E. L. Konigsburg - Works

Works

Konigsburg is the author of all these books and is also the illustrator as noted ( "illustr. ELK"). Father's Arcane Daughter is sometimes her favorite book and Eleanor of Acquitaine is her character she would most like to meet.

  • 1967 Jennifer, Hecate, Macbeth, William McKinley, and Me, Elizabeth, illustr. ELK — 1968 UK title, Jennifer, Hecate, Macbeth, and Me
  • 1967 From the Mixed-Up Files of Mrs. Basil E. Frankweiler, illustr. ELK
  • 1969 About the B'nai Bagels, illustr. ELK
  • 1970 (George), illustr. ELK — 1974 UK title, Benjamin Dickenson Carr and His (George)
  • 1971 Altogether, One at a Time, short story collection
  • 1973 A Proud Taste for Scarlet and Miniver, illustr. ELK, historical novel featuring Eleanor of Aquitaine
  • 1974 The Dragon in the Ghetto Caper, illustr. ELK
  • 1975 The Second Mrs. Giaconda, historical novel featuring Leonardo da Vinci — also published as The Second Mrs. Gioconda
  • 1976 Father's Arcane Daughter — later published as My Father's Daughter
  • 1979 Throwing Shadows, short story collection
  • 1982 Journey to an 800 Number — 1983 UK title, Journey by First Class Camel
  • 1986 Up from Jericho Tel
  • 1990 Samuel Todd's Book of Great Colors, picture book illustr. ELK
  • 1991 Samuel Todd's Book of Great Inventions, picture book illustr. ELK
  • 1992 Amy Elizabeth Explores Bloomingdale's, picture book illustr. ELK
  • 1993 T-Backs, T-Shirts, COAT, and Suit
  • 1998 TalkTalk: A Children's Book Author Speaks to Grown-ups, nine lectures and speeches
  • 1996 The View from Saturday
  • 2000 Silent to the Bone
  • 2004 The Outcasts of 19 Schuyler Place
  • 2007 The Mysterious Edge of the Heroic World

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Famous quotes containing the word works:

    “My plan of instruction is extremely simple and limited. They learn, on week-days, such coarse works as may fit them for servants. I allow of no writing for the poor. My object is not to make fanatics, but to train up the lower classes in habits of industry and piety.”
    —Hannah More (1745–1833)

    “Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
    —Thomas Mann (1875–1955)