Faber and Faber

One of Mary Wesley 's first two books (both for children) was published: The Sixth Seal (with Macmillan ). Speaking Terms (with Faber , illustrated by Sarah Garland ) appeared in October this year.

When Faber accepted the first of these books, MW 's husband Eric Siepmann wept with joy.

TW 's The Break of Day opened at the Royal Court Theatre in London after touring the UK; it was published by Faber and Faber in London and Boston in the same year.

TW published a collection of her work with Faber and Faber at London and Boston: Timberlake Wertenbaker: Plays 1.

It was published by Faber and Faber that same year.

Invited by Richard de la Mare in February 1934 to write a successor to The Country Child, AU first planned a fictional treatment to be called High Meadows (published in 1938), then began in...

The Farm on the Hill brought AU a thirty-pound advance from Faber . At a price of seven and sixpence, it sold 1,300 copies by the autumn.

At the end of that year, Faber rejected The Secret Spring, as did another publisher in February 1933. AU then wrote off that project, since she had plenty more on hand. When Cuckoo...

But her publisher, Faber , lost money on this book.

From the time she moved south, her output was staggering. Between 1942 and 1945, she published fifteen prose books and a play, as well as placing articles and making broadcasts. In autumn 1944, she began...

This book caused AU much anguish in writing. She took the idea from the Babington ancestral home at Dethick, close to her childhood home of Castle Top Farm, and from a dream she...

After years of dissatisfaction at the small price she was paid for her books, AU was staggered in March 1942 at receiving a royalty cheque from Faber for £297. A year later her royalty...

AU kept publishing well into her seventies. A book of essays, Plowmen's Clocks, 1952, was followed by Here's a New Day in October 1956, another collection of reminiscent essays, twelve in number. About a...

A bomb on the London offices of Faber destroyed (among other things) the typescript of AU 's play Little Grey Rabbit to the Rescue, which had been rejected for the stage by the Theatre Royal, Windsor

Encouraged by the success of The Country Child, AU published with Faber (to whom that same success made her welcome) Moonshine and Magic, a book of stories for children.