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Lait et saleté par Giménez Smith, Carmen-
État :
“Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend ”... En savoir plusà propos de l'état
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Lieu où se trouve l'objet : Aurora, Illinois, États-Unis
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Numéro de l'objet eBay :145687442948
Dernière mise à jour le 13 mai 2024 20:33:16 Paris. Afficher toutes les modificationsAfficher toutes les modifications
Caractéristiques de l'objet
- État
- Etat correct
- Commentaires du vendeur
- Binding
- Paperback
- Weight
- 0 lbs
- Product Group
- Book
- IsTextBook
- No
- ISBN
- 9780816521166
- Book Title
- Milk and Filth
- Item Length
- 9in
- Publisher
- University of Arizona Press
- Publication Year
- 2013
- Format
- Trade Paperback
- Language
- English
- Item Height
- 0.3in
- Genre
- Poetry
- Topic
- Women Authors, General, American / Hispanic American
- Item Width
- 6in
- Item Weight
- 4 Oz
- Number of Pages
- 80 Pages
À propos de ce produit
Product Information
National Book Critics Circle Award Finalist Milk and Filth is a collection of forty-two poems exploring issues of gender, equality, sexuality and the artist-as-thinker in modern culture. Deftly blending a variety of tones, styles, and structure, Giménez Smith's poems evocatively explores deep cultural issues.
Product Identifiers
Publisher
University of Arizona Press
ISBN-10
0816521166
ISBN-13
9780816521166
eBay Product ID (ePID)
159925825
Product Key Features
Book Title
Milk and Filth
Format
Trade Paperback
Language
English
Topic
Women Authors, General, American / Hispanic American
Publication Year
2013
Genre
Poetry
Number of Pages
80 Pages
Dimensions
Item Length
9in
Item Height
0.3in
Item Width
6in
Item Weight
4 Oz
Additional Product Features
Lc Classification Number
Ps3607.I45215m55
Edition Number
3
Reviews
"Gimnez Smith generously deploys physical--often violent--imagery to challenge classist, consumerist, and socially polite forms of feminism." -- Publishers Weekly "A sharp, feminist manifesto by way of poetry collection." -- The Nation , "Rabble-rouse, translator, good witch, Carmen Giménez Smith is an alchemist of disparate ingredients mixing the canonical and folkloric as well as high art and pop culture in poems that reference the Virgin of Guadalupe and the Wizard of Oz, Ana Mendietta and Joan Rivers. 'I want my problems to be Wallace Stevens but they're Anne Sexton,' Giménez Smith writes. But her poems defy easy comparisons with their verbal dexterity, intellectual savvy, and fleshy insistence. In a stunning collection that combines fairy tale, autobiography, ars poetica , and manifesto, Giménez Smith asks women artists to question not only the fables told about us, but the ones we tell ourselves." --Susan Briante, author of Utopia Minus, "This book surprised me. I thought I was sitting down to read some more somewhat confessional and yet somewhat abstracted poems about life in the first world. And then I realized I was reading a scathing critique of the niceties of this tradition that was drawing from second wave feminists, such as Ana Mendieta and Valerie Solanas. ("Part-Cesaire, part-Solanas, part blood-sweat-and-tears.") The devil here just might be feminism, the devil we all need. And with this devil Carmen Giménez Smith charts out a heritage, a resistance, a possibility, a poetry that troubles and tempts."-Juliana Spahr, author of The Transformation, "Giménez Smith generously deploys physical-often violent-imagery to challenge classist, consumerist, and socially polite forms of feminism."- Publishers Weekly "From first read to multiple return, these poems root into the reader's own received cultural codes to challenge conventions of gender, culture, and chronology as reckoned by bodily human aging, the evolution of the literary canon, and the changing faces of an ineffable femininity."-Julia Sophia Paegle, author of Torch Song Tango Choir, "Allusive, metaphorical, and nimble in tone and register, Milk and Filth is aesthetically alive."- Rain Taxi Review of Books "This book surprised me. I thought I was sitting down to read some more somewhat confessional and yet somewhat abstracted poems about life in the first world. And then I realized I was reading a scathing critique of the niceties of this tradition that was drawing from second wave feminists, such as Ana Mendieta and Valerie Solanas. ("Part-Cesaire, part-Solanas, part blood-sweat-and-tears.") The devil here just might be feminism, the devil we all need. And with this devil Carmen Giménez Smith charts out a heritage, a resistance, a possibility, a poetry that troubles and tempts."-Juliana Spahr, author of The Transformation, "Allusive, metaphorical, and nimble in tone and register, Milk and Filth is aesthetically alive." -- Rain Taxi Review of Books "This book surprised me. I thought I was sitting down to read some more somewhat confessional and yet somewhat abstracted poems about life in the first world. And then I realized I was reading a scathing critique of the niceties of this tradition that was drawing from second wave feminists, such as Ana Mendieta and Valerie Solanas. ('Part-Cesaire, part-Solanas, part blood-sweat-and-tears.') The devil here just might be feminism, the devil we all need. And with this devil Carmen Gimnez Smith charts out a heritage, a resistance, a possibility, a poetry that troubles and tempts." --Juliana Spahr, author of The Transformation, "Carmen Giménez-Smith's Milk and Filth executes a benthic post-survival strategy wherein clawed, unlikely armaments unfurl from the tiniest coil of the conch. Here chimney-slim lyrics emit a scowl, a shiv, and a shriek while intricate tidal armies raise hot anthemic banners. Let us be as exclamation points to this puce-vermillion self-announcement!"-Joyelle McSweeney, author of Flet "From first read to multiple return, these poems root into the reader's own received cultural codes to challenge conventions of gender, culture, and chronology as reckoned by bodily human aging, the evolution of the literary canon, and the changing faces of an ineffable femininity."-Julia Sophia Paegle, author of torch song tango choir, "Gimnez Smith is full of words--luscious, scabby, furious manifestos of self and culture."-- The Raven Chronicles "Carmen Gimnez Smith's Milk and Filth executes a benthic post-survival strategy wherein clawed, unlikely armaments unfurl from the tiniest coil of the conch. Here chimney-slim lyrics emit a scowl, a shiv, and a shriek while intricate tidal armies raise hot anthemic banners. Let us be as exclamation points to this puce-vermillion self-announcement!" --Joyelle McSweeney, author of Flet "From first read to multiple return, these poems root into the reader's own received cultural codes to challenge conventions of gender, culture, and chronology as reckoned by bodily human aging, the evolution of the literary canon, and the changing faces of an ineffable femininity." --Julia Sophia Paegle, author of torch song tango choir, "Gimnez Smith generously deploys physical--often violent--imagery to challenge classist, consumerist, and socially polite forms of feminism."-- Publishers Weekly "A sharp, feminist manifesto by way of poetry collection."-- The Nation "Allusive, metaphorical, and nimble in tone and register, Milk and Filth is aesthetically alive."-- Rain Taxi Review of Books "Gimnez Smith is full of words--luscious, scabby, furious manifestos of self and culture."-- The Raven Chronicles "Carmen Gimnez Smith's Milk and Filth executes a benthic post-survival strategy wherein clawed, unlikely armaments unfurl from the tiniest coil of the conch. Here chimney-slim lyrics emit a scowl, a shiv, and a shriek while intricate tidal armies raise hot anthemic banners. Let us be as exclamation points to this puce-vermillion self-announcement!"--Joyelle McSweeney, author of Flet "From first read to multiple return, these poems root into the reader's own received cultural codes to challenge conventions of gender, culture, and chronology as reckoned by bodily human aging, the evolution of the literary canon, and the changing faces of an ineffable femininity."--Julia Sophia Paegle, author of torch song tango choir "This book surprised me. I thought I was sitting down to read some more somewhat confessional and yet somewhat abstracted poems about life in the first world. And then I realized I was reading a scathing critique of the niceties of this tradition that was drawing from second wave feminists, such as Ana Mendieta and Valerie Solanas. ('Part-Cesaire, part-Solanas, part blood-sweat-and-tears.') The devil here just might be feminism, the devil we all need. And with this devil Carmen Gimnez Smith charts out a heritage, a resistance, a possibility, a poetry that troubles and tempts."--Juliana Spahr, author of The Transformation "Rabble-rouse, translator, good witch, Carmen Gimnez Smith is an alchemist of disparate ingredients mixing the canonical and folkloric as well as high art and pop culture in poems that reference the Virgin of Guadalupe and the Wizard of Oz, Ana Mendietta and Joan Rivers. 'I want my problems to be Wallace Stevens but they're Anne Sexton,' Gimnez Smith writes. But her poems defy easy comparisons with their verbal dexterity, intellectual savvy, and fleshy insistence. In a stunning collection that combines fairy tale, autobiography, arspoetica , and manifesto, Gimnez Smith asks women artists to question not only the fables told about us, but the ones we tell ourselves."--Susan Briante, author of Utopia Minus, "Giménez Smith generously deploys physical--often violent--imagery to challenge classist, consumerist, and socially polite forms of feminism." -- Publishers Weekly "A sharp, feminist manifesto by way of poetry collection." -- The Nation , "Gimnez Smith is full of words--luscious, scabby, furious manifestos of self and culture."-- The Raven Chronicles "Carmen Gimnez Smith's Milk and Filth executes a benthic post-survival strategy wherein clawed, unlikely armaments unfurl from the tiniest coil of the conch. Here chimney-slim lyrics emit a scowl, a shiv, and a shriek while intricate tidal armies raise hot anthemic banners. Let us be as exclamation points to this puce-vermillion self-announcement!" --Joyelle McSweeney, author of Flet "From first read to multiple return, these poems root into the reader's own received cultural codes to challenge conventions of gender, culture, and chronology as reckoned by bodily human aging, the evolution of the literary canon, and the changing faces of an ineffable femininity." --Julia Sophia Paegle, author of torch song tango choir, "From first read to multiple return, these poems root into the reader's own received cultural codes to challenge conventions of gender, culture, and chronology as reckoned by bodily human aging, the evolution of the literary canon, and the changing faces of an ineffable femininity."-Julia Sophia Paegle, author of Torch Song Tango Choir, "Giménez Smith generously deploys physical-often violent-imagery to challenge classist, consumerist, and socially polite forms of feminism."- Publishers Weekly "A sharp, feminist manifesto by way of poetry collection."- The Nation , "Giménez Smith generously deploys physical--often violent--imagery to challenge classist, consumerist, and socially polite forms of feminism."-- Publishers Weekly "A sharp, feminist manifesto by way of poetry collection."-- The Nation "Allusive, metaphorical, and nimble in tone and register, Milk and Filth is aesthetically alive."-- Rain Taxi Review of Books "Giménez Smith is full of words--luscious, scabby, furious manifestos of self and culture."-- The Raven Chronicles "Carmen Giménez Smith's Milk and Filth executes a benthic post-survival strategy wherein clawed, unlikely armaments unfurl from the tiniest coil of the conch. Here chimney-slim lyrics emit a scowl, a shiv, and a shriek while intricate tidal armies raise hot anthemic banners. Let us be as exclamation points to this puce-vermillion self-announcement!"--Joyelle McSweeney, author of Flet "From first read to multiple return, these poems root into the reader's own received cultural codes to challenge conventions of gender, culture, and chronology as reckoned by bodily human aging, the evolution of the literary canon, and the changing faces of an ineffable femininity."--Julia Sophia Paegle, author of torch song tango choir "This book surprised me. I thought I was sitting down to read some more somewhat confessional and yet somewhat abstracted poems about life in the first world. And then I realized I was reading a scathing critique of the niceties of this tradition that was drawing from second wave feminists, such as Ana Mendieta and Valerie Solanas. ('Part-Cesaire, part-Solanas, part blood-sweat-and-tears.') The devil here just might be feminism, the devil we all need. And with this devil Carmen Giménez Smith charts out a heritage, a resistance, a possibility, a poetry that troubles and tempts."--Juliana Spahr, author of The Transformation "Rabble-rouse, translator, good witch, Carmen Giménez Smith is an alchemist of disparate ingredients mixing the canonical and folkloric as well as high art and pop culture in poems that reference the Virgin of Guadalupe and the Wizard of Oz, Ana Mendietta and Joan Rivers. 'I want my problems to be Wallace Stevens but they're Anne Sexton,' Giménez Smith writes. But her poems defy easy comparisons with their verbal dexterity, intellectual savvy, and fleshy insistence. In a stunning collection that combines fairy tale, autobiography, arspoetica , and manifesto, Giménez Smith asks women artists to question not only the fables told about us, but the ones we tell ourselves."--Susan Briante, author of Utopia Minus, "Allusive, metaphorical, and nimble in tone and register, Milk and Filth is aesthetically alive." -- Rain Taxi Review of Books "This book surprised me. I thought I was sitting down to read some more somewhat confessional and yet somewhat abstracted poems about life in the first world. And then I realized I was reading a scathing critique of the niceties of this tradition that was drawing from second wave feminists, such as Ana Mendieta and Valerie Solanas. ('Part-Cesaire, part-Solanas, part blood-sweat-and-tears.') The devil here just might be feminism, the devil we all need. And with this devil Carmen Gimnez Smith charts out a heritage, a resistance, a possibility, a poetry that troubles and tempts." --Juliana Spahr, author of The Transformation, "Giménez Smith is full of words--luscious, scabby, furious manifestos of self and culture."-- The Raven Chronicles "Carmen Giménez Smith's Milk and Filth executes a benthic post-survival strategy wherein clawed, unlikely armaments unfurl from the tiniest coil of the conch. Here chimney-slim lyrics emit a scowl, a shiv, and a shriek while intricate tidal armies raise hot anthemic banners. Let us be as exclamation points to this puce-vermillion self-announcement!" --Joyelle McSweeney, author of Flet "From first read to multiple return, these poems root into the reader's own received cultural codes to challenge conventions of gender, culture, and chronology as reckoned by bodily human aging, the evolution of the literary canon, and the changing faces of an ineffable femininity." --Julia Sophia Paegle, author of torch song tango choir, "Giménez Smith generously deploys physical-often violent-imagery to challenge classist, consumerist, and socially polite forms of feminism."- Publishers Weekly "A sharp, feminist manifesto by way of poetry collection."- The Nation, "Rabble-rouse, translator, good witch, Carmen Giménez Smith is an alchemist of disparate ingredients mixing the canonical and folkloric as well as high art and pop culture in poems that reference the Virgin of Guadalupe and the Wizard of Oz, Ana Mendietta and Joan Rivers. "I want my problems to be Wallace Stevens but they're Anne Sexton," Giménez Smith writes. But her poems defy easy comparisons with their verbal dexterity, intellectual savvy, and fleshy insistence. In a stunning collection that combines fairy tale, autobiography, ars poetica , and manifesto, Giménez Smith asks women artists to question not only the fables told about us, but the ones we tell ourselves."-Susan Briante, author of Utopia Minus, "Carmen Giménez-Smith's Milk and Filth executes a benthic post-survival strategy wherein clawed, unlikely armaments unfurl from the tiniest coil of the conch. Here chimney-slim lyrics emit a scowl, a shiv, and a shriek while intricate tidal armies raise hot anthemic banners. Let us be as exclamation points to this puce-vermillion self-announcement!"-Joyelle McSweeney, author of Flet, "Gimnez Smith generously deploys physical--often violent--imagery to challenge classist, consumerist, and socially polite forms of feminism." -- Publishers Weekly "A sharp, feminist manifesto by way of poetry collection." -- The Nation, "From first read to multiple return, these poems root into the reader's own received cultural codes to challenge conventions of gender, culture, and chronology as reckoned by bodily human aging, the evolution of the literary canon, and the changing faces of an ineffable femininity."-Julia Sophia Paegle, author of Torch Song Tango Choir , "Giménez Smith generously deploys physical--often violent--imagery to challenge classist, consumerist, and socially polite forms of feminism."-- Publishers Weekly "A sharp, feminist manifesto by way of poetry collection."-- The Nation "Allusive, metaphorical, and nimble in tone and register, Milk and Filth is aesthetically alive."-- Rain Taxi Review of Books "Giménez Smith is full of words--luscious, scabby, furious manifestos of self and culture."-- Raven Chronicles "Carmen Giménez Smith's Milk and Filth executes a benthic post-survival strategy wherein clawed, unlikely armaments unfurl from the tiniest coil of the conch. Here chimney-slim lyrics emit a scowl, a shiv, and a shriek while intricate tidal armies raise hot anthemic banners. Let us be as exclamation points to this puce-vermillion self-announcement!"--Joyelle McSweeney, author of Flet "From first read to multiple return, these poems root into the reader's own received cultural codes to challenge conventions of gender, culture, and chronology as reckoned by bodily human aging, the evolution of the literary canon, and the changing faces of an ineffable femininity."--Julia Sophia Paegle, author of torch song tango choir "This book surprised me. I thought I was sitting down to read some more somewhat confessional and yet somewhat abstracted poems about life in the first world. And then I realized I was reading a scathing critique of the niceties of this tradition that was drawing from second wave feminists, such as Ana Mendieta and Valerie Solanas. ('Part-Cesaire, part-Solanas, part blood-sweat-and-tears.') The devil here just might be feminism, the devil we all need. And with this devil Carmen Giménez Smith charts out a heritage, a resistance, a possibility, a poetry that troubles and tempts."--Juliana Spahr, author of The Transformation "Rabble-rouse, translator, good witch, Carmen Giménez Smith is an alchemist of disparate ingredients mixing the canonical and folkloric as well as high art and pop culture in poems that reference the Virgin of Guadalupe and the Wizard of Oz, Ana Mendietta and Joan Rivers. 'I want my problems to be Wallace Stevens but they're Anne Sexton,' Giménez Smith writes. But her poems defy easy comparisons with their verbal dexterity, intellectual savvy, and fleshy insistence. In a stunning collection that combines fairy tale, autobiography, arspoetica , and manifesto, Giménez Smith asks women artists to question not only the fables told about us, but the ones we tell ourselves."--Susan Briante, author of Utopia Minus, "Giménez Smith is full of words-luscious, scabby, furious manifestos of self and culture."- The Raven Chronicles "Carmen Giménez Smith's Milk and Filth executes a benthic post-survival strategy wherein clawed, unlikely armaments unfurl from the tiniest coil of the conch. Here chimney-slim lyrics emit a scowl, a shiv, and a shriek while intricate tidal armies raise hot anthemic banners. Let us be as exclamation points to this puce-vermillion self-announcement!"-Joyelle McSweeney, author of Flet "From first read to multiple return, these poems root into the reader's own received cultural codes to challenge conventions of gender, culture, and chronology as reckoned by bodily human aging, the evolution of the literary canon, and the changing faces of an ineffable femininity."-Julia Sophia Paegle, author of torch song tango choir, "Rabble-rouse, translator, good witch, Carmen Gimnez Smith is an alchemist of disparate ingredients mixing the canonical and folkloric as well as high art and pop culture in poems that reference the Virgin of Guadalupe and the Wizard of Oz, Ana Mendietta and Joan Rivers. 'I want my problems to be Wallace Stevens but they're Anne Sexton,' Gimnez Smith writes. But her poems defy easy comparisons with their verbal dexterity, intellectual savvy, and fleshy insistence. In a stunning collection that combines fairy tale, autobiography, ars poetica , and manifesto, Gimnez Smith asks women artists to question not only the fables told about us, but the ones we tell ourselves." --Susan Briante, author of Utopia Minus, "Giménez Smith is full of words-luscious, scabby, furious manifestos of self and culture."- The Raven Chronicles "Carmen Giménez Smith's Milk and Filth executes a benthic post-survival strategy wherein clawed, unlikely armaments unfurl from the tiniest coil of the conch. Here chimney-slim lyrics emit a scowl, a shiv, and a shriek while intricate tidal armies raise hot anthemic banners. Let us be as exclamation points to this puce-vermillion self-announcement!"-Joyelle McSweeney, author of Flet "From first read to multiple return, these poems root into the reader's own received cultural codes to challenge conventions of gender, culture, and chronology as reckoned by bodily human aging, the evolution of the literary canon, and the changing faces of an ineffable femininity."-Julia Sophia Paegle, author of torch song tango choir, "Carmen Giménez-Smith's Milk and Filth executes a benthic post-survival strategy wherein clawed, unlikely armaments unfurl from the tiniest coil of the conch. Here chimney-slim lyrics emit a scowl, a shiv, and a shriek while intricate tidal armies raise hot anthemic banners. Let us be as exclamation points to this puce-vermillion self-announcement!"-Joyelle McSweeney, author of Flet "From first read to multiple return, these poems root into the reader's own received cultural codes to challenge conventions of gender, culture, and chronology as reckoned by bodily human aging, the evolution of the literary canon, and the changing faces of an ineffable femininity."-Julia Sophia Paegle, author of torch song tango choir, "Allusive, metaphorical, and nimble in tone and register, Milk and Filth is aesthetically alive." -- Rain Taxi Review of Books "This book surprised me. I thought I was sitting down to read some more somewhat confessional and yet somewhat abstracted poems about life in the first world. And then I realized I was reading a scathing critique of the niceties of this tradition that was drawing from second wave feminists, such as Ana Mendieta and Valerie Solanas. ('Part-Cesaire, part-Solanas, part blood-sweat-and-tears.') The devil here just might be feminism, the devil we all need. And with this devil Carmen Giménez Smith charts out a heritage, a resistance, a possibility, a poetry that troubles and tempts." --Juliana Spahr, author of The Transformation
Copyright Date
2013
Dewey Decimal
811/.6
Intended Audience
Trade
Series
Camino Del Sol Ser.
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Numéro de l'objet eBay :145687442948
Dernière mise à jour le 13 mai 2024 20:33:16 Paris. Afficher toutes les modificationsAfficher toutes les modifications
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Afghanistan, Afrique du Sud, Albanie, Algérie, Allemagne, Andorre, Angola, Anguilla, Antigua-et-Barbuda, Antilles néerlandaises, Arabie saoudite, Argentine, Arménie, Aruba, Australie, Autriche, Azerbaïdjan, Bahamas, Bahreïn, Bangladesh, Belgique, Belize, Bermudes, Bhoutan, Biélorussie, Bolivie, Bosnie-Herzégovine, Botswana, Brunei Darussalam, Brésil, Bulgarie, Burkina Faso, Burundi, Bénin, Cambodge, Cameroun, Canada, Cap-Vert, Chili, Chine, Chypre, Colombie, Comores, Corée du Sud, Costa Rica, Croatie, Côte d'Ivoire, Danemark, Djibouti, Dominique, Espagne, Estonie, Fidji, Finlande, France, Gabon, Gambie, Ghana, Gibraltar, Grenade, Groenland, Grèce, Guam, Guatemala, Guernesey, Guinée, Guinée équatoriale, Guinée-Bissau, Guyana, Géorgie, Haïti, Honduras, Hong Kong, Hongrie, Inde, Indonésie, Irak, Irlande, Islande, Israël, Italie, Jamaïque, Japon, Jersey, Jordanie, Kazakhstan, Kenya, Kirghizistan, Kiribati, Koweït, Laos, Lesotho, Lettonie, Liban, Liberia, Liechtenstein, Lituanie, Luxembourg, Macao, Macédoine, Madagascar, Malaisie, Malawi, Maldives, Mali, Malte, Maroc, Maurice, Mauritanie, Mayotte, Mexique, Micronésie, Moldavie, Monaco, Monde entier, Mongolie, Montserrat, Monténégro, Mozambique, Namibie, Nauru, Nicaragua, Niger, Nigeria, Niue, Norvège, Nouvelle-Zélande, Népal, Oman, Ouganda, Ouzbékistan, Pakistan, Palaos, Panama, Papouasie-Nouvelle-Guinée, Paraguay, Pays-Bas, Philippines, Pologne, Porto Rico, Portugal, Pérou, Qatar, Roumanie, Royaume-Uni, Rwanda, République centrafricaine, République dominicaine, République du Congo, République démocratique du Congo, République tchèque, Sahara occidental, Saint-Christophe-et-Niévès, Saint-Marin, Saint-Pierre-et-Miquelon, Saint-Vincent-et-les-Grenadines, Sainte-Hélène, Sainte-Lucie, Salvador, Samoa américaines, Samoa occidentales, Serbie, Seychelles, Sierra Leone, Singapour, Slovaque, Slovénie, Somalie, Sri Lanka, Suisse, Suriname, Suède, Svalbard et Jan Mayen, Swaziland, Sénégal, Tadjikistan, Tanzanie, Taïwan, Tchad, Thaïlande, Togo, Tonga, Trinité-et-Tobago, Tunisie, Turkménistan, Turquie, Tuvalu, Uruguay, Vanuatu, Vatican, Viêt Nam, Wallis-et-Futuna, Yémen, Zambie, Zimbabwe, Égypte, Émirats arabes unis, Équateur, Érythrée, Éthiopie, Îles Caïmans, Îles Cook, Îles Malouines, Îles Marshall, Îles Salomon, Îles Turques-et-Caïques, Îles Vierges britanniques, Îles Vierges des États-Unis
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