In this latest instalment of Martha Long's real-life account of abuse, deprivation and cruelty at the hands of her mother's partner and the establishment, Martha is now 16 and her time at the convent school is up. In Ma, It's a Cold Aul Night an I'm Lookin for a Bed, she leads us through her first months of freedom. With no home to go to, Martha leaves the convent carrying her suitcase and a burning ambition to shake off her impoverished past. Hungry to become a person who will blend in with the middle classes, Martha yearns to be accepted as someone who can be loved, respected, and one day have a home of her own where she will be safe. But this is 1960s Dublin, where poverty is rife and the Church works together with the Irish government to keep the poor and the ignorant in their place. Martha first finds work as a home help with a loving, lively family, which leads her to a job in a shop, an Italian fish and chip café, then as a skivvy in a miserable household where she is reminded of the terror Jackser brought into her life. Chance meetings with brothers and old friends from the convent lift Martha's spirits, but soon she is back on the streets searching for work and a warm bed to call her own. Martha is not often deterred when fate deals her a blow. 'Life is a bowl of cherries!' she reasons. But heartache awaits as people turn her away and predators lurk in the shadows.

Lilly and Ceily Carney are only seven and twelve when their mother is cruelly taken from them, leaving them at the mercy of the Church and the authorities. This is a terrifying prospect in 1950s Dublin, where it is likely that the girls will end up in one of Ireland’s notorious Magdalen laundries – a fate they are determined to escape. When Father Flitters and the ‘Cruelty’ people arrive to take the children into care, Lilly and Ceily resist, and a riot breaks out. The girls are helped by kind Mister Mullins and his daughter Delia, but events lead to further tragedy and Lilly is left to fend for herself on the dangerous streets. Heartbroken, hungry and vulnerable, she looks like easy prey and it seems there will be no safe haven for her to find.

Presents some of the "masterpieces" of children's literature, including Mother Goose verses, fairy tales, works by Lear, Ruskin, Carroll, Twain, Stevenson, Baum, Grahame, Kipling, Dickens, Wilder, and more.

"Sarah Gillespie Huftalen led an unconventional life for a rural midwestern woman of her time. Born in 1865 near Manchester, Iowa, she was a farm girl who became a highly regarded country school and college teacher; she married a man older than either of her parents, received a college degree later in life, and was committed to both family and career. A gifted writer, she crafted essays, teacher-training guides, and poetry while continuing to write lengthy, introspective entries in her diary, which spans the years from 1873 to 1952. In addition, she gathered extensive information about the quietly tragic life of her mother, Emily, and worked to preserve Emily's own detailed diary." "In more than 3,500 pages, Sarah writes about her multiple roles as daughter, sister, wife, teacher, family historian, and public figure. Her diary reflects the process by which she was socialized into these roles and her growing consciousness of the ways in which these roles intersected. Not only does her diary embody the diverse strategies used by one woman to chart her life's course and to preserve her life's story for future generations, it also offers ample evidence of the diary as a primary form of private autobiography for individuals whose lives do not lend themselves to traditional definitions of autobiography." "Taken together, Emily's and Sarah's extraordinary diaries span nearly a century and thus form a unique mother/daughter chronicle of daily work and thoughts, interactions with neighbors and friends and colleagues, and the destructive family dynamics that dominated the Gillespies. Sarah's consciousness of the abusive relationship between her mother and father haunts her diary, and this dramatic relationship is duplicated in Sarah's relationship with her brother, Henry. Suzanne Bunkers' skillful editing and analysis of Sarah's diary reveal the legacy of a caring, loving mother reflected in her daughter's work as family member, teacher, and citizen." "The rich entries in Sarah Gillespie Huftalen's diary offer us brilliant insights into the importance of female kinship networks in American life, the valued status of many women as family chronicles, and the fine art of selecting, piecing, stitching, and quilting that characterizes the many shapes of women's autobiographies. Read Sarah's diary to discover why "all will yet be well.""--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved