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Those Kids From Town Again
Those Kids From Town Again
Some further incidents in the lives of the children and grown-ups, whose previous adventures were recorded in the These Our Strangers and the film Those Kids from Town. Those Kids from Town is a 1942 British comedy-drama film, directed by Lance Comfort and starring George Cole, Harry Fowler and Percy Marmont. The film was adapted for the screen by Adrian Alington from his own topical novel These Our Strangers, dealing with the experiences of a group of wartime evacuee children from London, sent to safety in a rural village, and their interaction with the host community.
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Rosie Todmarsh
Rosie Todmarsh
Rosie took herself off to the pub. She had to escape from the supercilious highbrows on whom she was billeted. To them she was "common," middle-aged and homeless. She knew that, but nevertheless she was happy. She still had her memories and she still had young Joe, her Air Force officer son. Rosie's childhood was spent in the carefree atmosphere of the theatre, with Dad (a Comedian) as hero. She had a bad time after his death with her mother's melancholia and the contempt of her sister (who had successfully snared a peer as a husband). After that came the best years of her life-her marriage with old Joe, landlord of the Crown, a big boisterous fellow, but the most gentle, unselfish husband any woman could imagine. The last war ended their happiness. Old Joe was killed; their son was born soon after. From that moment nobody and nothing mattered except young Joe. She was dead set on making a gent of him. She skimped her little luxuries to send him to a "posh" school. What wonder that they gradually grew apart, that he seemed to prefer "high life" and a chromium-plated flat to his homely mother and the old-fashioned Crown? Then came the second war and his enlistment in the Air Force. Rosie sat in the pub thinking how her life had changed; bombed out of the Crown, her livelihood gone, an unwanted evacuee. But everything was all right, for young Joe would come on leave. The war and the R.A.F. had brought him back to her.
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The Amazing Test Match Crime
The Amazing Test Match Crime
All England waited with passionate eagerness for the final match to be played at the Oval. For this was to be played to a finish and would decide the fate of the Ashes. It is 1938 and England is brimming with excitement as the final Test Match against Imperia draws near. But no corner of the land has the fate of the Ashes closer to its heart than the village of Wattlecombe Ducis, Glebeshire. It was here at the Manor House that Norman Blood, captain of England, spent his childhood playing cricket with the vicar's radiant daughter, Monica. And it was she who presented young but poor Joe Prestwick with a belt on the occasion of his first game of cricket, saving his honour for as Sir Timothy Blood remarked, 'I would rather see the whole village dead at my feet than a man bowling in braces.' With a short – but sensational – career behind him, Joe just needs to be selected to play at the Oval to win Monica's heart and her hand in marriage: everything depends on the Test. But The Bad Men, Europe's most wanted gang, have no intention of letting the best team win. Sawn-off Carlo, The Professor and Ralph the Disappointment (an Englishman who, knowing the rules of the Game, is eternally damned for not playing by them) plan to strike a blow at the very heart of proud Albion and her Empire. The Amazing Test Match Crime, first published in 1939, is a wicked yet affectionate comedy of cricketing (and criminal) manners, proving – as if proof were needed – that a straight bat and nimble spinning finger will always win through.
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Early Adrian
Early Adrian
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Mr. Jubenka
Mr. Jubenka
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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Adrian Harrington
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Adrianisms
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Adrian Lockhart
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