; Una’s handwriting here is a bit difficult.] / The three great waves = the wave of Toth, the wave of Rury, and the Long, slow white-foaming wave of Cleena. In the bardic stories those three mystical waves shout round the coast of Ireland in recognition of great kings and heroes. / Fomor (the dark powers) were defeated by the Tuatha de Danaan (hosts of light) at Moytura led by Lu (or Leigh) god of light who slew Balor of the Evil Eye by a cast from a sling." Page 64: Clipped fragment of an article about A.E.: ". . . . the god, jealous that their high inheritance shall not perish: ‘Let it not die, let us still be / Even in heart-torturing remembrance bound / to what we were.’ / There are magnificently sweeping passages in this poem, passages of exaltation and inspiration. A. E., sage of the years, has once more descended from the mountain ranges of thought to call hopefully to the children of men. Armid had been keeping vigil with the droning king to whom she had brought the vision of the future. the poem ends thus: ‘So the high king, rapt in his vision dreamed / Of that great hostel. at the end of time / Where all the cycles sleep; and came at last / To open his eyes upon the brazen gloom / To know the labor before him, and to hear / The Titans raving madly in the hall.’" Below is a picture of A.E. from a print by Walter Tittle. Page 65: Two clippings: (1) "Those images of beauty / That once I did despise, / Now in my age I cherish / And clutch with miser’s eyes. / Even for one frail blossom / I will make sacrifice. / Once there were other treasures / I had, O strange to say, / Made dim those magic blossom / And I cast them away. / I cast beauty from me / As a god child might in play. / O what was in the being / Of boyhood that could make / Beauty seem but a glimmer / That followed in the wake / Of some proud sail set sunward / On some enchanged lake." (2) "Still lit with that loving directness, the mind can turn with no misgiving to the cloudy radiance of AE, as a friend of painting might turn from a Dutch interior to Murillo. AE is the true mystic, the thinker who thinks to the end, and then abandons thought, not because he is incapable of it, but because he chooses a nobler use, or one nobler to him:-- ‘Is there still in us / A heaven-descended ray / Of that which built the palaces / Of night and day? / Do our first works, sun, noon and stars, / Shine on our clay?’ Yes, there is such a heaven-descended ray in this poet. He has rhythms so slow that you would think that they could not overtake a shadow. That is their cunning. They can overtake, and hold, the light that casts it." (No source, no attribution, no identification of poems.) Inside back cover: Two clipped portraits of A.E., one a photograph and the other a painting by Jack Yeats.

A. E. (George William Russell) AE’s Letters to Mínanlábáin. New York: The Macmillan Company, 1937. Notes: This volume is a collection of letters written by AE to Kingsley Porter and his wife, Lucy Kingsley Porter (who wrote the introduction). Flyleaf: Two inscriptions: (1) "Tor House, Carmel," in Una’s hand. (2) "To Mrs. Jeffers, who carries the spirit of Glenneagh within her. Carmel, Feb. 23, ‘46, Lucy Kingsley Porter." Inside front cover: In Una’s hand, "‘We who live inland never know anything about islands. We never know what the sea is like with its spaces, its storms, its sadness, its exaltation. We have never felt the wild wind sweeping unbroken from the rim of the world. We know nothing of islands. Why, the sea is full of islands, thousands of them of all sizes--some with mts. rising high out of the water, others with low rocks and green fields and beaches with sea birds. It is in islands there is magic. It is in islands one breathes fresh, salt air. Heavy-footed dwellers on the mainland never know joy. It is the island-dweller whose heart leaps and sings.’ (Kingsley Porter wrote this in an unpublished play.) See page 15 this book. Inish Bofin (Island)." Page 15: Lucy Kingsley Porter’s story about her voyage from Inish Bofin to the mainland, where AE was waiting for her, knowing that her husband had been swept off the cliffs and lost. Back flyleaf: In Una’s hand, "AE: ‘It is part of my philosophy that things that are evil can be got rid of by thinking of their opposites.’ Moore: ‘I think AE is too great a man to be a great artist.’ Moore: ‘Art with AE is a means rather than an end; it should be sought, for by its help we can live more purely, more intensely but we must never forget that to live as fully as possible is, after all, our main concern. . . . . he sets life above craftsmanship.’"

A. E. (George William Russell) The Candle of Vision. London: Macmillan and Company, 1920. Notes: Inside front cover: Pasted-in photo of A. E. Front flyleaf: Inscribed in Una’s hand, "Una Jeffers." Back flyleaf: In Una’s hand, "As he spoke he paused before a great mound grown over with trees and around it silver-clear in the moonlight were immense stones piled, the remains of an original circle, and there was a dark, low, narrow entrance leading therein. ‘This was my palace. In days past many a one plucked here the purple flower of magic and the fruit of the tree of life.’ And even as he spoke, a light began to glow and to pervade the cave and to obliterate the stone walls and the antique hieroglyphics engraven thereon and to melt the earthen floor into itself like a fairy sun [had?] dimly uprisen within the world, and there was everywhere a wandering ecstasy of sound: light and sound were one; light had a voice and the music hung glittering in the air . . . ‘I am Aengus; men call me the Young. I am the sunlight in the heart, the moonlight in the mind; I am the light at the end of every dream, the voice forever calling to come away; I am desire beyond joy or tears. Come with me, come with me, I will make you immortal: for my palace opens into the Gardens of the Sun and there are the fire-fountains which quench the heart’s desire in rapture.’"

Abbott, Herbert Vaughan, Ed. The Sir Roger de Coverley Papers from The Spectator. Chicago: Scott Foresman, 1899. Notes: Flyleaf: Inscribed "Una Call" at top of page and "Donnan Jeffers" at bottom. Page 12: Pasted-in clipped portrait (original by Sir Godfrey Kneller) of Joseph Addison. Page 207: Pasted-in cartoon illustration by H. M. Brock for "an Edition of ‘Sir Roger de Coverley’" captioned "Lulled Asleep with solid and elaborate Discourses of Piety."

Adamic, Louis. The House in Antigua: A Restoration. New York: Harper and Brothers, 1937. Notes: Flyleaf: Inscribed "To Garth Jeffers, I hope you’ll go to Guatemala some day, Louis Adamic, 1938." Listed under "‘Other Books by Louis Adamic,’ Robinson Jeffers: Portrait of a Poet (Pamphlet; out of print)."

Aeschylus. Agamemnon. Girard, Kansas: Haldeman-Julius Company, n.d. Notes: Little Blue Book Series Number 760. Cover: In RJ’s hand, faint writing which begins, "A story of [the rest is unreadable]" Inside back cover: Pasted in, a brief, clipped fragment (no source, date or attribution) discussing the value of "freedom" or "liberal variations on the Greek," giving "force and vigour" to the translation of Greek dramatic verse by Professor Murray.

Aldington, Richard, Ed.. The Viking Book of Poetry of the English Speaking World. New York: The Viking Press, 1941. Notes: Contains two poems by Jeffers: "Signpost" and "Shine, Perishing Republic." Page 98: Una notes the lines "But from this earth, this grave, this dust, / My God shall raise me up, I trust," from Sir Walter Raleigh’s "Verses Written in His Bible." Page 139: Una notes "The Shepherd’s Wife’s Song" by Robert Greene. Pages 184, 188, 189--Una notes songs from Shakespeare. No marginalia to indicate which of the songs was of particular interest.

Alighieri, Dante. La Vita Nuova (The New Life). Translated and illustrated by Dante Gabriel Rossetti. London: George Routledge and Sons, n.d. Notes: Inside front cover: Museum picture-card showing Paolo and Francesca (no other identification). Book purchased in Florence, according to bookstore’s plate, also inside the front cover.

American Academy of Arts and Letters. New York: National Institute of Arts and Letters. Notes: These are the Academy’s yearbooks for 1950-55; 1957-60. Jeffers is listed as having been elected to the Institute’s Department of Literature in 1937, and as having been elected to the Academy in 1945 (he held Chair 28-3). Jeffers does not appear to have been otherwise active in the organization, as he is not listed as an officer, a committee member or as the recipient of any of the organization’s awards.

American Red Cross First Aid Text-Book. Philadelphia: P. Blakiston’s Son and Company, 1937. Notes: Fkyleaf: Una has written notes for treatment for shock in flyleaf. Page 130: Inserted loose: 1942 leaflets on "The Application of Traction Splints" and "War Gases," and a clipped article titled "What to Do in an Air Raid . . . What to Do in a Gas Attack." On back cover: Una’s handwritten notes on treating sprains, strains, puncture wounds, hemorrhaging and blood poisoning.

Amphora: A Collection off Prose and Verse Chosen by the Editor of the Bibelot. Portland, Maine: Thomas Bird Mosher, 1914. Notes: Hand-cut pages (some uncut). Page 76: In margin next to Gerard Manly Hopkins "I have desired to go / Where springs not fail . . ." and a handwritten note: "Lines on a nun taking the veil."

Angeli, Helen Rossetti. Shelley and His Friends in Italy. London: Methuen and Company, Ltd., 1911. Notes: Flyleaf: Inscribed "Una Jeffers." Pasted-in clipped photo labeled in Una’s hand, "Caetani Tower - Pontine Marsh." Title page: In Una’s hand under author’s name, "(daughter of William Rossetti and niece of Dante Gabriel Rossetti.)." Page 126: pasted-in clipped reproduction of a miniature captioned "Countess Teresa Guiccioli. Venice, April, 1819." Opposite Index: Pasted-in clipped article titled "The Shore of Shelley’s Funeral Pyre" by F. L. Minnigerode, in which the event is described in imaginative detail. Inside back cover: Four 4" x 6" photographs, loose, with handwritten notes on backs: (1) tombstone of Joseph Severn ("Rome by Alfred Sutro"); (2) Keats’ tombstone ("Rome by Alfred Sutro"); (3) street scene ("where Keats died, Piazza di Spagna, Rome, from Alfred Sutro"); (4) pyramid surrounded by grass, trees and tombstones ("Rome, Caius Cetius Pyramid, by Alfred Sutro").

Aristophanes. The Clouds. William Arrowsmith, Translator. Ann Arbor: The University of Michigan Press, 1962. Notes: Inside front cover: Inscribed in handwriting neither Una’s nor Robin’s, "Jeffers." Loose 3" x 5" card with note, "Benjamin Bickley Rogers, best tr. of Aristophanes. Frere is a standard tr." in pencil. Publication date suggests that this volume might belong to a younger member of the Jeffers family.

Arnold, T. W., Trans. The Little Flowers of Saint Francis. London: J. M. Dent and Company, 1901. Notes: Flyleaf: Inscribed in Jeffers’ hand, "John Robinson Jeffers, Jan 10, 1902." Ribbon bookmark lies at beginning of Chapter VII, "How Saint Francis passed a Lent in an island I the lake of Perugia, where he fasted forty days and forty nights, and ate no more than one half loaf."

Ausgabe, Geordnete, Erste Vollständige and Herausgegeben von Ernst Kamnitzer. Novalis Fragmente. Dresden: Jess Verlag, 1929. Notes: Flyleaf: Inscribed "Brian[?] William[?] for Robinson Jeffers affectionately" (the latter phrase appears written in Jeffers’ hand). 790 pages in German, this volume is marked throughout, both in the text (marginal check marks and lines) and in the index (check marks). The book contains only one handwritten word (in English; see end of this entry), so it is difficult to determine whose marks these are, but the method of marking the book is not consistent with Una’s habitual treatment of a favorite work; it is much tidier and more terse. The volume contains ten neatly cut paper book marks, all carefully arranged and lined up along the inner edges of the pages they mark. This, too, is unlike Una’s habit. It is possible that RJ or Mr. William[?] might have been the source of these additions. It would take considerable time to transcribe all of the marked passages, as they occur throughout the book, but this appears a sufficiently important work to note the book’s chapters (then leave it to a later researcher who can understand and appreciate the German text and see a relationship between the material here and Jeffers’ work): Novalis Als Mythische Gestalt; Fragmente Über Die Fragmente; Geschichte Der Enzyklopädistik; Geschichte Meines Lebens; Bruchstücke Philosophischer Enzyklopädistik (includes discussions of the relationship between poetry and philosophy throughout, along with discussions of German philosophers, Greek philosophers, logic, pedagogy, cosmology, nature philosophy, and moral philosophy); Magische Philosophie; Bruchstücke Physikalischer Enzyklopädistik; Chymie; Magische Chemie, Mechanik und Physik; Mathematiche Fragmente Das Ist Philsophische Betrachtung Der Mathematischen Begriffe; Magische Mathematik; Bruchstücke Medizinischer Enzyklopädistik; Magische Medizin; Bruchstücke Psychologischer Enzyklopädistik (heavily marked in index); Fragmente Uber Den Menschen, Menschenlehre; Von Zusammengesetzten Menchen, Höhere Wissenschafslehre; Rechtslehre; Staatslehre; Geschichtslehre; Magische Menschenlehre; Magische Geschichtslehre; Religiöse Fragmente; Mystizismen; Kunstfragmente; Magische Kunstfragmente; Romantische Noten; and die Christenheit Oder Europa. One handwritten word, "Abstract," in relation to the topic "Goethe ist ganz praktischer Dichter," appears on page 652; the handwriting could be RJ’s.

Automobile Association Irish Handbook, 1937-38. Dublin: Automobile Association of Ireland, 1937. Notes: Inside front cover: In Una’s hand, two notes: (1) "Accident July 9; July 24 left Taos." (2) In uncharacteristically untidy hand on flyleaf, "Una Jeffers." Pages 40-41: Una has checked several A.A. publications: A. A. Road Book of Ireland; A. A. Road Book of England and Wales; A. A. Touring Map of Ireland; A. A. Touring Map of England and Wales; Irish Service Map. In margin, some notes: "Aran Is. / Bookstore Towers / gloves."

Baillie-Grohman, William A. Sport in Art: An Iconography of Sport, Illustrating the Field Sports of Europe and America from the Fifteenth to the End of the Eighteenth Century. London: Simpkin, Marshall, Hamilton, Kent and Co., n.d. Notes: Inside front cover: Note in Una’s hand, "Unicorn page 98." Page 98: Reproduction of "Frieze depicting combats with wild animals and griffins" by E. Delaune.

Ball, Wilfrid. Some Sussex Water-Colours. London: Adam and Charles Black, 1913. Notes: Opposite print of Bodiam Castle: Clipped sketch of "Inner View and Gate of Bodiam Castle." Back flyleaf: "Bodiam Castle in Sussex." Inside back cover: Postcard (labeled "Lee") captioned "La Vierge du Grand Duc" from Pitti, Florence (loose), and clipping of entrance gateway of Bodiam Castle from interior showing the Barbican (pasted).

Balzac, Honoré de. Père Goriot. Washington: National Home Library Foundation, 1932. Notes: Flyleaf: Inscribed "To Robinson Jeffers with kindest regards, Sherman Mittell." (Mr. Mittell is listed as the editor for the series to which this volume belongs--The Jacket Library.)

Barnes, William. Poems of Rural Life in the Dorset Dialect. London: C. Kegan Paul and Company, 1879. Notes: Table of Contents: Poems checked in pencil: "The Spring," "Evenèn, an’ Maïdens out at Door," "Our Fathers’ Works," "Woak Hill," and "The Turnstile." Page x: Penciled note, "Goods all a shienen’ / M’long years a handlin’." Page 160: Two inserted items: (1) Transcription in Una’s hand identified as "Letter from Sir Edmund Gosse to Hamo Thorrycroft, Shirehall Lane, Dorchester, July 23, 1883. ‘Hardy has taken a house in this town a houses of which a townsman said, "He have but one window and she do look into Gaol Lane." It is indeed a kind of mole, for the entrance is almost invisible and its burrow extends to the back of everything. Dorchester is an enchanting little country town, with several handsome churches, old fortifications turned into elm avenues and bits of Roman walls and vallum everywhere--as bright and clean as a pin and full of life: a cavalry and an infantry regiment are stationed in it and bugling and marching and the loitering colored military give it quite a foreign air. Hardy and I walked last afternoon through fields of rye 5 and even 6 ft. high to the village of Winterbourne-Came of which Mr. Barnes the poet is Rector. We were ushered up into the choir, behind a delicious old carved screen among 17th cent. marble monuments of the Earls of Portarlington. The church is a tiny little affair that you could put in your park. The congregation seemed to fill it pretty well and yet we were only 45 souls in all. Barnes is a wonderful figure. He is in his 83rd yr. He has long thin silky white hair flowing down and mingling with a full beard and moustache also as white as milk a grand dome of a forehead over a long thin pendulous nose, not at all a handsome face but full of intelligence and a beauty of vigor in extreme old age. He undertook the entire service himself and preached rather a long sermon. Then he stayed behind to hear the school children practice their singing and walked to the rectory as he had walked from it, rather over a mile. We waited in Came Park and he caught up with us. His dress is interesting, black knee breeches and silk stockings, without gaiters, and buckled shoes. I hear he is the last person in Dorset to keep up this dress. He was extremely hospitable and seemed untirable. We stayed four hours with him and all that time he was hurrying us from place to place to show us his treasures. His mind runs chiefly on British antiquities and philology! It was difficult to induce him to talk much about his poems. I was extremely gratified and interested by my visit. / Gosse to Drinkwater Oct. 21, 1926 / On the 16th of Aug 1875 my wife and I being on our wedding journey drove from Clovelly to Bude. It was a wild morning of storm. We turned a little aside at Hartland intending to call and pay our respects to Mr. Hawker, but on approaching the confines of Morwenstow heard the passing bell and stopping to inquire were told that the news of the Vicar’s death on the preceding day had just reached the village.’" (2) Clipped news article, attributing the awakened interest in Barnes to "a well-known American poet, Mr. Robinson Jeffers," from the front page of the Dorset County Chronicle and Swanage Times, Thursday, July 15, 1948 (Vol. CXXVII No. 5326) titled "Crossed Atlantic to Study Barnes," with the following passages printed in bold: "Not only engineers can earn badly needed dollars for us. Not only living men can pull their weight to help this country. Out of the shades of yesterday a poet has returned to Dorset, drawing visitors from America who have specially come to study his work. . . . [W. T. Levy from City College, New York] has specially come all the way from his home to study Barnes’ work and surroundings with the intention of writing a book about the poet." A handwritten note at the top of the clipping says, "I have some additional copies for you should you want them. A news bulletin to the same effect went over the BBC and I may record an interview for the BBC next week! Barnes has ‘news value’! I have so much to tell you. I saw Lennox and Mr. Seumas O’Sullivan in Dublin and Mr. O’Sullivan is a great admirer of Robin’s. WTL." Advertisement Section, page 1 (at back of the book): Clipped, pasted-in ad for a mint copy of Hardy’s 1908 Select Poems of William Barnes, Chosen and Edited.

Barwell, Noel. Cambridge. London: Blackie and Son, Ltd., 1910. Notes: Flyleaf: Inscription reading "A. T. W. W., 8: 7: 1918. R. A. F. Armament School, Oxbridge." Inside front cover: Pasted-in, two clipped pictures captioned "Christ College, Cambridge; and "Corpus Christi College, Cambridge, Where Marlowe Went to College." Inside back cover: Pasted-in, clipped picture captioned "Pembroke College, Cambridge."

Baudelaire, Charles. The Poems of Charles Baudelaire. Selected and Translated from the French, with an Introductory Study, by F. P. Sturm. London: The Walter Scott Publishing Company, n.d. Notes: Inside front cover : In Una’s hand, "Recueillment" / "Sois sage, O ma Douleur, et tiens-toi plus tranquille / Tu réclaimais la soir, il descend; le voici: / Une atmosphère obscure enveloppe la villa, / Aux uns portant la paix, aux autres le souci, / Pendant que des mortels la Multitude vile / Sous le fouet du Plaisir, ce bourreau sans merci / Va cuellir du remords dans la fête servie / Ma Douleur, donne-moi la main, viens par ici. / Loins d’eux, vois se pencher les défuntes amiées / Sur les balcons du Ciel, en robes suramiées / Surgir du fond des eaux le Regret Souriant. / Ce Soleil moribond s’endormir sous une arche / Et comme un long linceul traîmant à l’Orient / Entends, ma chère, entends la douce nuit qui marche. / Que dires-tu ce sois, pauvre âme solitaire / Que diras-tu, mon coeur, coeur autrefois flètri, / A la très chère / Dont le regard divin t’a soudain refleuri?" Inside back cover: In Una’s hand, "Ange plein de gaîté connaissez-vous l’angoisse / La honte, les remords les sanglots, les ennuis / Et les vagues terreurs de ces affreuses nuits / Qui compriment le coeur comme / un papier qu’on froisse? / Ange plein de gaîté, connaissez-vous l’angoisse? / . . . mes yeux consumés ne voient / Que des souvenirs de soliels."

Bawden, Edward and Noel Carrington. Life in an English Village: Sixteen Lithographs by Edward Bawden with an Introductory Essay by Noel Carrington. Harmondsworth, Middlesex, England: Penguin Books, 1949. Notes: Front flyleaf: Inscriptions reading "Una dear - This came from Bess Francis the other day and as I read it it occurred to me that you would enjoy it!" and "Greetings from London - Bess."

Beard, Charles A. and William C. Bagley. The History of the American People. New York: The Macmillan Company, 1923. Notes: Inside front cover: Pasted in, a clipped article headed "‘An Insult to the Flag: The Trent Affair: England on the Verge of War: Lincoln’s Calmness.’ (By Our Military Correspondent.)." Below, in Una’s hand, "London Observer, Dec. 1931."

Beerbohm, Max. The Poet’s Corner. London: The King Penguin Books, 1943. Notes: Page containing Rossetti sketch: In hand (pencil), in the margins around Beerbohm’s sketch titled "Dante Gabriel Rossetti, in his back garden," the following caricatures are identified: Meredith, Burne-Jones, Hall Caine, Holman Hunt, Ruskin, William Morris, Mrs. William Morris, Rossetti, Watts-Dunton, Swinburne, Whistler.

Benét, William Rose, Ed. The Oxford Anthology of American Literature. New York: Oxford University Press, 1938. Notes: Pages 1354-83: Nine works by Robinson Jeffers: The Tower Beyond Tragedy (full text), "Noon," "Night," "Invocation from Tamar," "Ante Mortem," "Tor House," "The Death of the Eagle from Cawdor," "Love the Wild Swan," and "Self Criticism in February." Pages 1669-70: A brief critical biography of Jeffers, in which Jeffers is characterized as "the obverse of Walt Whitman," and in which Jeffers comments on the origin of The Tower Beyond Tragedy: "My father gave me a good start in Latin and Greek when I was quite young, both at school and at college. I took them as they came, and that was never profoundly. I think most of whatever acquaintance I have with the classic spirit came from reading English poetry. The origin of The Tower Beyond Tragedy was probably in the rich voice and Amazon stature of a German-Jewish actress with whom we were acquainted a few years ago. She recited one of the more barbaric Scotch ballads magnificently in private, and her voice suggested Clytemnestra and Cassandra to me, all the more because she rather failed in the usual sort of play. I had no thought of production when I wrote, and for that reason began with some lines of narrative. . . . We turn to the classic stories, I suppose, as to Greek sculpture, for a more ideal and also more normal beauty, because the myths of our own race were never developed, and have been alienated from us."

Benson, Robert Hugh, Reginald Balfour, and Charles Ritchie. An Alphabet of Saints. London: Burns Oates and Washbourne Ltd., n.d. Notes: Title page: Inscribed "For Una from Ellen, July 1930."

Birmingham, G. A. Our Casualty and Other Stories. New York: George H, Doran Company, 1918. Notes: Flyleaf: Inscribed "Rumsey Campbell."

Blake, William. Poems and Prose of William Blake. Girard, Kansas: Haldeman-Julius Company, n. d. Notes: Little Blue Book Series Number 677. Inside front cover: Pasted-in clipped picture of William Blake from a portrait in the National Portrait Gallery. Inside back cover: Pasted-in, "Infant Sorrow," under which Una has written, "Blake."

Bland, Henry Meade, Ed. A Day in the Hills: A Poetical Competition of the Edwin Markham Chapter of the English Poetry Society Held at Villa Montalvo, Saratoga, Santa Clara County, California, September 18, 1926; Including a Short Anthology of California Poems Specially Contributed by Their Authors. San Francisco: James D. Phelan, 1926. Notes: Because of the associations here with Phelan family (Noel Sullivan’s family) and Sterling, I have noted some of the interesting items in this volume. Inside front cover: Loose photograph of a young woman placing a laurel wreath on a sculpted bust; written on the photograph in white ink, "Theta Sigma Phi, souvenir of visit, Helen Wills crowned June 5 ‘27, Villa Montalvo, Saratoga, California." The introductory note describes the event: "The Edwin Markham Chapter of the English Poetry Society of the Teachers’ College, San Jose, Santa Clara County, California, held its second annual out-of-door meeting at Mr. James D. Phelan’s Country Estate, Villa Montalvo, Saratoga, on September 18, 1926, when the prize poems were read and book prizes were handed to the winners (previously determined) by Gertrude Atherton, and laurel wreaths were conferred by Helen Wills. The Club Members and other invited guests were entertained at luncheon on the terraces by Senator Phelan, and afterward the company adjourned to the open-air theater for the literary exercises. . . . It was decided to invite a few well-known California writers to contribute to the Souvenir Volume, and their generous response is hereby acknowledged with thanks and an expression of deep obligation by the English Poetry Society." Facing page 24: photograph of George Sterling with James D. Phelan and Edwin Markham at Villa Montalvo, 1915, and a facsimile of Sterling’s manuscript of "At Villa Montalvo" below. Facing page 56: photograph of Sterling at the Bohemian Grove, 1926, captioned, "In Memoriam George Sterling." Pages 51-52: Three poems by Sterling: "Abraham Lincoln" (identified in the text as "perhaps his last poem"); "To Charles Warren Stoddard"; and "Sorrow." Pages 82-84: "Woodrow Wilson: February, 1924" by Robinson Jeffers.

Blunt, Wilfrid Scawen. My Diaries: Being a Personal Narrative of Events 1888-1914. (Part One.) New York: Alfred A. Knopf, 1921. Notes: Flyleaf: Inscribed "Una Jeffers." "Publisher’s Note" page: Pasted-in announcement of the availability of 275 numbered copies of The Celebrated Romance of the Stealing of the Mare, "translated from the original Arabic by Lady Anne Blunt and done into verse by W. S. Blunt." Page 234: Loose, clipped article from the front page of the September 19, 1925 edition of The Saturday Review of Literature (Vol. II, No. 8): "Uncrowned King of Sussex" by Cameron Rogers, recalling Blunt’s remarkable life (he died in 1922). Also a brief clipped article (n.d., n.p.) titled "In His Traveling Carpet" describing the burial wishes of and legacies left by Blunt. Page 312: Clipped article by Padraic Colum from The Commonweal, October 28, 1931 (page 635), recalling Blunt and making reference to My Diaries. Inside back cover: 1½" x 1" plate: "MY DIARIES, Wilfrid Scawen Blunt, Part One, 1888 to 1900." [lre]

Blunt, Wilfrid Scawen. My Diaries: Being a Personal Narrative of Events 1888-1914, Part Two [1900-1914]. New York: Alfred A. Knopf, 1921. Notes: Flyleaf: Inscribed "Una Jeffers." Title page: In Una’s hand under title, "1840-1922." Inside back cover: Pasted-in 1½" x 1" plate: "MY DIARIES, Wilfrid Scawen Blunt, Part Two, 1900-1914."

Bogg, Edmund. A Thousand Miles of Wandering in the Border Country. Newcastle: Mawson, Swan and Morgan, 1898. Notes: Flyleaf: Inscribed in Una’s hand, "Una Jeffers, Tor House, Carmel, 1930." Other notes on flyleaf appear those of a previous owner. Inside front cover: Pasted-in, clipped photo of Barcaldine Castle. It appears that Una came into the possession of this book after it had been owned by a kindred spirit, for there are many pasted-in clippings throughout (all meticulously pasted into the inner edges of the book in a manner uncharacteristic of Una) and handwritten notes (in a hand other than Una’s).

Bone, Gertrude. Of the Western Isles. London: T. N. Foulis, 1925. Notes: Front flyleaf: Pasted-in, clipped pictures of Iona, Shetland, and an account of a pilgrimage to local Masonic lodges in the Farne Islands off Northumberland, where St. Cuthbert lived (and died in 687). Half-title page: Pasted-in, clipped photograph of Skye, with Duntulm Castle in background. Page 52: Loose, clipped photograph of the same scene, but a wider view.

Borthwick, Norma. Irish Reading Lessons. Book 1. Dublin: The Irish Book Company, 1902. Notes: Flyleaf: Inscribed "Una Jeffers, Dublin, 1929."

Bostick, Daisy. Carmel--Today and Yesterday. Carmel: the Seven Arts, 1945. Notes: Flyleaf: Inscribed, "Sincerely yours, Daisy Bostick, Carmel, Cal." Page 56: "Howard E. Smith has done many portraits of well-known people, among them Robinson Jeffers and General J. W. Stilwell" (this is where the books opens most readily). Page 74: "Every summer, from 1910 onward (except for two intermissions) plays have been produced in the Forest Theater. Outstanding among the premiere productions were The Toad by Bertha Newberry, Fire by Mary Austin, Montezuma by Herbert Heron, Junipero Serra by Perry Newberry, Serra by Garnet Holme and The Tower Beyond Tragedy by Robinson Jeffers. Page 79: Photograph captioned "Entrance to Carmel Playhouse--Owned and Operated by Edward G. Kuster." The story of the genesis and trials of the theater is briefly told. Pages 86-88: An unusual amount of space and two photographs (Tor House and Hawk Tower by Horace Lyon, and a Weston portrait of Jeffers) are devoted to Robinson Jeffers: "Robinson Jeffers, said by one critic to be the greatest poet since Homer, has made his home in Carmel for three decades. The scenes of many of his poems have been laid on the coast south of Carmel and in the Carmel valley. Visitors from all over the world come here just to stop before his home on the rocky shore and to draw inspiration from the picturesque granite tower which was built by his own hands and where on its upper level he has spent much time in looking out over the Pacific and in the creation of his epic poems."

Boswell, James. A Journal of a Tour to the Hebrides with Samuel Johnson, LL.D. London: J. M. Dent and Sons, Ltd., 1928. Notes: Page 167: Loose, clipped review, "The Mystery of Mary Broad Solved: An Obscure but Benevolent Incident in the Career of a Great Biographer," by William L. C. Carlton, discussing Boswell and The Girl from Botany Bay by Frederick A. Pottle. Page 318: In Una’s hand, in left margin, a translation of Quod petis, hic est; / Est Ulubris; animus si te non deficit æquus: "What you seek is here, even in Ulubrae, if your mind is firm."

Bourdillon, Francis William, Ed. Aucassin and Nicolette: An Old French Love Story. London: Macmillan and Company, 1907. Notes: Page 150: Loose, a typogravure card of Madonna in Adoration by Lippi (at the Washington Cathedral).

Bradford, Charles Angell. Heart Burial. London: George Allen and Unwin Ltd., 1933. Notes: Inside front cover: Loose clippings: (1) A fragment of a review of a book about the early beginnings of the Maryknoll order and of the request, later granted, by one of the order’s founders, that his heart be buried near the tomb of St. Bernadette. Una identifies the central figure in this story as "Father Price of Maryknoll, died in China Sept 1910." (2) Clipped article from Time, November 20, 1944, titled "The Heart of Santos-Dumont," telling of a "piece of sculpture holding a preserved human heart [that] was a new feature of Rio de Janeiro." The heart belonged to "Brazil’s pioneer aviator, Alberto Santo-Dumont, who at Bagatelle, France in 1906 was the first man to fly a heavier-than-air machine in public demonstration (two years before the Wright brothers)." (3) Journal article titled "French Graves of English Kings," by G. L. Merchant (pp. 753-763; no other publication data), about the graves of William the Conqueror, Henry II, Richard his son, and James II. Flyleaf: Pasted-in clipped photograph captioned, "A Saint’s Heart: The Chapel of St. Laud in Ch[r]ist Church Cathedral contains this curious cage wherein, encased in iron, rests the heart of St. Laurence O’Toole, Archbishop of Dublin in the twelfth century--eight hundred years ago." Overleaf: Pasted-in clipped photograph captioned, "Père de Foucauld once was buried here--Tamanrasset--in the single grave under a wood cross. Three troopers, who also perished in the assault, lie in the group of three graves. The monument shelters General Lapperrine’s bones and, now, the heart of Foucauld, whose body was reburied, in 1929, at El Goléa." Una adds in hand, "Foucauld ‘a Saharan Crusader,’ Trappist monk, killed Dec. 1, 1916 by desert fanatics. Gen Laperinne crashed here in airplane 1920 and was buried by his friend. In 1929 Foucauld’s body was carried to El Goléa but his heart placed in the tomb of Laperinne. Foucauld was soldier and explorer as well as monk." Title page: Pasted-in, clipped photograph captioned, "Reiliquaire d’or du coeur d’Anne de Bretagne, légué par la duchesse à la ville de Nantes." Opposite title page: Pasted-in clipped article (no title, no source, no attribution) about a chateau, Augerville-la-Rivière, purchased by Consuelo Vanderbilt and once owned by Jacques Coeur, "who financed Jeanne d’Arc’s army [and] gave the chateau as a dowry to his daughter, whose heart was found in the vault of the quaint church in the village." Introduction page: Pasted in, three clipped articles (no sources, dates or attributions): (1) The first tells the story of the mystery of Voltaire’s heart, "secretly and illegally removed from his remains" and kept by the Comte de Villette until his death. Ultimately, this treasure was given by Villette’s heirs to the French government. (2) The second article continues the story, asserting that the heart appears to be safely at the Bibliothèque Nationale. (Side note: One of these articles has a hole in the middle, obscuring some letters in two of the words. Una has meticulously filled in the missing letters.) (3) The third piece is titled "Death of Livingstone" and appears to be one section in a much longer article. While primarily a description of the care and love accorded Livingston’s body by the natives of Ilala on the southwest shore of Lake Bangweolo, the article also notes that Livingston’s heart was buried "beneath a tree in the village, where today a monument marks the spot." The rest of the explorer’s body was carefully embalmed and ultimately returned by the Africans to the British Consul at Zanzibar. Page 242: Una notes in the margin next to a brief account of "David Livingstone, Missionary and Explorer" that additional information can be found at the front of the book. Page 256: Pasted-in clipped photo captioned "Homage to Pilsudski: Mme. Pilsudski depositing the silver urn containing the heart of Marshall Pilsudski in the mausoleum which has been built in the Ors Cemetery at Vilna." A clipped article from another source describes the ceremonies and deep national mourning accorded the Polish military leader who "sent Poland to war in 1920." His heart was buried "by his mother’s grave at Vilna" and "his brain will go to the University of Warsaw." The remainder was buried at the cathedral of Wawel Castle, "Poland’s Westminster Abbey." Page 257: Pasted-in, detailed pencil drawing identified in Una’s hand as "Silver urn containing Pilsudski’s heart lying in state." Inside back cover: Pasted in, four clipped articles: (1) "Patriot’s Heart Travels Home: Bronze Urn Containing This Token of Kosciuszko, Polish Soldier, Will Be Placed in The Cathedral at Cracow," with clipped picture pasted with article; (2) "Marie’s Heart To Be Enshrined" (Queen Marie of Rumania, whose heart was honored because it "beat, suffered and felt for Rumania."). Una notes that the event was dated 1938, and that the heart was buried at the Stella Maris Chapel at Balcik; (3) "Hungary Wants Carl’s Heart There From Spain"; (4) "A Tragic Princess. Story of a Neglected Grave," about the decay of the "family vault, in which lies the body of Claudine Rhédey, Princess Alexander of Wurtemberg, and grandmother of Her Majesty, Queen Mary." The Princess’s heart, "kept in a glass case on [her husband’s] table for forty-four years," was later "placed beside his body in [his] coffin."

Braeme, Charlotte M. Claribel’s Love Story. New York: F. M. Lupton, n.d. Notes: Flyleaf: Inscribed "Una Call, 1898, August 25." Pasted-in, clipped paragraph titled, "The Earl of Lucan, who has just been created a Knight of the Order of St. Patrick by Queen Victoria, is the head of the popular Irish house of Bingham and son of the commander of the British Cavalry in the Crimean War to whom belongs the merit or the blame for the historic Charge of the Light Brigade at Balaklava."

Brooks, Van Wyck. The Flowering of New England, 1815-1865. New York: E. P. Dutton and Company, 1936. Notes: Page 156: Loose, four 4" x 5" clipped printings of Currier and Ives paintings: The Route to California; Central Park, Winter; The Road - Winter; The Great West.

Brougham, Eleanor M., Ed. Varia: A Miscellany of Verse and Prose, Ancient and Modern. London: William Heinemann, 1925. Notes: Inside front cover: (1) Directions on how to prepare a Welsh winter drink using English wild peppermint, and on how to roast a swan, in verse (gravy, too); (2) advice for curing "the falling sickness" at the Well of Trevougas; (3) a poetic puff piece, complete with medical advice, on the success of the Salerno School in curing the English king (Una notes, "rhymed in Latin at Salerno. William of Normandy was a patient there."); (4) a verse reading, "What shall I doe? I know not what to doe, / Where shall I runne, oh runne? I cannot goe / Where shall I goe, oh goe? I cannot stirre." Flyleaves: The theme of the clippings here appears to be the mutability of the body and the soul’s purpose: (1) Donne advises, "Goe and catch a falling starre," and then muses on the "Pedantery" / Of being taught by sense, and Fantasie," while (2) St. Catharine is prayed to (in verse) for a husband, who is "good," "sweet," "handsome," "rich," and "soon." (3) Hadrian addresses his soul, the "Dear little, roaming, charming soul, the body’s guest and companion," both in English and Latin. (4) A medieval poem predicts, among other things, that a child born on a Sunday "A great lord he shal be." (5) Also included is letter to an editor quoting a snippet of Herbert -- "There is mirth as well as seemliness in right living. / All things are big with jest: nothing that’s plain, / But may be wittie, if thou hast the vein." (6) An unattributed verse says, "One man shall mow my meadow, / Two men shall gather it together, / Two men, one man and one more, / Shall shear my lambs and ewes and rams / And gather my gold together." (7) Written in Una’s hand, "Gay go up and gay go down / to ring the bells in London Town . . . . / ‘You owe me ten shillings!’ / Say the bells of St. Helen’s. / ‘When will you pay me?’ / Say the bells of old Bailey. / ‘When I shall grow rich?’ / Say the bells of Shore ditch. / ‘Pray when will that be?’ / Say the bells of Stepney. / ‘I-do-not-know’ / Says the great bell of Bow. (Bow silent after 250 yrs. 1928-1933. Restored by Gordon Selfridge.)" Page ix, (in the "Preface"): Brougham notes that Varia: A Miscellaney was "the outcome of a wet summer" during which she did much reading and "noting down of prose and verse for which we have contracted a fondness. They must be remembered, and, possibly, shared." At the end of the "Preface" Una has pasted in a clipping, evidently an excerpt from a letter to an editor, in which the writer discusses four lines of verse found among the records of the Borough of Rye, dating from c. 1600, and anticipating Marvell’s "green thought in a green shade": "Grene leaves grene / Agrene leves greane / My harte is howlde / Thre hundred fowlde / And greene leves betwene." Back flyleaves: (1) Description of a memorial to "Fair Rosamond, mistress of Henry II and poisoned by Queen Eleanor in 1173," according to Una’s note/translation of the Latin inscription on her tomb; (2) a prophecy about the ruin of Dunnottar; (3) an inscription on a bell looted from a monastery; (4) three additional inscriptions from bells and/or tombstones (they are not identified); (5) a bit of wisdom--"God may sende a man good meate, but the Devyll may sende as evyll cook to dystroye it"; (6) a passage of Donne’s prose from "The Wonderfull Yeare," reflecting "a world before Puritanism, with its alteration of the individual conscience and its burden of personal responsibility: What an unmatchable torment were it for a man to be bard up every night in a vast silent Charnell-house? hung (to make it more hideous) with lamps dimly and slowly burning, in holow and glimmering corners; where all the pavement should in stead of greene rushes, be strewde with blasted Rosemary, withered Hyacinthes, fatall Cypresse and Ewe, thickly mingled with heapes of dead mens bones; the bare ribbes of a father that begat him, lying there: here the Chaples hollow scull of a mother that bore him: round about him a thousand Coarses, some standing bolt upright in their knotted winding sheetes: others halfe mouldred in rotten Coffins, that should suddenly yawne wide open, filling his nostrils with noysome stench, and his eyes with the sight of nothing but crawling wormes. And to keepe such a poore wretch waking, he should hear no noise but of Toades croaking. Screeching Owles howling, Mandrakes shrieking. . . ." (7) Clipping from Scots Magazine, March 1778 (citation Una’s), of an obituary describing the last wishes of the decedent, age 90: "he desired to be carried to the grave by six men in leather jackets; and that the coffin may be set down at a place named, for the bearers to drink a bowl of punch upon it; also ordered a punch-bowl and glasses, and a dog and gun, to be painted thereon." (8) Pasted-in clipping quotes Pepys (taken from Boswell’s Life of Johnson) on what he considered a fine dinner: fricasee of rabbits and chickens, leg of boiled mutton, three carps on a dish, a side of lamb, roasted pigeons, four lobsters, three tarts, a lamprey pie, a dish of anchovies, and several wines. (9) Pasted-in clipping describes the terms used for numbers of game, alongside of which Una has added "gaggle of geese / exaltation of larks / siege of cranes / yoke of oxen / game of swans / brood of chickens." Back of last flyleaf: Two epigrams: (1) In Una’s hand, "L’Envoy," from an "Ancient Book of Songs, E. F. Rirnbault": "Go, Little Booke, to suttle world, / And shew thy simple face, / And forward passe, and do not turne / Agayne to my disgrace. / For thou shalt bring to people’s eares / But truth, that needes not blush; / And though perchance thou get’st rebuke, / Care not for that a rush: / For evill tongues do itch so sore, / They must be rubbing still / Against the teeth, that should hold fast / The clapper of the mill. / Desire those men that likes thee not, / To lay thee downe againe / Till some sweete nappe and harmless sleepe / Hath settled troubled brayne." (2) Una attributes to Philip Massinger the following: "Virtue’s but a word, / Fortune rules all." Also on this page, a picture of the work of six year-old Elizabeth Clements, who inscribed, "This I have done, I thank my God, / Without the correction of the rod." Inside back cover: Epigrams: (1) "From the Life of Alonso de Conteros, 1582-1633 [Una’s note], He returned to Spain, resolved to become a hermit on a barren hillside in Aragon. He bought ‘the necessary implements: a hair shirt, and a scourge and sackcloth to make a frock, a sundial, many penitential books, some seeds, a death’s head, and a little hoe.’" (2) An epigram summing up the life of one Phineas Fletcher, which reads in part, "Goe little pipe forever I must leave thee / My little little pipe but sweetest ever. . . ." (3) Another clipping quotes two lines inlaid in a marquetry table at Hardwicke Hall: "The redolent smelle of eglantine / We stagges exalt to the Divine." (4) And the unkindest poetry of all: "the Kirkcaldy bill for the burning of two witches--they needed ten loads of coal at £3 Scots for the lot--and the more appropriate poetry is the cold gleam, against that blaze, of ‘The new fall’n snow to be your smock, / It becomes your bodie best; / Your heid sal be wrapped wi’ the eastern wind, / And the cauld rain on your breist.’" (5) From Marvell, "But at my back I always hear / Time’s winged chariot hurrying near . . . " and "The grave’s a fine and private place, / But none, I think, do there embrace." (6) Una attributes to Richard Corbett the following political verse: "Witness those rings and roundelays / Of theirs, which yet remain, / Were footed in Queen Mary’s days / On many a grassy plain; / But since of late, Elizabeth, / And after, James came in, / They never danced on any heath / As when the time hath been." (7) At the bottom of the page is a William Cory translation of an epigram written by Calimachus (Una’s note): "They told me, Heraclitus, they told me you were dead, / They brought me bitter news to hear and bitter tears to shed. / I wept as I remembered how often you and I / Had tired the sun with talking and sent him down the sky. / And now that thou art lying, my dear old Carian guest, / A handful of gray ashes, long, long ago at rest, / Still are thy pleasant voices, thy nightingales, awake, / For Death, he taketh all away, but them he cannot take."

Browning, Robert. Selections from the Poetical Works of Robert Browning. Chicago: Donohue Brothers, 1872. Notes: Flyleaf: Inscribed "Una Call."

Browning, Robert. Selections from the Poetical Works of Robert Browning. From the Sixth London Edition (First and Second Series). New York: Thomas Y. Crowell and Company, n.d. Notes: Flyleaf: Inscribed "Winnie from Mary--Merry Christmas." Page 76 (location of "Andrea Del Sarto"): Loose, a small commercial envelope stitched, folded and tucked inside of a hand-made paper envelope. On the face of the commercial envelope, Una has written, "Florence, Italy" at the top; at the bottom, below some small, pressed, dried leaves, in Una’s hand, "From [?] B. Browning’s tomb. I had to brush the snow from the tomb of W. S. Landor to read his name." Inside back cover: Noted in Una’s hand, "Meeting at Night, 45 / Parting at Morning, 45 / Porphyria’s Lover, 157 / James Lee’s Wife, 172."

Browning, Robert. The Complete Poetic and Dramatic Works of Robert Browning. Boston: Houghton Mifflin Company, 1895. Notes: Flyleaves: Inscribed "Una Küster, Sept. 1908." Pasted-in clipped picture of Browning. Table of Contents: Poems marked: "By the Fireside," "My Last Duchess," "The Last Ride Together," "A Grammarian’s Funeral," "The Statue and the Bust," "Porphyria’s Lover," "Pictor Ignotus," "Fra Lippo Lippi," "Andrea Del Sarto," "The Bishop Orders His Tomb at Saint Praxed’s Church."

Brusse, Jan. Nights in Paris. London: André Deutsch and Company, 1958. Notes: Flyleaf: Inscribed in Jeffers’ hand, "Jeffers, Tor House, Carmel, Calif."

Bryant, Lorinda Munson. Pictures and Their Painters: The History of Painting. New York: John Lane Company, 1907. Notes: Inside front cover: Loose clippings are from periodicals and reproduce the following works: Madonna and Child with Saints by Francesco Francia; Virgin and Child by Botticelli; The Nativity by "the So-Called Maitre de Moulins"; Adoration of the Shepherds by Mantegna; The Nativity by Hans Memling; St. Agnes by Lippo Memmi; A Madonna by Bonfiglio; The Nativity, Chartres Cathedral, Thirteenth Century Sculpture; "Pencil Portrait of Himself by Leonardo da Vinci"; Madonna and Child by Fra Bartolommeo; Madonna and Child by Gerard David; Portrait of a Lady by Gelastiane Mainardi; Madonna and Child by Filippino Lippi; The Mystical Adoration of the Child by Botticelli; Worship of the Child by Piero della Francesca; Holy Night by Correggio; Birth of Jesus by Sandro Botticelli; Madonna and Child by Cosimo Tura; Nativity scene by Mercan Tonio (c. 1470-1530); The "Benson" Madonna by Botticelli; A page of Botticelli "Madonnas," intended "for comparison with the ‘Benson’ Madonna"; Madonna and Child by Carlo Crivelli; Virgin and Child by Carlo Crivelli; The Nativity by Fra Angelico; Portrait of a Lady by Piero Pollaiuolo; The "Cowper" Madonna (Raphael?); Portrait of a Lady by Bastiano Mainardi; Crucifixion by Fra Angelico; "The Head of the Angel" detail in a painting by Botticelli; "The Head of the Virgin" detail in a painting by Botticelli. Facing title page to Chapter III ("Italian Painting"): Pasted-in advertisement, with pictures, for Sassetta by Bernard Berenson (this is alongside a small, black and white picture of The Marriage of St. Francis to Poverty with a brief excerpt from the book describing the picture’s details). At the Chapter on Dürer (end of volume): Pasted-in clipping showing the artist’s The Great Cannon. At the Chapter on Hans Holbein: Loose clipping showing The Cardinal archbishop Albricht of Mayence as St. Jerome by Lucas Cranach the Elder. At the Chapter on English Painting: two loose articles about the work of Gerard David.

Buchan, John. The Massacre of Glencoe. New York: G. P. Putnam’s Sons, 1933. Notes: Flyleaf: In Una’s hand under John Buchan’s name, "(Lord Tweedsmuir, 1935)." Below, clipped photo of John Buchan, "Now Lord Tweedsmuir." Inside front cover: Pasted-in, two clipped photos showing a panorama of the Glencoe Road beside Loch Tulla and at the crossing of the Moor of Rannoch on the borders of Argyll. Flyleaf: Inscribed "Una Jeffers, Tor House, Carmel, 1933." Inside front cover: Loose, a publisher’s broadsheet, 2" x 5", describing The Massacre of Glencoe; on the back, Una has written, "Putnam, [$] 1.50." Half-title page: Pasted-in clipped article dated, in hand, "Oct ‘34" and datelined London: "Famous Glencoe Will Be Sold: There Took Place the Macdonald Massacre"; it details the 1692 event in which 38 were killed by the forces of Captain Robert Campbell of Glenlyon. Page 13: Clipped sketch of "The Clachan of Carnach in Ghostly Glencoe." Inside back cover: Pasted in, three clipped photos, captioned: "The ‘Valley of the Shadow . . . the Burial-Place of a Race of Giants,’ the New Road Passing Through Glencoe"; (in hand) "Strathfillar between Crianlarich and Tyndrum"; and "Pass of Glencoe, 1937."

Bunting, Edward. General Collection of the Ancient Irish Music Containing a variety of Admired Aires never before Published, and also The Compositions of Conolan and Carolan; Collected from the Harpers &c. in the different Provinces of Ireland and adapted for the Piano Forte, with a Prefatory Introduction. London: Preston and Son, n.d. Notes: Flyleaf: Two inscriptions: "Mrs. Jeffers, Tor House, Carmel, California, Sept. 1926, (from the Cathedral Bookstore, Belfast, Ireland)," and "Ellen Black 1867." Inside back cover: In Una’s hand, a table of contents (not a feature of the published book), with page numbers.

Burnett, Whit, Ed. This Is My Best: Over 150 Self-Chosen and Complete Masterpieces, Together with Their Reasons for Their Selections. New York: The Dial Press, 1942. Notes: Robinson Jeffers is featured beginning on page 631 with "Tamar Dancing." Jeffers is quoted as saying, "This passage is chosen chiefly for the sake of perspective, because ‘Tamar’ was written twenty years ago. Probably I have done better since then . . . and worse . . . but the poem seems nearer my mind than many later things. Carmel, California. May 6, 1942." In the "Biographies and Bibliographies" section, pages 1141-42, the following: "Robinson Jeffers has said that during his college years he was ‘not deeply interested in anything but poetry.’ He adds that poetry runs pretty thin under such a limitation, and he had passed thirty before he wrote anything worth reading. He was born in Pittsburgh, Pennsylvania, on January 10, 1887, the son of a scholar. His ancestry, he says, was ‘all pre-Revolutionary American, except paternal grandfather from North Ireland.’ He went to school in Europe, and on his return to this country was graduated from Occidental College, Los Angeles, at the age of eighteen. Subsequently he spent what he calls ‘desultory years’ at the University of Zurich and the University of Southern California Medical School. Mr. Jeffers married Una Call Kuster in 1913, and settled in Carmel, California, building his own house of sea boulders. In 1916 he became the father of twin sons, Garth and Donnan. His first volume of poetry to attract wide attention was Tamar and Other Poems, published in 1924. Through this and his subsequent works he has earned the title of the poet of tragic terror. His poetry is characterized by emotional violence and an intense revulsion from society. ‘Cut humanity out of my being,’ he has written, ‘that is the wound that festers.’" A bibliography follows: Flagons and Apples; Californians; Tamar and Other Poems; Roan Stallion, Tamar and Other Poems; The Women at Point Sur; Poems (Book Club of California); Cawdor and Other Poems; Dear Judas and Other Poems; Descent to the Dead; Thurso’s Landing and Other Poems; Give Your Heart to the Hawks and Other Poems; Solstice and Other Poems; Such Counsels You Gave to Me and Other Poems; Selected Poetry; Be Angry at the Sun. The editor notes at the end, "All of Mr. Jeffers’ work is poetry. A large number of limited editions have been omitted from the bibliography on his own request."

Burns, Robert. The Merry Muses: A Choice Collection of Favourite Songs Gathered from Many Sources, to Which are Added Two of His Letters and a Poem--Hitherto Suppressed--Never Before Printed. Privately Printed [not for sale] 1827. Notes: Flyleaf: Inscribed "Presented to Una and Robinson Jeffers, knowing that it will be both appreciated and understood -- Please accept it as a small token of our extreme pleasure in numbering you among our friends. -- May you both live to enjoy another twenty years of happiness. The Higbees, August 2, 1933, [signed] Walter F. Higbee." Clipping, pasted in, says that only ninety copies of this book were printed.

Burton, Sir Richard F. The Kasidah. Girard, Kansas: Haldeman-Julius Company, n.d. Notes: Ten Cent Pocket Series Number 152. Inside front cover: Pasted in, an advertisement for an edition of The Kasîdah illustrated with engravings by Wilfred Jones. Inside back cover: A pasted-in advertising blurb for (presumably) The Kasidah.

Cable, George W. Old Creole Days: A Story of Creole Life. New York: Charles Scribner’s Sons, 1899. Notes: Flyleaf: Inscribed "Una Küster, Jan. 1908."

Campbell, Joseph. Irishry. Dublin: Maunsel and Company, Ltd., c. 1913. Notes: Inside front cover: Pasted-in, clipped woodcut print by Barbara Latham captioned, "Burning Seaweed." Flyleaves: Inscribed, "Una Jeffers." Overleaf: In Una’s hand, "I stretch on this bed / As I shall stretch in the tomb, / A hard confession I make to thee / O God; absolution I am asking of thee, / For the evil sayings of my mouth, / For the evil thinkings of my heart, / For the evil actions of my flesh, / Everything that I have said that was not true, Everything that I have promised and have not fulfilled." Second flyleaf: Two clipped poems: (1) "Old Gaelic Rune of Hospitality recovered by Kenneth McCleod"--"I saw a stranger yestreen; / I put food in the eating place, / Drink in the drinking place; / And, in the sacred name of the Triune, / He blessed myself and my house, / My cattle and my dear ones. / And the lark said in her song, / Often, often, often, / Goes the Christ in the stranger’s guise." (2) Una identifies the author of this poem as F. R. Higgins: "Not many miles after in Connacht / The sun slipped away from the birds, / And I buried that Munster yew berry / In true soil untrodden by herds; / But its growth in the night-time had opened / A green hand of hush on my house, / It outgrew the sun on my windows / And hid Nephin Beg in its boughs." In Una’s hand below, "I save this fire / As Christ once saved all, / May Bride care and keep it / On Mary’s high Son I call. / The three angels most mighty / In heaven’s hall / Protect us this hour / Until day shall dawn. (Upon covering the coals at night)." Opposite Table of Contents: Clipped poem attributed to Joseph Campbell: "I am the mountainy singer-- / The voice of the peasant’s dream, / The cry of the wind on the wooded hill, / The leap of the fish in the stream. / Quiet and love I sing -- / The cairn on the mountain crest, / The cailin in her lover’s arms, / The child at its mother’s breast. / Beauty and peace I sing -- / The fire on the open hearth, / The caill each spinning at her wheel, / The plough in the broken earth. / No other life I sing, / For I am sprung of the stock / That broke the hilly land for bread, / And build the nest on the rock." Page 44: Loose, small (calling?) card with colored drawing captioned "beannacca" and inscribed in her hand, "Una Jeffers." Opposite back flyleaf: Clipped news article announcing "The names of the [twenty-five] members of the new Irish Academy of Letters who have been nominated by G. B. Shaw and W. B. Yeats," plus ten associate members. Inside back cover: Clipped picture of Joseph Campbell (from painting by E. F. Solomons).

Cantus ad Processiones et Benedictiones, Ssmi Sacramenti: Juxta Vaticanam Editionem. New York: J. Fischer & Bro., n.d. Notes: Flyleaf: Inscribed "Una Jeffers."

Charles, Elizabeth Rundle. The Draytons and the Davenants: A Story of the Civil Wars. New York: M. W. Dodd, 1869. Notes: Inside front cover: In Una’s hand, "An old book found in a trunk at The Maples. Una Lindsay Call, Jan. 2, 1899. ‘The Draytons and the Davenants’ by Mrs. Elizabeth Rundle Charles, Pub. in U.S.A. 1869." Opposite title page: Three children’s signatures in juvenile copperplate: "Rose Merrick," "Mason ____," and "Mary Merrick." Dedication page: Written in a young person’s handwriting, "Rose Merrick is a good girl."

Chaucer, Geoffrey. The Poetical Works of Geoffrey Chaucer from the Text of Professor Skeat: The Canterbury Tales. Volume 3. London: Oxford University Press, 1925(?). Notes: Inside front cover: Loose, wallet-sized photo of two women, one with a military insignia on her hat (no i.d.); 1944 American Red Cross Certificate of Membership for Una Jeffers, for a War Fund Contribution of $10.00; pasted-in, two clipped (newsprint) reproduced medieval pictures--one a woodcut of a battle scene, the other from The Canterbury Tales. Title page: Pasted in, a clipped (newsprint), reproduced, medieval manuscript page.

Chesterton, Gilbert K. The Ballad of the White Horse. New York: John Lane Company, 1911. Notes: Flyleaves: Inscribed"Una Jeffers, Carmel, Tor House." Pasted in, a clipped poem by Chesterton, beginning, "The Christ-child lay in Mary’s lap, / His hair was like a light."

Church, Richard. Mary Shelley. London: Gerald Howe Ltd., 1928. Notes: Flyleaf: Inscribed "Una Jeffers from Theron Cooper of the Walden Book Shops, Chicago."

Ciceronis, M. Tulli. Cato Maior de Senectute Laelius de Amicitia.. Boston: Allyn and Bacon, 1892. Notes: Flyleaf: Two inscriptions: First inscription partially unreadable, but location is Ann Arbor, Michigan. Second inscription is, perhaps, "Agnes T. Dunton [difficult to make out], 96 South State Street." Additional faint notes in pencil--appear to be those of students. Back flyleaf and inside back cover: Handwritten notes, translations, initials (none Una’s), an address in Detroit; doubtful that the notes are Una’s.

Cleland, Robert Glass. The History of Occidental College, 1887-1937. Los Angeles: Ward Ritchie Press, 1937. Two copies at Tor House. Copy 1 Notes: Flyleaf: Two inscriptions: (1) "Inscribed to Mrs. Zena G. Holman by Robert G. Cleland, August 8, 1954"; (2) "Inscribed--the little bit that I am concerned in it--to Occidental College. Sincerely, Robinson Jeffers." Notes at the top of the flyleaf page: "7/7/52, Robinson Jeffers Pages 33-38. Poems pages 107-108." Copy 2 Notes: Pages 107-08: "Two Poems by Robinson Jeffers, Class of 1905. From Solstice, by permission of the publishers, Random House, New York." Then follows "Shine, Perishing Republic" and "Rock and Hawk," with a note at the end: "For permission to publish these two poems, the author is grateful to the publishers; to Mrs. Una Jeffers for her courtesy and thoughtfulness; and to Robinson Jeffers, whose form he can still see after the lapse of 30 years leaning against a mighty October wind on the gray rock summit of Mt. San Gorgonio."

Clemens, Cyril. My Chat with Thomas Hardy. Webster Groves, Missouri: International Mark Twain Society, 1944. Notes: Cover (paper): Inscribed, "To Robinson Jeffers with high esteem and cordial Birthday Greetings. Cyril Clemens. 10th January 1951." Title page: Inscribed "Cyril Clemens."

Cobbett, William. Rural Rides in Surrey, Kent, and Other Counties. London: J. M. Dent and Sons, Ltd., 1932. Volume 1, Notes: Illustration page: Clipped advertisement for this edition. Volume 2, Notes: Page 1: Loose, clipped copy of June 21, 1835, The Observer obituary for Cobbett, republished (probably in 1935). Back flyleaf: Duplicate advertisement (see Volume 1) pasted in. Inside back cover: Loose, a clipped article titled, "An Old Surrey Town," by W. H. Owens; it is about Farnham, in Surrey, the birthplace and home of William Cobbett (b. 1762; d. 1835).

Collins, James. Life in Old Dublin: Historical Associations of Cook Street, Three Centuries of Dublin Painting, Reminiscences of a Great Tribune. Dublin: James Duffy and Company, 1913. Notes: Flyleaf: Inscribed, "Albert M. Bender, 1921. For Una, with my very best wishes, A.M.B. 1937."

Colton, Walter, Rev. Three Years in California. New York: S. A. Rollo and Company, 1859. Notes: Opposite page 289: Pasted-in, clipped picture captioned "Walter E. Colton, First Alcalde of Monterey." Page 457: Pasted-in, clipped paragraph from a review of Border Wars of the West, which is advertised on this page. Page 459: Loose, a Book Club of California commemorative reproduction of Don Agustin Vicente Zamorano’s self-portrait and signature, along with a brief description of his career and significance in California. Back flyleaf: Pasted in, a clipped copy captioned, "Sutter’s Fort--New Helvetia: From ‘California in 1846.’" Inside back cover: Loose, the following four items: (1) Clipping from the Monterey Herald (1946) titled "Constitution Room Has Been Restored to Beauty: Reception Center for Honored Guests; Governor’s Office: Colton Hall is to California what Constitution Hall in Philadelphia is to the nation." (2) Clipped photo from newspaper dated Monday, October 18, 1948, captioned "Pioneers and One Unknown," of Jacob B. Leese, Thomas O. Larkin, William D. M. Howard, and Sam Brannan. One man is unidentified. (3) Clipped article (n.d., n.p.) titled "First California Newspaper Issued 100 Years Ago Today." (4) Replica of the "first paper ever published in California," datelined Monterey, Saturday, August 15, 1846, and published by Colton and Semple.

Colum, Padraic. My Irish Year. London: Mills and Boon, Ltd., n.d. Notes: Frontispiece: In Una’s hand, "‘An Old Woman of the Roads’ by Padraic Colum [four-line stanzas]: ‘O, to have a little house! / To own the hearth and stool and all! / The heaped up sods upon the fire, / The pile of turf against the wall! / To have a clock with weights and chains / And pendulum swinging up and down! / A dresser filled with shining delph, / Speckled and white and blue and brown! / I could be busy all the day / Clearing and sweeping hearth and floor / And fixing on their shelf again / My white and blue and speckled store. / I could be quiet there at night / Beside the fire and by myself / Sure of a bed and loath to leave / The ticking clock and shining delph! / And roads where there’s never a house nor bush, / And tired I am of bog and road, / And the crying wind and the lonesome hush! / And I am praying to God on high, / And I am praying him night and day, / For a little house--a house of my own-- / Out of the wind’s and the rain’s way.’" Inside front and back covers: Clippings of scenes from Ireland and a pencil sketch of Padraic Colum, pasted in.

Colum, Padraic. The Fiddler’s House, a Play in Three Acts, and the Land, an Agrarian Comedy. Dublin: Maunsel and Company, 1909. Notes: Inside front cover: Pasted-in clipped copy of the poem "In a Far Land" by Padraic Colum. Flyleaves: (1) In Una’s hand, "(by P. C. in old age) / The briars drag me at the knee / The brambles go within / And often do I feel him turn-- / The old man in my skin. / Killeadean’s my village and every good’s in it / The rasp and the blackberry to set one’s tooth / And if Raferty stood in the midst of his people / Old age would go from him and he’d step to his youth! / The geese, even they, trudge homeward / That have their wings and the waste; / Let your thoughts go with night the herder / And be folded for a space. / Green, greener grows the foreland / Across the slate-dark sea / And I’ll see faces, places / That have been dreams to me!" (2) Pasted-in, a clipped photo of a bust of Padraic Colum by Alfeo Faggi. Page 115: Pasted in, two clippings: (1) In Una’s hand, "by Padraic Colum / ‘Branding the Foals’ which derives from a Latin epigram, is as fine in its stark and fiery passion as anything he has done: ‘Why do I look for fire to brand these foals? / What do I need, when all within is fire? / And lo, she comes, carrying the lighted coals / And branding-tool--she who is my desire! / What need have I for what is in her hands, / If I lay hand upon a hide it brands, / And grass, and trees, and shadows, all are on fire!’" (2) "The Knitters" by Colum. Page 116: Clipped poem titled, "The Goat of Slieve Donard." In Una’s hand, "By Patrick Kavanagh: ‘I saw an old white goat on the side of Slieve Donard / Nibbling daintily at the herb leaves which grow in the crevases, / And I thought of James Stephens. / He wrote of an old white goat within my remembering. / Seven years ago I read. / Now it comes back. / Full of the dreaming black beautiful crags. / I shall drink of the white goat’s milk. / The old white goat of Slieve Donard. / Slikeve Donard where the herbs of Wisdom grow, / The herbs of the Secret of Life that the old white goat has nibbled. / And I shall live longer than Methuselah / Brother to no man.’" Page 117: Clipped copy of "An Old Song Remade" by Padraic Colum. Inside back cover: In Una’s hand, "‘A quiet road! You would get to know / The briers and stones along the way / A dozen times you’d see last year’s nest / A peacock’s cry, a pigeon astray / Would be marks enough to set on a day.’ (Padraic Colum, ‘Old Pastures’)." Loose, a clipped review from The Commonweal titled "Padraic Colum’s Poetry" discussing Colum’s book Poems (review written by Katherine Brégy). In the margins, Una has supplied, in hand, either an additional verse of Colum’s poetry (evidently part of a collection titled Creatures) or a version of a tribute to "that noble vision, the old proud deer of Ireland, last of their race: An old man said I saw / The chief of the things that are gone; / A stag with a head held high / A doe, and a fawn. / And they were the deer of Ireland / That scorned to breed within bound / The last, they left no race, / Tame on a pleasure ground." The verse quoted in the article to which this section is appended reads, "A stag with his hide all rough / With the dew, and a doe and a fawn; / Nearby, on their track on the mountain, / I watched them, two and one, / Down to the Shannon going-- / Did its waters cease to flow / When they passed, they that carried the swiftness / And the pride of long ago? / The last of the troop that had heard / Finn’s and Oscar’s cry; / A doe and a fawn, and before / A stag with head held high!" Inside back cover: Pasted in, three clipped poems: (1) "The Poor Girl, a Meditation"; (2) a poem in memory of John Butler Yeats, which begins, "‘Tonight,’ you said, ‘tonight all Ireland round / The curlews call.’ The dinner-talk went on. / And I knew what you heard and what you saw, / That left you for a little while withdrawn-- / The lonely land, the lonely-crying birds!"; and (3) an unidentified poem which begins, "O, the black and roan horses the street would fill, / Their manes and tails streaming and they standing still. . . ."

Colvin, Sir Sidney. Memories and Notes of Persons and Places: 1852-1912. New York: Charles Scribner’s Sons, 1921. Notes: The "persons" include, in part, Robert Louis Stevenson, Dante Gabriel Rossetti, John Ruskin, Robert Browning, and Victor Hugo. Flyleaf: Inscribed "Una Jeffers." Inside front cover: Loose 5" x 7" (folded in half) printed document titled, "A Letter to the Most Illustrious the Contessina Allagia Dela Aldobrandeschi Written Christmas Eve Anno Domini 1513." The letter is dated Christmas Eve, 1513, and it is signed by Fra Giovanni (published by The Challenge, 24 Great Russell Street, London). Page 178: Loose, clipped article by Kathleen Woodward from a New York Times book review, August 31, 1924, titled "Lady Colvin, Whose Genius Was for Inspiring Others: For Fifty Years She Tamed the Literary Lions of England."

Conran, Michael. The National Music of Ireland: Containing the History of the Irish Bards, The National Melodies, The Harp, and Other Musical Instruments of Erin. London: John Johnson, 1850. Notes: Flyleaf: Inscribed by two previous owners: "Joseph Robinson, Manchester, 1850," and "Leslie Stevenson, County Antrim, 1928." Back flyleaf: Pasted in, a clipped letter to an editor (identified in hand by Una: "London Observer, Feb. 1938"), which refers to an article about Arnold Dolmetsch’s crusade to revive ancient music, and which points out that Carl Gilbert Hardebeck, though blind, had traveled throughout Ireland to record and identify music preserved among Irish peasants. Inside back cover: Note written by Una, "The vertue of the harpe, with skyll aryght / Will destrye the fendy’s (fiend’s) might. --Bishop Grosteste."

Cox, R. Hippisley. Where Green Roads Meet: A Guide to Avebury and Neighbourhood. Swindon: Swindon Press, Ltd., 1929. Notes: Cover: In Una’s hand, "Jeffers, Tor House, Carmel. Flyleaf: "November 15, 1929."

D’Annunzio, Gabriele. The Flame of Life. Boston: L. C. Page Publishers, 1909. Notes: Flyleaf: Inscribed "Una Kuster." Inside front cover: In Una’s hand, "Above the door of Duse’s house are carved D’Annunzio’s words, ‘Eleanora Duse / Figlia ulti mogenita di San Marco / Apparizone melodios a / del patimen to creatore / e della sovrana bonta.’ (To Eleanore Duse / Youngest daughter of San Marco / Melodious Impersonator of / Creative Suffering / And of sovereign goodness." Half-title page: Pasted in, a clipped passage headed in Una’s hand, "From D’Annunzio’s ‘Notturno’ written at Fiume: ‘I am stretched by the window. The moon is full. There is no wind-froth about her. . . . In Koré’s house there are now only white peacocks. I see only the great stone base, and the trees of the hidden garden, and a strip of luminous water. . . . Mystic and solitary greatness as in a dead Persian or Indian city. . . . The canal like an holy river where the ashes of pyres are scattered at sunset. . . . There is no voice heard, no fall of oars, no amour at all. Life seems to have breathed itself out ages before. . . . And the insensible moon contemplates a beauty as exanimate as that of Angkor or Anuradhapura.’" Pages 296-97: The book opens readily at the location of the following: "‘Oh, Virtue of the Flame!’ thought the Lifegiver, beguiled from his anxiety by the miraculous beauty of the element that had become familiar to him as a brother from the day in which he had felt the revealing melody. ‘Ah, that I might give to the life of the creatures who love me the perfection of the forms to which I aspire! That I might fuse all their weaknesses in some white heat, and make of it an obedient matter in which to impress the commandments of my will, which is heroic, and the images of my poetry, which is pure. Why, why, my friend, will you not be the divine, mobile statue of my spirit, the work of faith and of sorrow by which our lives might surpass our art itself? Why are we on the point of resembling those small lovers who curse and lament? I had truly thought that you could have given me more than love when I heard from your lips those admirable words: "One thing I can do, which even love cannot do." You must ever be able to accomplish those things which love can, and those things which love cannot do in order to equal my insatiable nature." Meanwhile, the work of the furnace was proceeding fervently. . . .’"

D’Israeli, I. Curiosities of Literature. London: George Routledge and Sons, 1867. Notes: No marks distinguish this volume as having been read by the Jeffers, but the book’s spine and stitching are broken at the section headed "Poets," by Peter Corneille. It begins, "In all ages there has existed an anti-poetical party. This faction consists of those frigid intellects incapable of that glowing expansion so necessary to feel the charms of an art, which only addresses itself to the imagination. . . . Plato, among the ancients, is the model of those moderns who profess themselves to be anti-poetical. . . ." It is not possible to know if the book was frequently opened at this place by Una or RJ, but it is certain--given the condition of the book--that if they handled it at all, it would have opened to this page.

Dadmum, Rev. J. W. The Melodean: A Collection of Hymns and Tunes, Original and Selected, Adapted to All Occasions of Social Worship. Boston: J. P. Magee, 1863. Notes: Inside front cover: Inscribed "Frank F. Jewell, Adams." Opposite title page: Pasted in, a clipped sketch captioned "‘And Fearful Sights and Great Signs shall be there from Heaven.’-- Luke XXI. 11."

Dalin, Ebba, Ed. The Zephyr Book of American Verse. Stockholm: The Continental Book Company, 1945. Notes: This volume contains three poems by Robinson Jeffers: "Apology for Bad Dreams," "I Shall Laugh Purely," and "The Stars Go Lonely over the Ocean."

Dane, Clemence. Granite: A Tragedy. New York: The Macmillan Company, 1926. Notes: Flyleaf: Inscribed "Una Jeffers." In Una’s hand next to the list of the author’s works, "The Moon is Feminine, 1938." Title page: In Una’s hand under the author’s name, "(Winifred Ashton)."

Darien, Peter. Village of Seven Gates. Berkeley Heights, New Jersey: The Oriole Press, 1958. Notes: Flyleaf: Inscribed "For Robinson Jeffers--with many thanks to America’s Greatest Poet from one of her least. P. D. (Bill Bassett), Christmas 1958."

Daudet, Alphonse. Tartarin de Tarascon. New York: Ginn and Company, 1918. Notes: Flyleaf: Inscribed "Gracella Rountree." Appears to have been used as a textbook.

de la Mare, Walter. Come Hither: A Collection of Rhymes and Poems for the Young of All Ages Made by Walter De La Mare and Embellished by Alec Buckels. New York: Alfred A. Knopf, 1923. Notes: Flyleaves: Inscribed "Una Jeffers." Clipped poem labeled in Una’s hand "The Child Jesus to Mary the Rose. XIV Cent. by Lydgate. See page[s] 495, 186." Page 41: In the margin next to "Lines on Receiving His Mother’s Picture," by William Cowper, in Una’s hand, "I was a striken deer, that left the herd / Long since; with many an arrow deep infixed / My panting side was charged when I withdrew / To seek a tranquil death in distant shades. / There was I found by one who had himself / Been hurt by the archers. . . . And find the total of their hopes and fears / Dreams, empty dreams. (Wm. Cowper, The Task, Book III)." Page 49: Next to "The Poplar Field" by Cowper, in Una’s hand, "Time was when settling on thy leaf, a fly / Could shake thee to the root - and time has been / When tempests could not. / Time made thee what thou wast, King of the Woods / And time hath made thee what thou art - a cave / For owls to dwell in. (Yardley Oak by Wm. Cowper)." Page 186: "Henry Before Agincourt: October 25, 1415," by Lydgate. Page 254: Marked in the poem "Hark," by John Webster, the line, "Their life a general mist of error, / Their death a hideous storm of terror." Page 256: Una corrects the misprint, "Winter is my true-love’s shroud" to read "Whiter." Page 355: Evidently, "The Churchyard on the Sands," by Lord de Tabley, is missing two stanzas in this volume. Accordingly, Una has pasted in a clipped copy of two more stanzas: "Strong and alone, my love with thee; / And tho’ mine eyes be wet, / There’s nothing in the world to me / So dear as my regret. / Sleep and forget all things but one, / Heard in each wave of sea-- / How lonely all the years will run / Until I rest by thee." Page 416: Una has emended a footnote which gives the meaning of "richt" as "right" by adding the meaning of "laith": it is "loath," in the line, "O our Scots noble were richt laith." Page 488: A pasted-in clipping labeled by Una, "See page 498." Page 498: In the chapter (part of the section de la Mare characterizes as the book’s "Key") titled, "Joan Strokes a Sillabub or Twain," a clipped article which criticizes de la Mare’s Sillabub as a "poor weak thing . . . not . . . the drink for a football hero," and proposes two other sillabub recipes from an 1800 volume titled The Family Receipt Book or Universal Repository of Useful Knowledge and Experience in all the various Branches of Domestic Economy. Pages 495-96: "Cuckoo, Jug, Jug, Pu We, to Witta Woo!" by Lydgate. Page 671: In Una’s hand, "The fals foxe camme unto oure croft. / And so oure gese ful fast he sought / With how fox how, with hey fox hey; / Comme no more to oure house to bere / Our gese awaye. (XV cent. ballad)." Page 672: A pasted-in typed letter on stationery from Hill House, Taplow, Buckinghamshire, dated May 8, 1936: "Dear Mrs. Robinson Jeffers, It was such a pleasure to have your letter about Come Hither this morning, and it was exceedingly kind of you to write it. It is amusing that you who hate anagrams should have discovered the absurd pseudonym that Natural Science secreted itself in, in the Introduction. And now I don’t know how to apologise for the fact that Kitchen Work is just Kitchen Work! It might of course - and this would be rather in the nature of things - pan out into something else, but I rather fancy that two K’s would be a little awkward. [Handwritten note] I know you will forgive this type at sight of this [scratching?]! Yours Sincerely, Walter de la Mare." Below, note in Una’s hand, "See page xxvi." Page xxvi: An "X" next to the passage, "One whole book-case consisted of what Mr. Nahum appeared to call Kitchen Work. But the one on a lower shelf which had now taken my attention was new to me--an enormous, thick, home-made-looking volume covered in a greenish shagreen or sharkskin." Marginalia at several other junctures in the book’s introduction, "The Story of This Book": Page xi: De La Mare refers to East Dene; Una writes "Eden Seat" in the margin. Page xii: Next to the word "Thrae" Una writes "Earth" and by the word "Taroone" she writes "Nature (oore)." Page xv: Next to the word "Sure Vine" Una writes "Universe." Page xvi: Una crosses out some letters in the sentence "She, I had discovered, was called Linnet Sara Queek or Quek or Cuec [underline Una’s] or Cueque," next to which she writes the words "Natural Science." Page xvii: Next to "Ten Laps" Una writes "Planets," and next to "East Dene" she writes "Eden Seat." Page xx: Next to "Nahum" Una writes "Human," and next to "Nahum Taroone," she writes "Human Nature." Page xxvi: Una notes "Kitchen Work." Page xxvii: Una again translates "Nahum Tarune" as "Human Nature." Page 681: In the Index to this volume, Una notes her addition of the Lydgate poem on the flyleaf: "also inset front page." Next to index entries for Mary Coleridge and for Percy Shelley Una has written "536." Page 536 (actually 537): The explanatory entry titled "It Caught His Image": "And Shelley: ‘. . . I cannot tell my joy, when o’er a lake / Upon a drooping bough with nightshade twined, / I saw two azure halcyons clinging downward / And shining one bright bunch of amber berries, / With quick long beaks, and in the deep there lay / Those lovely forms imaged as in the sky. . . .’ Anyone so happy as to be able to remember Mary Coleridge, as a friend, will agree that to have seen her eyes I to have seen her own pool and Shelley’s lake, imaging such lovely flitting halcyons." Back flyleaf: Pasted in, a clipped copy of a periodical article titled, "The Greatest Love Sonnets of the World," (n.d., n.p.), which features a translation of "Petrarch to Laura," by Joseph Auslander. Inside back cover: Pasted in, a clipped excerpt illustrating Beaumont’s "descriptive and elegiac best effects," and a clipping of "The Silver Swan" from Orlando’s First Set of Madrigals (1612).

de la Mare, Walter. Ding Dong Bell. New York: Alfred A. Knopf, 1924. Notes: Flyleaf: Inscribed "Una Jeffers." Inside front cover: In Una’s hand, "Epitaph written by Shenstone. ‘Vale . . . Hen quanto minus est cum reliquis versari, quam tui meminisse!’ (‘Farewell . . . . Ah how much less is intercourse with others than remembrance of thee!’) The best that was ever written!" Page 20: Loose, a scrap of stationery on which is Greek and a translation, in Una’s hand: "I am the tomb of one ship wrecked - ___ sail thou; for even while we perished, the other ships sailed on over the sea. Also at this page, a cartoon captioned "Mr. Walter de la Mare gaining inspiration for an errie [sic] and lovely story. A cartoon by Max Beerbohm"; and a clipped fragment of a review by Horace Gregory of de la Mare’s The Burning Glass. Page 22: Loose, a clipped review of Ding Dong Bell, characterizing the book as "epitaphic." Page 79: In Una’s hand, with an arrow pointing to the epigram she has written below, "This and seven others herein marked X are set to music by Theodore Chamler ® Here lies Thomas Logge--a rascally dogge / A poor useless creature--by choice as by nature; / Who never served God--for kindness or Rod; / Who, for pleasure or penny, -- never did any / Work in his life--but to marry a Wife, / And live aye in strife: / And all this he says--at the end of his days / Lest some fine canting pen / Should be at him again." Of the other seven: "No Voice to scold; / No face to frown; / No hand to smite / The helpless down: / Ay, Stranger, here / An Infant lies, / With worms for / Welcome Paradise" (pp. 13-14); "Three sisters rest beneath / This cypress shade, ‘/ Sprightly Rebecca, Anne, / and Adelaide. / Gentle their hearts to all / In him, they said, all Grief, / All Wo began. / Spinsters they lived, and spinsters / Here are laid; / Sprightly Rebecca, Anne, / And Adelaide" (p. 18); "Just a span and half a span / From head to heel was this little man. / Scarcely a capful of small bones / Raised up erect this Midget once. / Yet not a knuckle was askew; / Inches for feet God made him true; / And something handsome put between / His coal-black hair and beardless chin. / But now, forsooth, with mole and mouse, / He keeps his own small darkened house" (pp. 30-31); "Here sleep I, / Susannah Fry, / No one near me, / No one nigh: / Alone, alone / Under my stone, / Dreaming on, / Still dreaming on: / Grass for my valance / And coverlid, / Dreaming on / As I always did" (pp. 45); "Be very quiet now: / A child’s asleep / In this small cradle, / In this shadow deep!" (p. 52); "Here lyeth our infant, Alice Rodd; / She was so small, / Scarce aught all, / But a mere breath of Sweetness sent from God. / Sore we did weepe; our heartes on sorrow set. / Till on our knees / God sent us ease; / And now we weepe no more than we forget" (pp. 67-68); "Stranger, here lies / Ann Poverty; / Such was her name / And such was she. / May Jesu pity / Poverty" (p. 69). Page 79: Pasted in, "Here lies a most beautiful lady, / Light of step and heart was she: / I think she was the most beautiful lady / that ever was in the West Country. / But beauty vanishes; beauty passes; / However rare, rare it be: / And when I crumble, who shall remember / This lady of the West Country?" by Walter de la Mare. Back flyleaves: In Una’s hand, "The world’s a city full of crooked streets. / And Death ye marketplace where each man meets / If life were merchandise yt men could buy / The rich would always live, the poor would die. (Astley, Worcestershire)"; and "Robert Herrick mentions the ‘little urn’ in church at Dean Prior, Devon, in which is laid ‘Prewdence Baldwin once my maid.’" Pasted in are four clipped epitaphs: (1) Mabel Simpson’s "Cry over me O winter wind, / Trample the blackened crust! / Drive down your iron foot and find / My undefeated dust. / Stab still with sleet, rend still with rain / Uproot my narrow bed! / You cannot awaken me again, / I am dead! I am dead!"; (2) Lord Latymer’s "A Dead Wife’s Epitaph," "Once I learnt in wilful hour / How to vex him; still I keep, / Now unwillingly, my power; / Every day he comes to weep"; (3) found at Bideford, "Here lies the body of Mary Sexton, / Who pleased many a man, but never vex’d one; / Not like the woman who lies under the next stone"; (4) William Harvey’s "Farewell, vain world, I’ve had enough of thee, / And Valies’t not what thou Can’st say of me; / Thy Smiles I count not, nor they frowns I fear, / My days are past,, my head lies quiet here. / What faults you saw in me take / Care to shun. / Look but at home, enough is to be done." In Una’s hand, the following: "A shipwrecked sailor, buried on this coast, / Bids you set sail. / Full many a gallant bark, when he was lost, / Weathered the gale’ (Old Greek inscription); Lady Burne-Jones copied this from a tiny worn gravestone in an old church at Climping, Sussex, date 1774. ‘This little lamb that was so small / Did taste of death when Christ did call; As us am so must you be / Therefore prepare to follow we’ (Church of St. Dubritius, Porlock, Somerset)." Inside back cover: Epitaphs in Una’s hand: (1) "‘Stay, passenger, take notice what thou reads, / At Edinburgh lie our bodies, here our heads; / Our right hand stood at Lanark, those we want, Because with them we signed the Covenant.’ (Epitaph on a tombstone at Hamilton); (2) ‘They cut his hands ere he was dead, / And after that struck off his head. / His blood under the altar cries / For vengeance on Christ’s enemies.’ (Epitaph on tomb at Longcuss of Clermont); (3) ‘Pulus et umbra et nihil’ (On the tomb of a Cardinal in the Capuccci Church at Rome); (4) ‘Here lie I, Martin Eldinbrode, / Ha’ mercy on my soul, Lord ode! / As I would do, were I Lord Gode / And thou wert Marin Elidinbrode’ (from an Aberdeen tombstone); (5) ‘Over Katherine Mansfield’s grave, Avon near Fontainbleau (from Shakespeare) ‘But I tell you, my lord, fool, out of this nettle, danger, we pluck this flower safety’; (6) Swift’s epitaph, ‘Here he is resting where bitter indignation can no longer tear his heart’; (7) On a sarcophagus in the catacombs in Rome, ‘Whatsoever impious man violates this sepulchre, may he die the last of his own people’; (8) "Italian epitaphs at Ferrara admired by Byron--’Martini Luigi /Implora pace . . . Lucrez in Picini / Implora eterna quieta’; (9) On a slab in the wall of one of the cloisters, Westminster Abbey, ‘Jane Lister deare childe’; (10) Over stone on the bank of the Hudson near Grant’s tomb, ‘The grave of St. Claire Pollock who died July 1797 aetat 5.’"

de Montmorency-Morres, Colonel . Historical and Critical Inquiry into the Origin and Primitive Use of the Irish Pillar-Tower. London: Sherwood, Neely and Jones, 1821. Notes: Inside front cover: Inscribed by and bookplate for James Whatman. In (presumably) Mr. Whatman’s 19th-century hand, a note reading, "Whether the author published this Tract for the purpose of making known the particulars relating to the Montmorency Family mentioned in Page 17, the Reader is not informed. His opinions reflecting the origin and use of the Irish Pillar tower are stated in p. 33; 39; 43; 53-57; 62-63; 74----. His Hypothesis, like those of preceding Enquirers, has met with few supporters and such little success had this Tract on its publication, that nearly all the copies were returned to the author as Unsaleable. Hence it occurs rarely in Sale Catalogues, and still more rarely in those of Booksellers. I found this Copy quite by chance: the former possessor of it appears to have considered it as not worth reading, the Leaves remaining uncut throughout. -- The best, and most satisfactory theory respecting these singular remains of Antiquity, is that of W. Henry O’Brien, A. B. of Dublin University who published a rambling and rather bulking Volume on the subject in 1834." No marks left by a Jeffers in this volume, but Una was likely interested in the book and in its former owner’s note.

Deutsch, Babette. This Modern Poetry. New York: W. W. Norton and Company, 1935. Notes: Pages 193-99: In the chapter titled, "The Burden of Mystery," Deutsch discusses Jeffers’ work, along with that of D. H. Lawrence, William Butler Yeats, and Walt Whitman. Page 99: Jeffers is mentioned in connection with Edna St. Vincent Millay, George Meredith, D. H. Lawrence, T. S. Eliot, and Conrad Aiken. Inside front cover: Loose, clipped article by Mary M. Colum from The Saturday Review of Literature, November 2, 1935, titled, "Literature and the Social Left," in which she discusses writing both as a trade--utilitarian, political and practical--and as an art which is sensitive to artistic form, to the imagination, to eternal values and ideas. The article begins, "The social left, it should be remembered, is not the same as the literary left; a large proportion of the social left belong to the literary right, many of them to the long outmoded literary right. On the other hand, many of the writers of the literary left belong to the social right, even to the outmoded social right such as Royalists. . . ."

Die Bibel, ober die ganze Heilige Schrift bes alten und nenen Teftaments. New York: Heransgegeben von der Amerifanifdjen Bibel-Melfellfchaft, 1897. Notes: Title page: Inscribed "Una Call." Overleaf, in Una’s hand, "April 5, 1902."

Ditchfield, P. H. Old Village Life: Or, Glimpses of Village Life Through All Ages. New York: E. P. Dutton and Company, c. 1921. Notes: Inside front cover: Pasted in, a clipped woodcut (attributed to Lyons, 1517) captioned, "Cultivation of Grain by French Peasants Aid the Manufacture of Barley and Oat Bread." Flyleaf: Pasted in, a clipped woodcut showing hunting party; artist not identified. Page 254: Pasted in, a clipped woodcut of armored soldiers at a castle; artist not identified. Back flyleaves: (1) Pasted-in clipped review of a book by a Miss Evans, which treats of "the noble figure of St. Louis traveling with the enthusiastic Crusaders and the merry pilgrims." (2) Pasted-in clipped article about medieval orchards--their purposes and uses. (3) Pasted-in woodcut captioned, "Courtyard of a Castle, Fifteenth Century Example of the Passing of the Exedra."

Ditchfield, P. H. The Manor Houses of England. London: B. T. Batsford, 1910. Notes: Flyleaf: Inscribed "Una Jeffers." Inside front cover: Pasted in, a clipping labeled in Una’s hand, "Penshurst, Kent," from Mansions of England in the Olden Times by Joseph Kent and showing a yule celebration in the great hall of an English castle in the Middle Ages. Flyleaf: Clipping showing sketch of street scene in Steyning, Sussex. Pasted onto second side of flyleaf, clipping labeled in Una’s hand, "Sutton Poyntz, Dorset," and showing a village next to a pond. Half-title page: In (RJ’s?) hand, the following: "A faire yellow freestone building partly two and partly three storeys: a faire hall and parlour, both wayscotted; a faire dyning roome and with drawing roome, a kitchen adjoyninge backwarde to one end of the dwelling-house and a faire passage from it into the halle, parlour and dyning room and cellars adjoining . . . In the front of the house a square greene court, and a curious gatehouse with lodgings in it standing with the front of the house to the south; in a larger outer court, three stables, a coach house, a large barne and a stable for oxen and kyne . . . Without the gatehouse paled in, a large square green, in which standeth a faire chappell by the southeast side of the greene court, toward the river, a large garden of the south west side of the green court, a large bowling greene with fower mounted walks about it all walled about with a battled wall and sett with all sorts of fruit; and out of it into the feildes are large walks under many tall elms orderly planted. [Here follows mention of orchards and gardens, servants offices, brewhouse, bake house, dairy, pigeon house and corn mill; the river and its abundance of fish; the warren, the coppices, the walks.] And all the country north of the house, open champaign, sandy feilde, very dry and pleasant for all kindes of recreation, huntinge and hawkinge and profitable for tillage . . . the house hath a large prospect east, south and west over a very large and pleasant vale . . . is seated from the good market towns of Sherton Abbas, three miles and Ibel a mile that plentifully yield all manner of provision; and within twelve miles of the south sea." Jeffers[?] notes, "Description of old manor Clyfton Horseleigh from old mss. mentioned in Thomas Hardy’s Wessex Stories)." Back of half-title page: Clipped picture, pasted in and labeled in Una’s hand "Mill Pool at Swanage." and pasted-in, clipped picture captioned, "Stoke Poges Churchyard, Where Gray Lies Buried." Title page: Pasted in, a clipping describing the buildings and history of Grace Dieu, an estate in Leicestershire, on the border of Charnwood Forest, and being offered for lease. Opposite title page: Pasted in, a clipped picture of view of Chiddingstone, Kent. Page vi: Pasted in, a clipped picture captioned, "The House from which the Washington Family Came to the American Colonies: Sulgrave Manor House in Warwickshire, England, the Ancestral Home of the Washingtons, as It Now Appears." Overleaf from Table of Contents: Pasted in, clipped sketches of the gatehouse and refectory at Cleeve Abbey, and a clipping captioned, "‘Trerice,’" a Cornish Manor House." Page 5: Pasted in, a clipped picture of procession captioned, "A historical pageant of thirteenth-century life was held recently at Lacock Abbey, Wiltshire, to commemorate its foundation, 700 years ago, by Ela, Countess of Salisbury, in memory of her husband. She herself was impersonated by the present owner of the Abbey, Miss Talbot, who is seen in our photograph heading a procession." Page 10: Pasted-in clipped pictures showing Broadhurst Manor, Sussex; Walsingham Abbey and Poplar Farm, Brettenham, Suffolk. Page 11: Original pencil sketch, pasted in and labeled, "Window in Tretower Court, Tretower Wales, XV Cent." Page 17: Pasted-in clipping of photo showing ancient stone wall and archway. Page 39: Clipped photo, pasted in, of a stone wall, labeled in Una’s hand, "In Surrey." Page 49: Clipping, pasted in, of a sketch captioned, "Sulgrave Manor." Page 77: Clipping, pasted in and labeled in hand, "Steyning Church." Page 83: Photo, pasted in and labeled in hand, "Moreton Old Hall, Cheshire." Page 111: Small, pasted-in clipping of sketch of gabled house. Page 139: Pasted-in clipping of sketch captioned "Entrance of Strawberry Hill." Page 141: Clipping, pasted in, of a photo labeled in hand, "Gittishaue, Devon. Page 142: Pasted-in clipping of photo of griffin relief over doorway and labeled in hand, "Dunster Castle, Somersetshire." Page 143: Clipping, pasted in, of a photo captioned, "Hasting’s Birthplace at Churchill, in Oxfordshire." Page 176: Clippings, pasted in, of photos showing two views of a sixteenth-century dovecote, with handwritten note to see page 187. Page 187: Picture shows the remains of a twelfth-century building in which hawks were kept in Scotland. Page 185: Pasted-in clipping of a photo captioned, "The signpost represents the ‘Biddenden maids,’ twin sisters who, in their will, left money to provide bread and cheese for the poor of the parish of Biddenden, Kent, where they lived about 1100 A.D.! This ‘dole’ is distributed on Easter Sunday." Page 202: Pasted-in clipping of a sketch captioned, "old hospital and Beauchamp chapel in Warwick, England, built about 1450. In the chapel are the remains of Richard, the Lion-Hearted." Page 211: Village scene, pasted in and labeled, in hand, "Lingfield Surrey." Back flyleaves: Clippings, pasted in: (1) several views of fifteenth and sixteenth century houses; (2) photo labeled "Fittleworth, Sussex"; (3) sketch captioned "St. Martin’s Church Wareham"; (4) two views of house(s) with Una’s handwritten note, "Sheila Kaye-Smith at her house in Sussex"; (5) photo of Stokesay Castle, identified as from the thirteenth century, and as "one of the finest examples of a castellated mansion house"; (6) several views showing Tudor and Jacobean details; (7) sketches of Penshurst Place, Kent, Owlpen Manor; and (8) one unidentified house.

Ditchfield, P.H. The Charm of the English Village. Publication information pasted over. Notes: Inside front cover: Identified in Una’s hand, "Fairford Church, Gloucestershire, XV century, Gothic magnificent stained glass." Front flyleaves: Pasted-in clipped pictures of Wymondham Abbey Church; "A Westmoreland Farm"; Post bridge, Devon; "A Shropshire Farm"; Charing, Kent; House of the Flemish Weavers, Dedham, Essex. Title page: A pasted-in clipped sketch of a church, St. Peter at Croft near Darlington, where "Lewis Carroll" (the Rev. Charles L. Dodson) officiated. Opposite Table of Contents: Clipped pictures, pasted in, the first captioned "Lay Brothers’ Entrance, Beaulieu Abbey," and the second showing a thatched house in Sussex. Opposite opening page of Chapter 1: Clipped pictures, pasted in, the first identified in Una’s hand, "Bishop of Winchester in the deanery of Andover near Amport talking to schoolchildren," and the second showing of a group of riders in village. Page 1: Pasted-in clipped picture of the Sir Barleycorn Inn at Cadnam in the New Forest. Page 3: Pasted-in clipped village scene--Selworthy, Somerset. Page 5: Clipped, pasted-in picture taken at Aynho, Northhamptonshire. Page 22: Clipped, pasted-in picture of the Water Gate at Beaulieu Abbey. Page 34: Clipped, pasted-in picture of a village (unidentified) scene. Page 46: Clipped, pasted-in picture of Bury Farm, Amersham. Page 47: Clipped, pasted-in picture of a Tud