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The triumph of the nut, and other parodies by Christopher Ward · Audiobooks & Scary Stories

• 0:00
  Speaker 1: I hope you enjoy this reading, which comes from a
• 0:02
  Speaker 1: work in the public domain, The Triumph of the Nut
• 0:05
  Speaker 1: and other parodies by Christopher Ward. Chapter one, The Triumph
• 0:11
  Speaker 1: of the Nut were too many marriages. I there was
• 0:14
  Speaker 1: a man named Webster who lived in a town in
• 0:16
  Speaker 1: the state of Wisconsin, and he made patent washing machines.
• 0:20
  Speaker 1: He had a wife named Mary, and a daughter named Jane,
• 0:23
  Speaker 1: and a stenographer named Natalie. And he used to have dreams,
• 0:27
  Speaker 1: which was no great matter until he began to practice
• 0:30
  Speaker 1: what he dreamed. And so there was this Webster, and
• 0:34
  Speaker 1: then this thing happened to him. He began to feel
• 0:37
  Speaker 1: strange feelings and movements within his head, as though it
• 0:40
  Speaker 1: were a newly wound watch. He found it hard to
• 0:43
  Speaker 1: sit still in one spot, and impossible to sit still
• 0:46
  Speaker 1: in two spots. So he walked rapidly to and fro
• 0:50
  Speaker 1: in and out of office and factory. And he thought,
• 0:53
  Speaker 1: perhaps I am becoming a little insane, but I like
• 0:57
  Speaker 1: myself better this way, which, considering what kind of man
• 1:01
  Speaker 1: he had been, was not strange. He stopped in front
• 1:05
  Speaker 1: of Natalie and looked hard at her. She looked hard too,
• 1:09
  Speaker 1: though not at him. She just naturally looked hard, because
• 1:13
  Speaker 1: she was a pretty hard case in her own way.
• 1:16
  Speaker 1: Suddenly it was clear to John Webster that Natalie was
• 1:19
  Speaker 1: not a woman. She was a house. When she raised
• 1:23
  Speaker 1: her eyes, she raised the windows of the house, and
• 1:25
  Speaker 1: when she raised her voice, she raised the roof. She
• 1:29
  Speaker 1: was short and broad, a bungalow then, with no upper
• 1:32
  Speaker 1: story at all, nothing above the eaves. So then Natalie
• 1:37
  Speaker 1: was a house. A new thought. Probably other people were
• 1:40
  Speaker 1: houses too, his own wife. Perhaps he must look to
• 1:45
  Speaker 1: see what kind of a house she was. Was she
• 1:48
  Speaker 1: an eligible family residence, suitable for permanent occupancy, or merely
• 1:52
  Speaker 1: a boarding house to be left at short notice if
• 1:55
  Speaker 1: one preferred, let us say, a nice little bungalow. And
• 2:00
  Speaker 1: so there he was, on his way home for lunch
• 2:02
  Speaker 1: and an inspection of his wife. Two. Yes, both of them,
• 2:06
  Speaker 1: wife and daughter were houses. Then he himself must be
• 2:10
  Speaker 1: a house. Houses should not wear clothes. He went up
• 2:15
  Speaker 1: to his room and took off all his clothes. He
• 2:18
  Speaker 1: stood before a mirror, admiring his own naked facade. What
• 2:22
  Speaker 1: kind of house was he? A large winged insect flew
• 2:25
  Speaker 1: against the window screen and crawled slowly toward the top.
• 2:29
  Speaker 1: It spoke with a little voice, Let me in. I
• 2:33
  Speaker 1: belong to your house. Let me in. That was the
• 2:37
  Speaker 1: answer to his question. Bug house positive, bug comparative, parasite, superlative, parisis,
• 2:46
  Speaker 1: he murmured, and he smiled softly, so softly. Three. When
• 2:51
  Speaker 1: he returned to the office, he saw that Natalie was changed.
• 2:55
  Speaker 1: An amazing and lovely thing had happened. Tears came into
• 2:59
  Speaker 1: his eyes, and his knees felt as weak as his brain.
• 3:02
  Speaker 1: He crawled across the room on all fours and laid
• 3:05
  Speaker 1: his head in her lap. Natalie, an amazing and lovely
• 3:09
  Speaker 1: thing has happened to you. You have had a bath,
• 3:12
  Speaker 1: he said, How did you know? She asked, why you
• 3:17
  Speaker 1: look so pale? And besides, I saw the high water
• 3:21
  Speaker 1: mark on the back of your neck, He said, where
• 3:24
  Speaker 1: did you do this amazing and lovely thing? In a
• 3:27
  Speaker 1: common washtub in mother's shed. How lovely it was that
• 3:31
  Speaker 1: she had used a common washtub instead of one of
• 3:33
  Speaker 1: the patent washing machines. They were so commercial, so practical.
• 3:39
  Speaker 1: But a common washtub, you see, is nearly related to
• 3:42
  Speaker 1: the old oaken bucket and reminds one of all the creeping, crawling, swimming,
• 3:47
  Speaker 1: jumping things that live in and around wells. He could
• 3:50
  Speaker 1: see them now, thousands of the little creatures going swiftly
• 3:54
  Speaker 1: up and down stairs, opening windows, laughing, crying, fighting, and
• 3:59
  Speaker 1: especially making love without any hampering, rules, regulations, or restrictions.
• 4:06
  Speaker 1: It was too lovely, Natalie, he said, I do not
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  Speaker 1: love my wife. She is so fat. I will take
• 4:14
  Speaker 1: a thousand dollars and go away with you. Let who
• 4:17
  Speaker 1: will make patent washing machines. Henceforth, I will only make love. Now.
• 4:23
  Speaker 1: This Natalie, you see, was a notable dumbell, and so
• 4:27
  Speaker 1: she said nothing. All she thought was that a thousand
• 4:30
  Speaker 1: dollars would take a lot of spending, and she might
• 4:32
  Speaker 1: as well go along. For as you will remember, John
• 4:36
  Speaker 1: Webster had begun to dislike his clothes. They were, you see,
• 4:40
  Speaker 1: ready made clothes. Hence one should not be surprised at
• 4:44
  Speaker 1: the strange nightly ceremony begun in his room. He set
• 4:48
  Speaker 1: up a picture of the Virgin between two yellow candles.
• 4:52
  Speaker 1: Then he undressed and walked naked up and down the
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  Speaker 1: room for hours at a time, thinking great thoughts. I
• 4:58
  Speaker 1: used to be a dull clod. Now I am a
• 5:01
  Speaker 1: shining nut. I am cracked, and my shell is off.
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  Speaker 1: I am a lovely study in psychopathy. Why should I
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  Speaker 1: work making uninteresting washing machines. I will become a writer
• 5:15
  Speaker 1: among them. I shall not be strange, for there are
• 5:17
  Speaker 1: many nuts among the writers. They write books like this
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  Speaker 1: and get away with it. Many people will think this
• 5:24
  Speaker 1: is a deep philosophical book, that it throws a new
• 5:27
  Speaker 1: and fierce light upon the problems of civilization, whereas it
• 5:32
  Speaker 1: is simply a medical document, a study of a certain
• 5:34
  Speaker 1: common form of insanity. I will write books like this book,
• 5:39
  Speaker 1: but they shall throw a fiercer light on the problems
• 5:41
  Speaker 1: of civilization. For I will make my hero run naked
• 5:44
  Speaker 1: in the streets. All nuts of this particular variety do
• 5:47
  Speaker 1: that when they are fully ripe. My book will be
• 5:51
  Speaker 1: a devastating book, and it will have Sherwood Andersen in craft.
• 5:54
  Speaker 1: Hebbeing faded. There he was, You see John Webster, night
• 5:58
  Speaker 1: after night, walking naked up and down his room, thinking
• 6:02
  Speaker 1: great thoughts. The one night his wife could no longer
• 6:05
  Speaker 1: restrain her vein in morbid curiosity as to what he
• 6:08
  Speaker 1: was doing, walking so up and down in his room,
• 6:12
  Speaker 1: he saw the door to her room open an inch.
• 6:15
  Speaker 1: At the same time his daughter's door similarly opened in
• 6:19
  Speaker 1: a moment he had disposed himself for the great scene.
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  Speaker 1: Come in, he called. There was a commanding ring in
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  Speaker 1: his voice. Come in, both of you and sit there
• 6:30
  Speaker 1: on the bed. Pale, frightened, cowed. Those wretched women who
• 6:35
  Speaker 1: had never had great thoughts came in. There was John Webster, naked,
• 6:40
  Speaker 1: seated on the top of a dresser, cross legged like
• 6:43
  Speaker 1: an obscene Buddha. A lighted candle in each hand. They
• 6:47
  Speaker 1: made for the bed and fell prostrate, burying their faces
• 6:50
  Speaker 1: in the bedclothes. Jane, he began addressing his daughter, I
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  Speaker 1: do not love that woman. There, your mother and my wife.
• 6:58
  Speaker 1: When our marriage transpired. A muffled groan from Jane stopped him. Occurred, Father,
• 7:05
  Speaker 1: she moaned, occurred, not transpired. Don't you know the difference
• 7:10
  Speaker 1: in the meaning of the words. He ignored the interruption.
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  Speaker 1: She was lovely, tall, straight and slim. Her hair was
• 7:19
  Speaker 1: gold and yellow. Now she is homely, fat and generally unattractive.
• 7:25
  Speaker 1: Her hair is rather colorless. No free, unrestrained animal would
• 7:30
  Speaker 1: continue to love such a mate. I intend to be
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  Speaker 1: like other animals. So I am going to leave this
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  Speaker 1: house and live with Natalie. In a short time, doubtless
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  Speaker 1: I shall leave her in turn and find another, and
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  Speaker 1: so on until I am overtaken by death or the police.
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  Speaker 1: I want you to know about this plan of mine.
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  Speaker 1: There are too many marriages. There should be many matings,
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  Speaker 1: free and frequent, but of marriages few or none. This
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  Speaker 1: this is the key to unlock the fetters of civilization.
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  Speaker 1: It is Sherwood Anderson's answer to the riddle of existence. Else,
• 8:07
  Speaker 1: this book in which we live has no meaning. For
• 8:11
  Speaker 1: hours he talked, describing to his daughter all the ugly
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  Speaker 1: aspects of her mother's body and mind, all the sordid
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  Speaker 1: incidents of their married life that his memory could recall
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  Speaker 1: or his imagination furnish. It was a quite lovely experience
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  Speaker 1: for both women. When he dressed, packed his bag, and
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  Speaker 1: left the house, his wife took a few ounces of
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  Speaker 1: laudanum and ceased to exist. Six through the silent, deserted
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  Speaker 1: streets toward the railroad station, John Webster walked with his
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  Speaker 1: new woman, Natalie, the beautiful washing machine girl. He walked
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  Speaker 1: with one foot on the curb and one in the gutter.
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  Speaker 1: Up and down he went, as with alternate step. He
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  Speaker 1: now rose toward Heaven on the higher foot, now sank
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  Speaker 1: toward Earth on the lower. It pleased him to walk.
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  Speaker 1: Thus it seemed to typify the conflict of life, the
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  Speaker 1: struggle between the higher and lower natures. Natalie, carrying both bags,
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  Speaker 1: wept unceasingly but inaudibly. That is fine, thought John Webster.
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  Speaker 1: She weeps with dignity, but she walks with both feet
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  Speaker 1: on the sidewalk. Come, woman, he said, walk as I do,
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  Speaker 1: with one foot in the gutter. That will do for
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  Speaker 1: a starter. Both of them and all the rest of
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  Speaker 1: you will be in the gutter when I am through
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  Speaker 1: with you. Better get used to it gradually. Natalie, still
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  Speaker 1: weeping audibly, now obeyed. And so there in the darkness
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  Speaker 1: of the night, John Webster and his pro temporary soul mate,
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  Speaker 1: Natalie the congenital dumbell, went on their way, up and down,
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  Speaker 1: up and down, one foot in the gutter, one on
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  Speaker 1: the curb. Seven They came to where narrow strips of
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  Speaker 1: grass bordered the sidewalk. These gave John Webster a new
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  Speaker 1: and glorious thought. See the grass strips, he cried, the
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  Speaker 1: beautiful grass strips. All flesh is grass. Therefore let us
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  Speaker 1: strip also. He began unsystematically, but vigorously enthusiastically, to remove
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  Speaker 1: his clothing. Natalie's weeping now lost all its dignity. She
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  Speaker 1: bellowed enormously. She woke the echoes and a policeman. And
• 10:22
  Speaker 1: so you see, there is John Webster in a great
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  Speaker 1: house maintained by the state of Wisconsin, for all who
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  Speaker 1: think such great thoughts. He is free from the worries
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  Speaker 1: of women, wives and washing machines, carefree in all respects
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  Speaker 1: save one. His stray jacket is obviously a ready made garment.
• 10:39
  Speaker 1: The flame that failed reach off from the vehement flame.
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  Speaker 1: I we have been married exactly fifty four minutes, said Maurice,
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  Speaker 1: and I still love you. I can't believe it, answered Eleanor,
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  Speaker 1: As she was thirty nine and he nineteen. Her incredulity
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  Speaker 1: was not strange. But after all fifty four minutes lacks
• 10:58
  Speaker 1: of full six minutes of being in any They were
• 11:01
  Speaker 1: island and rippling tides of wind blown grass, with the
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  Speaker 1: warm fragrance of dropping locust blossoms infolding them, and in
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  Speaker 1: their ears the endless murmur of the river. We must
• 11:11
  Speaker 1: spend our golden wedding here under this tree, he said.
• 11:15
  Speaker 1: She made a mental calculation. She was twice his age
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  Speaker 1: at their golden wedding. He would be sixty nine, and
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  Speaker 1: she twice that one hundred and thirty eight. It seemed hopeless.
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  Speaker 1: Would it last forever? Such a little thing might throw
• 11:32
  Speaker 1: the switches. Six minutes had elapsed. I wish, said Maurice,
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  Speaker 1: very low in his mind. I wish I could die
• 11:40
  Speaker 1: right now, tempest edax Amorris two. She had said no
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  Speaker 1: six times. Consider her age, Consider that she was a
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  Speaker 1: music teacher and suffered from indigestion. Consider moreover that the
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  Speaker 1: author of her being had failed to give her any
• 11:58
  Speaker 1: last name, and here was her uppertin tunity to fill
• 12:00
  Speaker 1: the gap. This, then, was certainly an heroic defense of
• 12:05
  Speaker 1: an untenable position. At the seventh time of asking, she
• 12:09
  Speaker 1: capitulated more to be pitted than blamed. She sang with
• 12:13
  Speaker 1: a voice of serene sweetness. Otherwise she was a creature
• 12:17
  Speaker 1: of alluring silences. They fascinated Maurice. He was sure that
• 12:23
  Speaker 1: behind her white forehead, beautiful mysterious thoughts were evolving. Perhaps
• 12:28
  Speaker 1: that was so, evolution is a notoriously slow process. On
• 12:33
  Speaker 1: the other hand, behind that white forehead there may have
• 12:36
  Speaker 1: been merely one full portion of the great cosmic void.
• 12:40
  Speaker 1: Judging her by what she verbally disclosed her rating under
• 12:43
  Speaker 1: the Benet test was D minus. She was not a
• 12:46
  Speaker 1: well woman. Besides indigestion, she was suffering from another chronic illness,
• 12:52
  Speaker 1: de tropitis. She did not know it yet. She had
• 12:56
  Speaker 1: not met Morris's other half. She was his best half,
• 13:00
  Speaker 1: but Edith was his other half, a very different thing.
• 13:04
  Speaker 1: Edith and Maurice were fashioned for each other. They had
• 13:08
  Speaker 1: been so carefully forged in shape that they fitted each
• 13:11
  Speaker 1: other like a pair of scissors. Anything that came between
• 13:14
  Speaker 1: them was de trou and likely to get hurt. Moreover,
• 13:19
  Speaker 1: she was unknowingly now exposing herself to her final her
• 13:23
  Speaker 1: fatal malady. The place of their fifty four minute honeymoon
• 13:27
  Speaker 1: had been rashly, inconsiderately chosen. This riverside paradise was unlucky
• 13:32
  Speaker 1: for her death was already shaking the bones for the
• 13:36
  Speaker 1: final throw, though its double sixes did not fall for
• 13:39
  Speaker 1: ten years. All in all, she was not a well woman.
• 13:44
  Speaker 1: Three Morris's uncle Henry and aunt Mary took them in
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  Speaker 1: until Maurice could get a job. Uncle Henry's wife counted
• 13:50
  Speaker 1: every cigar he smoked, yet he maintained his cheerfulness. He
• 13:55
  Speaker 1: reminded one, somewhat of Mark Tapley, somewhat of Moses, but
• 13:59
  Speaker 1: mostly of William James. The pragmatic sanction justified everything to him.
• 14:04
  Speaker 1: Aunt Mary was of distinguished lineage, descendant of the late
• 14:07
  Speaker 1: Lydia Pinkham and of the late Ralph Waldo Emerson. She
• 14:11
  Speaker 1: inherited the Pinkham physique the Emerson mentality. Edith, their daughter,
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  Speaker 1: was eleven. She and Maurice had a wonderful time playing
• 14:20
  Speaker 1: tag and pussy in a corner, while Eleanor sat on
• 14:23
  Speaker 1: the porch with the other old folks and had a
• 14:25
  Speaker 1: wonderful time being jealous of Edith. Maurice, don't get overheated, darling.
• 14:32
  Speaker 1: Look out, you'll tear your panties and Mama will have
• 14:36
  Speaker 1: to spank Maurice. Come sit by Mama and she'll show
• 14:41
  Speaker 1: you how to play cat's cradle. Maurice, dear, you mustn't
• 14:46
  Speaker 1: play with that rough, rude tomboy. Come let Mama tell
• 14:50
  Speaker 1: you Bible stories. It worried Maurice. Seeking distraction, he developed
• 14:56
  Speaker 1: an interest in poultry. He shingled the chicken coop and
• 15:00
  Speaker 1: then crawled in and sat among the chickens. Debating whether
• 15:02
  Speaker 1: Eleanor was an old hen. After observing them for some time,
• 15:07
  Speaker 1: he found that Hens never nagged the Cockrells. She was
• 15:10
  Speaker 1: not an old hen. Apparently, slight causes have such momentous effects.
• 15:16
  Speaker 1: He had developed an interest in chickens. He little knew
• 15:20
  Speaker 1: whither it was to lead him. For Maurice got a
• 15:23
  Speaker 1: job in a real estate office and at once became
• 15:25
  Speaker 1: a real force in the business. He devised a new
• 15:29
  Speaker 1: method of making sales. It consisted in pointing out to
• 15:33
  Speaker 1: prospective purchasers the defects in the houses he was trying
• 15:36
  Speaker 1: to sell. If a house had a broken down heater,
• 15:39
  Speaker 1: an antiquated plumbing system, and a leaky roof, Maurice would
• 15:43
  Speaker 1: take the client into his confidence and tell him frankly
• 15:45
  Speaker 1: that there was a broken window pane in the attic,
• 15:47
  Speaker 1: a creaky board in the dining room floor, and several
• 15:50
  Speaker 1: scratches in the paint of the guest room door. Such
• 15:53
  Speaker 1: frankness was most beguiling. The client was beguiled into examining,
• 15:58
  Speaker 1: under Morris's guidance, the attic window and the guest room door,
• 16:02
  Speaker 1: and forgot to look at the heater and the roof.
• 16:05
  Speaker 1: Houses which had been the despair of the office were
• 16:07
  Speaker 1: sold one after another. They gave him three cheers and
• 16:11
  Speaker 1: the nickname of g r Q. Wallingford VI. Their attempt
• 16:16
  Speaker 1: at housekeeping failed. Although Eleanor had hired a very deaf
• 16:20
  Speaker 1: old scrubbleman to do the cooking. Somehow the food wasn't
• 16:23
  Speaker 1: properly prepared. After Maurice had broken a tooth on one
• 16:27
  Speaker 1: of her soft boiled eggs, they gave it up and
• 16:30
  Speaker 1: went to boarding. They had a nice third story room
• 16:33
  Speaker 1: with a black marble mantelpiece, an antique carpet, and steel
• 16:37
  Speaker 1: engravings of Lincoln's cabinet and Daniel Webster. It was a
• 16:41
  Speaker 1: dear little lovinest. Every evening Maurice played solitaire on a
• 16:45
  Speaker 1: marble topped table. She put on an old wrapper, let
• 16:49
  Speaker 1: down her hair, made it all nice and stringy with cologne,
• 16:52
  Speaker 1: laid down on the bed and moaned. They were three
• 16:55
  Speaker 1: years married now he was twenty two. She was going
• 16:59
  Speaker 1: on about sixty six star. Why do you moan? He
• 17:04
  Speaker 1: asked gently. You're tired of me, Maurice. You don't love me,
• 17:09
  Speaker 1: she moaned. I'm jealous of whom, he inquired of, Edith,
• 17:16
  Speaker 1: of your aunt, Mary, of your stenographer, of our landlady
• 17:20
  Speaker 1: of the school teacher downstairs, of our late cook, of everybody. Moan, moan, moan.
• 17:27
  Speaker 1: Jealousy isn't a vice. It's my favorite indoor sport. I
• 17:32
  Speaker 1: love you. I love you so moan, moan, moan, Tell
• 17:37
  Speaker 1: me you love me, Maurice. I do, yes, of course, naturally.
• 17:43
  Speaker 1: I love you, devotedly, madly. You don't love me. You
• 17:48
  Speaker 1: don't love me. He threw the table at her. She screamed,
• 17:54
  Speaker 1: excuse me, dearest. For an hour or two I forgot something.
• 18:00
  Speaker 1: He took his hat and went out. All the lights
• 18:03
  Speaker 1: went out, the switches were thrown. Six Lily Dale was
• 18:08
  Speaker 1: a little thing with exquisite features, a pretty laughing face
• 18:12
  Speaker 1: and amber eyes. She was a lover of flowers, a
• 18:15
  Speaker 1: neat housekeeper, a good cook. She was honest, cheerful, self reliant, humorous.
• 18:23
  Speaker 1: In fact, she was a great deal better than she
• 18:25
  Speaker 1: should be considering what she was in the entire category
• 18:30
  Speaker 1: of virtues. She lacked only two grammar and the tidle
• 18:33
  Speaker 1: roll in her little flat. She cooked a steak for Maurice,
• 18:37
  Speaker 1: better than any he had since he was married, and
• 18:39
  Speaker 1: made a cup of coffee to match it. She put
• 18:42
  Speaker 1: him in a big chair before an open fire, with
• 18:45
  Speaker 1: a hyacinth on the table beside him. She sat on
• 18:48
  Speaker 1: a hassock by him, smoked cigarettes and told him funny stories,
• 18:52
  Speaker 1: and Maurice discovered why men leave home. Maurice had a
• 18:56
  Speaker 1: wonderful idea. He and Eleanor would again go to housekeeping
• 19:00
  Speaker 1: and install Lily in the kitchen. Lily would be saved,
• 19:04
  Speaker 1: and they'd have a good cook. Then Eleanor could lie
• 19:07
  Speaker 1: on the bed upstairs and moan all the evening while
• 19:10
  Speaker 1: he and Lily made fudge in the kitchen. My wife's
• 19:13
  Speaker 1: very broad minded, he said, and we need a cook
• 19:16
  Speaker 1: awful bad, ain't you? The funny little feller said, Lily,
• 19:21
  Speaker 1: here you run along home to mother. The old lady'll
• 19:25
  Speaker 1: think you got stole or something. Eleanor awaited him in
• 19:29
  Speaker 1: their room. Maurice, dear, where've you been to see a chicken?
• 19:36
  Speaker 1: You know my interest in poultry? Thank God, that's no lie.
• 19:42
  Speaker 1: But whenever he wanted a good cup of coffee, he
• 19:44
  Speaker 1: had to go back to the little flat seven. Little
• 19:48
  Speaker 1: Jackie Dale was six years old when Eleanor first learned
• 19:51
  Speaker 1: of his existence. She happened not to be lying on
• 19:54
  Speaker 1: the bed at the time, so she fainted first, then
• 19:57
  Speaker 1: went to bed. There were dumb days when she went
• 20:00
  Speaker 1: about like an automaton, days when she sat at the
• 20:04
  Speaker 1: window and looked at the bare branches of the trees,
• 20:06
  Speaker 1: the dead stalks of the lilies, the river. Sometimes she
• 20:10
  Speaker 1: was almost able to think. Then a return to normality,
• 20:14
  Speaker 1: blank listlessness. Sometimes she seemed to hear a whisper in
• 20:18
  Speaker 1: her mind, but it was only an echo in the void.
• 20:22
  Speaker 1: So the days passed, and each day she dredged the
• 20:24
  Speaker 1: silences of her cranium for thoughts none. But at last,
• 20:29
  Speaker 1: after two years of listening to echoes and dredging silences,
• 20:33
  Speaker 1: an idea came to her. It was the first she'd
• 20:36
  Speaker 1: ever had. The shock of it took her breath away,
• 20:40
  Speaker 1: stunned her. But there it was, her first born idea,
• 20:44
  Speaker 1: A little idiotic, perhaps, but her own. She went to
• 20:49
  Speaker 1: the house on Maple Street where Lily lived. Sell me, Jackie.
• 20:54
  Speaker 1: I'll give you six hundred dollars. Sell Jackie for six
• 20:58
  Speaker 1: hundred dollars. I ain't no cheap trader. It's all I've got.
• 21:04
  Speaker 1: Then you needn't come around. If that's all you've got,
• 21:08
  Speaker 1: you'd better get She got eight day failure. Her little
• 21:13
  Speaker 1: first born idea had flivered. Would she ever have another, Yes,
• 21:19
  Speaker 1: she had another, almost immediately, of the same kind. She
• 21:24
  Speaker 1: must keep Maurice from marrying Edith. And to do that
• 21:26
  Speaker 1: it was necessary not for her to live. No, that
• 21:30
  Speaker 1: would be good for only twenty or twenty five years,
• 21:33
  Speaker 1: or maybe thirty. If she lived to be eighty. Maurice
• 21:36
  Speaker 1: would be only sixty then and Edith fifty, and they
• 21:39
  Speaker 1: might still marry. She must do better than that. He
• 21:43
  Speaker 1: must marry Lily. Lily would live at least fifty years more.
• 21:48
  Speaker 1: By that time, Maurice would surely be dead and Edith
• 21:51
  Speaker 1: foiled forever. She herself must die at once so Maurice
• 21:57
  Speaker 1: might marry Lily. It was the place of their honey.
• 22:01
  Speaker 1: But the river looked wet. Suppose it was. Her skirts
• 22:06
  Speaker 1: would get wet. To keep her coat dry, she left
• 22:09
  Speaker 1: it on the bank. Her hat, she'd wear that to
• 22:13
  Speaker 1: keep her hair dry. Feet in the water ankle deep.
• 22:17
  Speaker 1: It was wet, oh bother above her knees now still wet.
• 22:24
  Speaker 1: Such a nuisance. She fell full length, wet all over.
• 22:30
  Speaker 1: She couldn't stand that that was too much of a wetness. No, no,
• 22:36
  Speaker 1: she'd better go home and try something new. So she
• 22:39
  Speaker 1: tried pneumonia. Nine. Of course, now that poor Eleanor is gone,
• 22:44
  Speaker 1: said Maurice, I'll have to look out for Jackie and Lily.
• 22:48
  Speaker 1: I think I'll marry Lily. Of course, not, said Aunt Mary,
• 22:53
  Speaker 1: and Uncle Henry agreed. Well, then I don't think I'll
• 22:57
  Speaker 1: marry anyone, although Lily is an excellent cook. You're all
• 23:02
  Speaker 1: so stupid, broken, Edith, you marry me, Maurice, but interposed
• 23:08
  Speaker 1: Uncle Henry, what about Morris's relations with bother Morris's relations,
• 23:13
  Speaker 1: Edith interrupted, I'm not marrying them, will adopt Jackie and
• 23:18
  Speaker 1: put Lily in the kitchen. Blacker Oxen by Gertrude Atherton,
• 23:22
  Speaker 1: I Lee Clavering's weary eyes, steel blue, half closed, rolled
• 23:27
  Speaker 1: over the darkened auditorium. Twelve years ago, he had migrated
• 23:31
  Speaker 1: from pre Civil War Louisiana to Manhattan, the brains of America,
• 23:35
  Speaker 1: from the ante Bellum to the Cerebellum. In that time
• 23:38
  Speaker 1: he had attained the highest position in the gift of
• 23:41
  Speaker 1: the nation. Poets, playwrights, players, painters, pugilists, politicians, prophets, priests, popes, presidents, princes,
• 23:50
  Speaker 1: and pullman car porters cringed before him. He was l
• 23:54
  Speaker 1: c the premier columnist of America, the King Klegel of
• 23:58
  Speaker 1: the Colyumist clan. His long dark face suggested the cynical,
• 24:03
  Speaker 1: the mysterious, the morose, but his steel blue eyes were
• 24:07
  Speaker 1: now as always searching with the evergreen hope of finding
• 24:11
  Speaker 1: the consummate woman, which proves him really romantic. That he
• 24:15
  Speaker 1: found her in a New York first night audience proves
• 24:17
  Speaker 1: him a character in fiction two. She sat two seats
• 24:21
  Speaker 1: ahead of him. After the first act, she rose to
• 24:24
  Speaker 1: her feet, turned toward him, and with her opera glasses
• 24:28
  Speaker 1: swept the house. European Clavering clicked. All of them, are
• 24:34
  Speaker 1: these sweepers and scrub women? The columnist spoke. The man
• 24:39
  Speaker 1: took a second look and saw that Venus rising from
• 24:42
  Speaker 1: the sea, had nothing on her. Emphasis on her. Please,
• 24:46
  Speaker 1: the most exquisitely beautiful woman he had ever seen, the
• 24:50
  Speaker 1: only authentic consummate woman. Indubitably, Clavering's nerves rippled, but the
• 24:56
  Speaker 1: man next to him, Old Dinwitie Swell, suave and sixty,
• 25:00
  Speaker 1: had an apoplectic fit. His eyes bulged, his lips gibbered.
• 25:06
  Speaker 1: It's a ghost. Mary Ogden Belle of New York, forty
• 25:09
  Speaker 1: five years ago, when I was a kid married Count
• 25:12
  Speaker 1: Satine Hungarian, never been back since her daughter, of course,
• 25:17
  Speaker 1: suggested Clavering never had any to speak of, but that's
• 25:22
  Speaker 1: it must be one of the unmentionables. She was a
• 25:25
  Speaker 1: gay one little liaison now and then relished by the
• 25:29
  Speaker 1: best of men. Three three weeks past six more first nights,
• 25:33
  Speaker 1: and Mary Ogden was at every one of them, also
• 25:36
  Speaker 1: Lee Clavering. She was the talk of the town. The
• 25:41
  Speaker 1: newspapers were full of the mystery who was this enthralling person.
• 25:46
  Speaker 1: Crowds followed her everywhere. She bought a pair of gloves,
• 25:50
  Speaker 1: and seven floor walkers were hurried to Bellevue in seven
• 25:54
  Speaker 1: separate deliria. She went into the public library, and the
• 25:58
  Speaker 1: infatuated populace carried off all the books as souvenirs. She
• 26:02
  Speaker 1: walked around the reservoir and they drew off the water
• 26:05
  Speaker 1: and sold it for a dollar a bottle. At the theater,
• 26:08
  Speaker 1: they turned the footlights around and threw the spotlights on her.
• 26:12
  Speaker 1: Nobody looked at the stage. The actors forgot their parts.
• 26:16
  Speaker 1: Switched from the first act of the demi Vierge to
• 26:19
  Speaker 1: the second act of Pollyanna, and no one noticed it
• 26:22
  Speaker 1: but the author. On the second Sunday, forty percent of
• 26:26
  Speaker 1: all the clergymen preached on Mary has chosen the better part.
• 26:31
  Speaker 1: Never had there been such excitement in Manhattan since Peter
• 26:34
  Speaker 1: Stavesant broke his wooden leg. For after the sixth first night,
• 26:38
  Speaker 1: Lee Clavering followed her home. He found her alone in
• 26:42
  Speaker 1: the great city on her own doorstep. May I am,
• 26:46
  Speaker 1: I are you were they? Was it HUSS's? He stammered,
• 26:50
  Speaker 1: his temperature rising dangerously, Oh, she said, with a faint smile.
• 26:55
  Speaker 1: Unlocked out, Watch me, he said. He tore out the
• 26:59
  Speaker 1: areailing and threw it at a passing taxi cab, smashed
• 27:02
  Speaker 1: the area windows and burst in the door. Entering, he
• 27:07
  Speaker 1: ran rapidly through the house, switched on all the lights,
• 27:10
  Speaker 1: turned on the hot and cold water in every bathroom,
• 27:13
  Speaker 1: upset the furniture, and slid down the banisters from the
• 27:15
  Speaker 1: fourth story to the first, landing in a heap at
• 27:19
  Speaker 1: the bottom. He leaped to his feet and opened the
• 27:21
  Speaker 1: front door. Thank you, she said, Simply have a drink,
• 27:26
  Speaker 1: mister Clavering, you know whom I am. Then he surrelled
• 27:30
  Speaker 1: in amazement. Certainly, don't you? She answered, I yes, No,
• 27:38
  Speaker 1: he murmured, his eyes fixed on her as he poured
• 27:41
  Speaker 1: a drink. That's the cat's a bottle. And do you
• 27:44
  Speaker 1: always drink from a finger bowl? She asked sweetly, Oh,
• 27:48
  Speaker 1: invariably never, he gasped, I mean inevitably always. Won't you
• 27:54
  Speaker 1: sit down? You make me sit up and take notice?
• 27:58
  Speaker 1: He call umned feebly seat himself on the overturned VICTROLA.
• 28:02
  Speaker 1: You will pardon my confusion, he babbled on to who
• 28:07
  Speaker 1: I mean to wit? Have I the honor of speaking?
• 28:10
  Speaker 1: How old are you? Have you ever been married? If so,
• 28:14
  Speaker 1: mark a cross within the circle, but not within the triangle?
• 28:18
  Speaker 1: If not, was your husband present when the body was found?
• 28:22
  Speaker 1: If you have any children, not in jail, how do
• 28:24
  Speaker 1: you account for it? Who are you? And if not,
• 28:28
  Speaker 1: what is your beautiful name? Answer? Yes or no? Marie Zadiony,
• 28:33
  Speaker 1: she answered with a smile. Legitimate or ill? He paused
• 28:38
  Speaker 1: in mid flight, dipped his forefinger into the catsip, and
• 28:41
  Speaker 1: dreamily drew a red cross on his shirt front. Pardon me,
• 28:45
  Speaker 1: he continued, I was about to ask a personal question,
• 28:49
  Speaker 1: to speak quite impersonally, Will you marry me? If you're
• 28:52
  Speaker 1: of marriageable age? How old do you think I am?
• 28:56
  Speaker 1: Don't answer, you'd certainly either flatter me, not putiatingly, or
• 29:00
  Speaker 1: insult me grossly. Come back in three weeks and I
• 29:04
  Speaker 1: will tell you my story. She raised her hand for
• 29:07
  Speaker 1: him to kiss, but he ducked, and she missed him
• 29:09
  Speaker 1: by an inch. Outside the house, he remembered the shattered
• 29:13
  Speaker 1: basement windows. His southern chivalry would not let him leave
• 29:17
  Speaker 1: her unprotected. He lay down on the doorstep and slept
• 29:21
  Speaker 1: soundly until dawn. Thee a column a day keeps the
• 29:25
  Speaker 1: sheriff away, And when you've got the habit, you keep
• 29:28
  Speaker 1: right on, no matter what your feelings are or your readers.
• 29:32
  Speaker 1: It helped el See to bear in certitude, with fortitude.
• 29:36
  Speaker 1: The make up seldom varied. It must open with a poem,
• 29:40
  Speaker 1: preferably an authentic L. C. Horation ode. His odometer registered
• 29:45
  Speaker 1: three a week. It was his line, master of the
• 29:49
  Speaker 1: Horatian line. He had been called as Thus the man
• 29:53
  Speaker 1: of upright life. Horace Bookeye owed twenty two inte gervitai
• 29:58
  Speaker 1: celarisk peruse the gink dat never croaked a guy, nor
• 30:02
  Speaker 1: crowned a cop, nor even bumped a buddy on the beezer,
• 30:04
  Speaker 1: nor kicked his frail and black drye. It does em
• 30:07
  Speaker 1: good and that's no lie, Nor stuck a knife in
• 30:10
  Speaker 1: any scrappy geezer, a chink or wop, nor pedal dope
• 30:14
  Speaker 1: or hop or hooch, nor pan the yid, nor blue
• 30:16
  Speaker 1: a safe, nor shoved a queer, nor nap the kid.
• 30:20
  Speaker 1: Dat never cop to come on's kail, nor frist a
• 30:23
  Speaker 1: hayseed's leather. Ain't got no fear of judge or jail,
• 30:26
  Speaker 1: nor the CoP's all put together. Dale never pinch him,
• 30:29
  Speaker 1: hully gee, dat ain't no loss, Dale, never mug him
• 30:34
  Speaker 1: for the gallery. He'll never get no third degree. Like
• 30:38
  Speaker 1: what the bulls wants gift to me? I'll say, day,
• 30:41
  Speaker 1: earn't their salary. I come across, nor do a bit,
• 30:46
  Speaker 1: nor stretch a rope, nor pad to hoof and pound
• 30:49
  Speaker 1: his ear benny the sky without no roof. He needn't
• 30:52
  Speaker 1: pack no wicked gap. Policeman will protect him if he
• 30:57
  Speaker 1: forgets where home is at kind Central'll connect him. Lenvoyd,
• 31:01
  Speaker 1: dat pious pie faced son of a gun. He's sittin
• 31:04
  Speaker 1: pretty maybe, but ain't he missed a lot of fun?
• 31:08
  Speaker 1: I'll tell the world, Oh baby, Then the contributions must
• 31:14
  Speaker 1: have a chance. Just now they were busy with tens
• 31:18
  Speaker 1: for example, one proposed as the ten most lovable old
• 31:22
  Speaker 1: women in history, a list beginning with one Mother Goose
• 31:26
  Speaker 1: and two old Mother Hubbard, and ending with nine Josephine
• 31:30
  Speaker 1: Daniels and ten Wilhelmina Jenny Bryan. Another wrote, Sir, if
• 31:36
  Speaker 1: I had to go to a desert island and take
• 31:38
  Speaker 1: ten women with me, I'd take one cyanide of potassium,
• 31:42
  Speaker 1: and that would be about all g p B. Then
• 31:47
  Speaker 1: the diary Wednesday, October ninth, up betimes at ten of
• 31:52
  Speaker 1: the clock into my office. They're half an hour pasting contributions,
• 31:55
  Speaker 1: contributions to make a full column. And amazed to find
• 31:58
  Speaker 1: how short my stint. But with no lack of pleasure
• 32:01
  Speaker 1: or content, having nothing now in my mind of trouble
• 32:04
  Speaker 1: in the world, did sit and think on many things.
• 32:08
  Speaker 1: So to lunch with h. Brune, my fellow scrivener and
• 32:12
  Speaker 1: a very pleasant fellow, withal though methought me had heard
• 32:15
  Speaker 1: before some of the bright sayings of his little son,
• 32:18
  Speaker 1: wherewith he regaled me. Thence to the game or play
• 32:21
  Speaker 1: of baseball, as well played as ever I saw in
• 32:24
  Speaker 1: my life. Thence to tea with Mistress Missa mac m
• 32:27
  Speaker 1: wine nn with much merriment and wit. Thence to dinner
• 32:31
  Speaker 1: with F. Adams, the satirical writer, H. Camby, the excellent critic, C. Morley,
• 32:38
  Speaker 1: the literary philosopher, D. Marquis the poet, and other wits,
• 32:42
  Speaker 1: and much good talk of this and that. Thence to
• 32:45
  Speaker 1: the playhouse, where was enacted a mask entitled the Follies
• 32:49
  Speaker 1: to my great content. Thence to supper with W. Rogers,
• 32:54
  Speaker 1: the antique player, and found him very intelligent. Whereat I
• 32:58
  Speaker 1: wondered greatly, and so to bed, very low spirited, and
• 33:02
  Speaker 1: lay a long time marveling at my capacity for work,
• 33:05
  Speaker 1: and how poor wretch I must earn my bread by
• 33:07
  Speaker 1: the sweat of my paste pot. Six three weeks passed
• 33:12
  Speaker 1: to night's the night he cried, rushed from his apartment,
• 33:16
  Speaker 1: plunged recklessly between automobiles going in four different directions at once. Obviously,
• 33:21
  Speaker 1: Fords sprang upon the roof of a passing taxi cab
• 33:24
  Speaker 1: and told the man to drive like hell for Park Avenue.
• 33:27
  Speaker 1: He charged up the steps, assaulted the door with his fists,
• 33:31
  Speaker 1: leap frogged over the impassive butler. He found her in
• 33:34
  Speaker 1: the library and forced the fighting. From the start, it
• 33:38
  Speaker 1: seemed to her that her entire body was encircled by
• 33:40
  Speaker 1: flexible hot bars of iron, and that her face her
• 33:43
  Speaker 1: mouth were being flagellated. Break Away, she managed to gurgle
• 33:49
  Speaker 1: mill biting in the clinches. Who are you, he cried,
• 33:54
  Speaker 1: I don't want to know, Will you marry me? Don't
• 33:58
  Speaker 1: answer again. She was submerged. When she was coming up
• 34:03
  Speaker 1: for the third time, he pushed her head under once more,
• 34:07
  Speaker 1: a left hook to the jaw, and he collapsed under
• 34:09
  Speaker 1: a table. When he came to, his voice was weak.
• 34:13
  Speaker 1: A typewriter, please, he gasped. It's stuff for the column.
• 34:19
  Speaker 1: His new sense rarely failed him. Tuesday, October twenty ninth.
• 34:24
  Speaker 1: I to am Zadiani's the toast of the town, and
• 34:27
  Speaker 1: a mighty mystery whether she be in truth Zadiiny or
• 34:30
  Speaker 1: a mischievous impostor. And did kiss and clip her mightily.
• 34:33
  Speaker 1: But the baggage handed me a slap on the map
• 34:36
  Speaker 1: as a trunk had fallen on me. So I to
• 34:39
  Speaker 1: the mat. What next, he added? Feebly, have a drink?
• 34:44
  Speaker 1: She said, He took three. Who are you woman? Is
• 34:49
  Speaker 1: your real name Zadieny or fearbaut? I am mary ogden Zadiini,
• 34:54
  Speaker 1: she answered quietly, I married Zadiani forty five years ago.
• 34:59
  Speaker 1: I was twenty five at the time. Do your own arithmetic.
• 35:04
  Speaker 1: Five from thirty is twenty and carry two twice. Two
• 35:07
  Speaker 1: is five divided by forty. Double it and subtract the
• 35:10
  Speaker 1: cube root. Think of a number, add a dash of bitters,
• 35:13
  Speaker 1: shake well before using. His voice trailed to silence, and
• 35:16
  Speaker 1: his jaw dropped. I hated Zadiony, but his position appealed
• 35:21
  Speaker 1: to my love of power and intrigue, especially the latter.
• 35:25
  Speaker 1: I was besieged by men and surrendered a discretion. He
• 35:29
  Speaker 1: got suddenly to his feet. Think I'll take few more drinks.
• 35:33
  Speaker 1: He did so, and then sat down on the floor,
• 35:36
  Speaker 1: a full glass in either hand. I had many lovers, many, many, many.
• 35:41
  Speaker 1: She went on, Bow, Wow, Wow, He barked a short laugh.
• 35:46
  Speaker 1: He gazed at her with relaxing features, His steel blue
• 35:50
  Speaker 1: eyes goggled sardonically. Of all my lovers, I loved but one,
• 35:55
  Speaker 1: Prince Hafanar the last. But he married and left me flat.
• 36:01
  Speaker 1: Left your flat. Thought you lived in palazzo. That's so,
• 36:06
  Speaker 1: she echoed, I did until the war came. Excuse me,
• 36:11
  Speaker 1: personel question, Miss Zadiony, But have you sat in any
• 36:14
  Speaker 1: of these gentlemen's laps lately, not since half an hour,
• 36:18
  Speaker 1: she answered, pleadingly. There's long time thirty minutes. He ruminated,
• 36:24
  Speaker 1: that's all re proceed I was sixty five when half
• 36:29
  Speaker 1: an hour elapsed, so to speak. But you're young woman, now,
• 36:34
  Speaker 1: please explain that simple question. How do you did it? Cooh? No,
• 36:40
  Speaker 1: I won't go way, not tell you till me till
• 36:43
  Speaker 1: you tell me. Coo coo e meal coo. Are you
• 36:50
  Speaker 1: singing song or jest making funny noises? Oh? You know
• 36:55
  Speaker 1: every day in every way younger and younger? Sure, I
• 37:00
  Speaker 1: know every day. Koe koue, he chortled in his joy.
• 37:05
  Speaker 1: Alice Swonderland Slewis Carroll, great columnist, my cousin, same mischals.
• 37:12
  Speaker 1: I was sixty eight when I took the cure. Every
• 37:16
  Speaker 1: day I've been getting younger and younger in every way.
• 37:20
  Speaker 1: Better stop, lady, he said, solemnly. Some kid now, but
• 37:25
  Speaker 1: much younger. Police inerfra, Well, that is my story. Do
• 37:30
  Speaker 1: you do you love me still? She faltered, excuse me
• 37:35
  Speaker 1: another person al question. Jew makes his hooch. I did,
• 37:41
  Speaker 1: and I do love yer still old as you are.
• 37:44
  Speaker 1: Y're still's most beautiful thing. In York in Hutch signor
• 37:48
  Speaker 1: Vince's with all thy faults, I love thy still now
• 37:53
  Speaker 1: and forever one inseperably, death us due part. And then
• 37:57
  Speaker 1: he slept as quietly as a child. Seven three weeks passed.
• 38:02
  Speaker 1: Three weeks of constant companionship, with Lee clavering, almost exhausting
• 38:06
  Speaker 1: her capacity for surprise and her cellar. Then a wireless telegram, wife,
• 38:12
  Speaker 1: Dad must see you immediately on a rival Berengaria Hafenar.
• 38:16
  Speaker 1: The Prince arrived straight, thin erect broke in his eyes
• 38:21
  Speaker 1: the glance of the Austrian double Eagle, now selling at
• 38:24
  Speaker 1: nine nine slash off for cash. Frau Graffin. He lifted
• 38:29
  Speaker 1: her hand to his lips with princely courtesy, younger than
• 38:33
  Speaker 1: when I first saw you, cooing, they tell me, and
• 38:36
  Speaker 1: billing as well. Is it not so? Why are you here,
• 38:41
  Speaker 1: excel ends? Because Austria needs you. I need you, We
• 38:46
  Speaker 1: need you every hour in every dollar. Will you marry me?
• 38:51
  Speaker 1: But I am engaged to l see what of that?
• 38:55
  Speaker 1: Let me state my case. I am about to rehabilitate Austria.
• 39:01
  Speaker 1: My plans are simple, but comprehensible by the meanest intelligence.
• 39:04
  Speaker 1: Only I shall annex Germany, Italy, Greece, Turkey, Moldavia, Bolivia, Rumania, Pneumonia,
• 39:13
  Speaker 1: the Hugo and Checho brothers and all the balking states.
• 39:17
  Speaker 1: I shall create a barnum, bailey and ringling brothers Austria,
• 39:20
  Speaker 1: bigger and better than ever. And you, he went on,
• 39:24
  Speaker 1: you shall be what you will, Queen Empress, my m
• 39:29
  Speaker 1: morganatic wife. The Osterich shall shed its plumes for your adornment,
• 39:34
  Speaker 1: if only you'll buy a little preferred with a large bonus.
• 39:36
  Speaker 1: Are very common old stuff, she exclaimed disdainfully. I have
• 39:42
  Speaker 1: the same plan. I shall do it myself, with the
• 39:45
  Speaker 1: aid of my husband's column. Marie, Countess Satiny. But no,
• 39:51
  Speaker 1: he answered, return to Austria, as Missus Lee clavering, and
• 39:55
  Speaker 1: you'll be cut by every true born Ostrich. We recognize
• 39:59
  Speaker 1: no one without sixteen quarterings and a few hangings and drawings.
• 40:04
  Speaker 1: What she stared, aghast, Missus Lee, shall I have to
• 40:09
  Speaker 1: take my husband's name. Isn't the lucy Stone League too powerful?
• 40:14
  Speaker 1: Not in Austria, he said, blandly, no league, whether of
• 40:18
  Speaker 1: nations or denominations, is recognized. I love him, so, she moaned,
• 40:24
  Speaker 1: But this changes everything. I will never give up the graffinship. Moritz,
• 40:31
  Speaker 1: I am yours sign on the dotted line, he said quietly.
• 40:36
  Speaker 1: H She wrote, Lee these stanzas when lovely woman takes
• 40:40
  Speaker 1: to Kai and Gee and finds what bills she has
• 40:42
  Speaker 1: to pay for this, though sweet untitled wooing, the next
• 40:46
  Speaker 1: boat takes her down the bay. You should then be
• 40:49
  Speaker 1: up and doing. Follow me on Saturday, still your happiness,
• 40:54
  Speaker 1: pursuing love like ours will find a way. But he
• 40:58
  Speaker 1: printed it in the column on set Saturday, and on
• 41:00
  Speaker 1: Monday married the daughter of an eminent bootlegger, glimpsing the
• 41:04
  Speaker 1: moon with an obeisance to Edith Wharton. I I Opine began,
• 41:08
  Speaker 1: Susy you what, interrupted nick O Pine answered Susy. Good lord,
• 41:15
  Speaker 1: exclaimed Nick. Why not, she asked, amazed, Why it isn't done,
• 41:21
  Speaker 1: my dear, Really it isn't. It's a perfectly good word,
• 41:26
  Speaker 1: pouted Susye. Pryor used it prior, yes, but not since,
• 41:32
  Speaker 1: said he. It has had priority, but not permanency. Obsolete,
• 41:38
  Speaker 1: my dear archaic begin again? All right? How's this? I
• 41:45
  Speaker 1: the moon? Their tutelary orb tutelary orb. Oh, dear grown Nick,
• 41:51
  Speaker 1: why don't you say? Chaste goddess of the night, sweet
• 41:55
  Speaker 1: regent of the heavens, queen an huntress, chaste and fair,
• 42:00
  Speaker 1: or something new like that. This is modern English prose.
• 42:04
  Speaker 1: My dear Susie here, let me have the typewriter. I'll
• 42:09
  Speaker 1: show you how I. Nick Lancing lived in a three
• 42:12
  Speaker 1: pair back bed sitting room. An industrious young man, he
• 42:16
  Speaker 1: worked day and night. In the daytime he worked writing
• 42:20
  Speaker 1: part of a popular encyclopedia V to X, a most
• 42:24
  Speaker 1: depressing section of the alphabet. At night he worked his
• 42:27
  Speaker 1: rich friends for dinners the opera, drinks and cigars, a
• 42:31
  Speaker 1: more agreeable job. Susie Branch was also a prominent member
• 42:35
  Speaker 1: of the Eye w W. She worked everybody, day and night,
• 42:40
  Speaker 1: all the time for everything clothes, shoes, hats, board, lodging,
• 42:46
  Speaker 1: and laundry. In spite of their industry, both were poor.
• 42:51
  Speaker 1: Nick was poor as he could be, which, considering Nick's
• 42:54
  Speaker 1: capacity for poverty, is saying something. Susie was poorer than
• 42:59
  Speaker 1: she could be and be satisfied, which, considering her tastes
• 43:03
  Speaker 1: and appetites isn't saying so much. Still, the fact as
• 43:08
  Speaker 1: she hadn't a red outside of her vanity case, and
• 43:11
  Speaker 1: so they were married by the interposition of authorship. They
• 43:15
  Speaker 1: were brought together at the almost equally poor Fomer's tiny
• 43:18
  Speaker 1: cottage in the wilds of New Hampshire, where Nat Fomer
• 43:21
  Speaker 1: painted the Italian cook on the verandah grace. Fomer played
• 43:24
  Speaker 1: the fiddle in the dining room, and the five Fomer
• 43:27
  Speaker 1: kids raised hell simultaneously all over the place. The romance
• 43:31
  Speaker 1: of married love in a cottage swept Susie off her feet.
• 43:35
  Speaker 1: It was Susie's idea. Nick would never have thought of it.
• 43:40
  Speaker 1: Why not us get married, she asked, quite simply. Nick
• 43:44
  Speaker 1: was frightened, shied, might have run away, But Susie was
• 43:47
  Speaker 1: on the job, with a plan, blue prints, specifications and
• 43:51
  Speaker 1: working drawings, all complete, especially the last. Susie was a
• 43:56
  Speaker 1: fast worker. In six words, the gist of it was checks,
• 44:01
  Speaker 1: nothing but checks for wedding presents. The word checks in
• 44:05
  Speaker 1: the plural rooted NICKI to the spot, lead me to them,
• 44:10
  Speaker 1: cried every fiber in his body. The whole thing was
• 44:13
  Speaker 1: simple enough. SUSI would guarantee the checks. It should be
• 44:18
  Speaker 1: understood of all that it would be bad form to
• 44:20
  Speaker 1: give Nick and Susie anything but checks, drafts, or orders
• 44:24
  Speaker 1: for the payment of money. This their spending money for
• 44:27
  Speaker 1: the rest. Everyone would lend them their spare houses, palazzos, cottages, villas, apartments, servants, food, wine,
• 44:36
  Speaker 1: cigars and cigarettes, board and lodging free for a year
• 44:40
  Speaker 1: at least Susie would guarantee that, and that's all they
• 44:44
  Speaker 1: had to look out for one year after that. Why
• 44:48
  Speaker 1: either of them might make a better match, both of them.
• 44:51
  Speaker 1: Probably one little handmade divorce would do for both. I
• 44:56
  Speaker 1: should like, just for once to have something of my
• 44:58
  Speaker 1: very own, Niki, dear, something that nobody had lent me,
• 45:02
  Speaker 1: like my fancy dresses, motors, opera cloaks, or given me
• 45:06
  Speaker 1: like everything else. And the divorce would be my own,
• 45:09
  Speaker 1: wouldn't it, NICKI? Mine and yours, just our owny own
• 45:14
  Speaker 1: little divorce, checks murmured Nikki, still in a trance Checks two.
• 45:21
  Speaker 1: It rose for them, the moon their tutelary orb, if
• 45:24
  Speaker 1: you prefer to put it that way, as indeed you may.
• 45:28
  Speaker 1: Goodness knows some do over Como Strefi's villa, marble balustrades, Stephanotis, Guardinius, nightingales,
• 45:36
  Speaker 1: and Streffi's cigars. But now their month was ended. They
• 45:41
  Speaker 1: were packing for the next on their string. Vanderlin's palazzo
• 45:44
  Speaker 1: in Venice, equally well found. The new tenant's motor has come,
• 45:49
  Speaker 1: said Susie gaily, and I've bribed the chauffeur to drive
• 45:52
  Speaker 1: us to Milan. It's so much cheaper than railway fairs.
• 45:57
  Speaker 1: Clever of you, Nicki laughed. And I've packed all the
• 46:01
  Speaker 1: rest of Streffi's cigars, Streffie cigars, Lancing stared, aghast Streffie cigars.
• 46:11
  Speaker 1: Oh my God, give me the key woman. He worked
• 46:16
  Speaker 1: half an hour over the refractory lock, perspired, broke his
• 46:20
  Speaker 1: finger nails, disinterred them at last. Then he jumped into
• 46:24
  Speaker 1: the motor, and they were whirling through the nightingale thickets
• 46:26
  Speaker 1: to the gates. Why did you leave the cigars, dear,
• 46:30
  Speaker 1: she asked. Of course you don't understand, darling, he answered gently,
• 46:37
  Speaker 1: No woman knows anything about cigars. Streffie never bought those cigars, Dear,
• 46:43
  Speaker 1: They were given to him. Thank God, Vanderlin buys his
• 46:48
  Speaker 1: own cigars. Three at the palazzo, a letter from Elie
• 46:52
  Speaker 1: Vanderlin awaited Susy, containing four other letters addressed to Nelson
• 46:56
  Speaker 1: Vanderlin Esker, New York City. Susie read, one good turn
• 47:02
  Speaker 1: deserves another You and nick can stay all summer, no expense.
• 47:07
  Speaker 1: Servants have orders. Just post these letters, one a week.
• 47:10
  Speaker 1: Be good to my child. It was too plain, vile, infamous,
• 47:18
  Speaker 1: a child left behind, abominable for her to take care of, outrageous.
• 47:24
  Speaker 1: She would never do it. They must leave this place
• 47:27
  Speaker 1: at once. But she awoke next morning to the sun
• 47:30
  Speaker 1: shining through curtains of old brocade, making a network of
• 47:34
  Speaker 1: golden scales upon the vaulted ceiling, to a luxurious breakfast
• 47:37
  Speaker 1: in bed, and a single tyr rose in an old
• 47:39
  Speaker 1: Morano glass, And thought of the child. How could she
• 47:44
  Speaker 1: leave a lonely child exposed to all the evils of
• 47:47
  Speaker 1: such a pampered infancy. Distasteful as it was to dwell
• 47:50
  Speaker 1: in the palazzo of the ungodly. It was her duty,
• 47:53
  Speaker 1: and she did. The letters went in due course to end.
• 47:57
  Speaker 1: Vanderlin Esker Charlie Drefford arrived wearing a moldy panama hat
• 48:02
  Speaker 1: reminiscent of the Stilton cheese of old England, an eccentricity pardonable.
• 48:06
  Speaker 1: In the next but two to the Earldom of Altringham,
• 48:09
  Speaker 1: only the present incumbent and his son intervening, good Old
• 48:13
  Speaker 1: Strefie where's old Nick? He's writing? You know, works all
• 48:19
  Speaker 1: day on a philosophic romance like Marius. You know, Oh
• 48:24
  Speaker 1: I say good one laughed Strefeie Nix Marius you marry
• 48:29
  Speaker 1: me see capital Eh? What rather, Countess of Altringham? What
• 48:37
  Speaker 1: Altringham and son? Sure to die soon about middle of
• 48:40
  Speaker 1: the book accident in hunting Field or yet capt sizes
• 48:44
  Speaker 1: in the solent sure to always happens one or other?
• 48:47
  Speaker 1: Absolutely think it over old thing for Ellie. Vanderlyn came back,
• 48:53
  Speaker 1: but only to be off again to Saint Mourt's, leaving
• 48:55
  Speaker 1: Nick and Susie undisturbed. Goodbye you, dear thing. To NICKI,
• 49:01
  Speaker 1: I must thank you for helping me to be so
• 49:03
  Speaker 1: happy elsewhere you and Susie were such bricks about the letters.
• 49:08
  Speaker 1: She left him a Morocco case in it a pearl
• 49:10
  Speaker 1: scarf pin he sought Susie, she hurried to him. She
• 49:16
  Speaker 1: pressed the button of the lamp. Her husband's face started
• 49:20
  Speaker 1: out of the twilight, fortunately stopped before it had entirely
• 49:23
  Speaker 1: left him. Then hardened on her outstretched wrist was a
• 49:28
  Speaker 1: bracelet of emeralds and brilliants. Look dearest, wasn't it Darling
• 49:33
  Speaker 1: of Ellie she cried, Yes, she gave me this he
• 49:38
  Speaker 1: opened the Morocco case, but yours cost more. Will you
• 49:43
  Speaker 1: tell me why she values your services higher than mine?
• 49:47
  Speaker 1: Don't you know that men demand and receive higher wages
• 49:49
  Speaker 1: than women. My position as head of the family, it's humiliating,
• 49:54
  Speaker 1: it's I don't know what to say. I'm all head up,
• 49:59
  Speaker 1: I'll have to go for a tramp. And he left
• 50:01
  Speaker 1: her just like that. V None was to be found
• 50:05
  Speaker 1: in all Venice, nor in Milan, nor in Genoa, whither
• 50:08
  Speaker 1: his hopeless quest had led him lazzaroni ate plenty, But
• 50:13
  Speaker 1: in all Italy it seemed there was not one real,
• 50:16
  Speaker 1: honest to God, good old fashioned American tramp. But he
• 50:21
  Speaker 1: did find Coral Hicks. There in the harbor was the
• 50:25
  Speaker 1: huge outline of the Hicks's yacht, the Ibis. Within the
• 50:28
  Speaker 1: outline was the Ibis itself. Nick knew it well. He
• 50:33
  Speaker 1: had bummed his board and lodging on it for five
• 50:35
  Speaker 1: months once in the good old days before Susie and
• 50:38
  Speaker 1: the Czechs had mesmerized him. There was something so RESTful
• 50:42
  Speaker 1: about the Hickses, so substantial, so solvent, good old Papa
• 50:47
  Speaker 1: and Mama Hicks solid three dimensional people. Papa especially had
• 50:52
  Speaker 1: a wonderful figure, one large digit backed by six ciphers
• 50:56
  Speaker 1: and a decimal point. He could see them now, with
• 50:59
  Speaker 1: their her entourage, two secretaries, a doctor, a maiden lady
• 51:03
  Speaker 1: known as Elderada took her though why so called? Unless
• 51:07
  Speaker 1: to supply comic relief, No one could say, and quarrel
• 51:10
  Speaker 1: sole daughter of their house and heart, that still unmarried
• 51:14
  Speaker 1: child of opulence, one large digit backed by six ciphers
• 51:19
  Speaker 1: and a decimal point, contrasted with a small bank balance
• 51:22
  Speaker 1: backed by Susie's grandmother's pearl necklace. What about that? He
• 51:27
  Speaker 1: knew they would have to cast the pearls before the wolf.
• 51:30
  Speaker 1: If they were to hang together much longer, Susie would
• 51:33
  Speaker 1: have to choose between her Nicholas and her necklace. Was
• 51:37
  Speaker 1: it right? Was it fair to Susie to burden her longer?
• 51:41
  Speaker 1: The year was almost up? Why not resign now? While
• 51:45
  Speaker 1: the ibis was at hand? To tissimus ibis, He picked
• 51:50
  Speaker 1: up the Daily Mail, ran his eye casually down its columns,
• 51:53
  Speaker 1: and read tragic yachting accident in the Solent. The Earl
• 51:57
  Speaker 1: of Altringham and his son, Viscount de drowned six coral
• 52:02
  Speaker 1: Hicks was a young lady of compact, if not graceful outline,
• 52:06
  Speaker 1: with a downright manner. Also a little black downright on
• 52:09
  Speaker 1: her upper lip. She shanghaied, unresisting Nick, and the ibis
• 52:13
  Speaker 1: sailed away. Sitting beside him on deck, she suddenly said,
• 52:18
  Speaker 1: your wife hasn't written you for weeks. No, thank the Lord,
• 52:22
  Speaker 1: he laughed, And you haven't written her. No, then you're free.
• 52:28
  Speaker 1: Will you take a new job? Will you be my secretary?
• 52:33
  Speaker 1: My dear Coral, he replied, this is so sudden. No,
• 52:38
  Speaker 1: I cannot. I do not love you in that way, dearest,
• 52:42
  Speaker 1: It's too much like work. But I will be a
• 52:45
  Speaker 1: husband to you from the next port. He wired his
• 52:49
  Speaker 1: wife here by tender resignation my position, your husband stopped.
• 52:52
  Speaker 1: Pearl's beautiful, but Coral more durable. Stop recommends stref my
• 52:56
  Speaker 1: successor go to a kid. Don't stop. Seven. Susie wired Strefie, congratulations,
• 53:02
  Speaker 1: old be nice name. Altringham been thinking it over. Nick
• 53:05
  Speaker 1: has quit. She received an answer. Meet me at the
• 53:08
  Speaker 1: Fountain Versailles Friday. So Nicky did a bunk eh Strefie chuckled,
• 53:15
  Speaker 1: I say that's top hole. What how about little old me? Countess.
• 53:21
  Speaker 1: You know places no end Altringham and the others. If
• 53:27
  Speaker 1: you don't like the others, we'll see about altering m
• 53:31
  Speaker 1: I say, how's that pretty good? Eh? Better take me
• 53:35
  Speaker 1: on old thing? What casually running their eyes down the
• 53:40
  Speaker 1: columns of the Daily Mail as was there, won't nick Strefie,
• 53:44
  Speaker 1: Susie and Coral read a divorce has been arranged and
• 53:47
  Speaker 1: will shortly take place between mister and Missus Nicholas Lancing.
• 53:52
  Speaker 1: Eight They were at tea on the terrace of the castle,
• 53:54
  Speaker 1: the Earl and Countess of Altringham nay Branch and their
• 53:58
  Speaker 1: weekend guests, Mister and Missus Nicholas Lancing nay Hicks, all
• 54:02
  Speaker 1: merry and bright. Nicky dear, did you read the funny
• 54:07
  Speaker 1: story they've written about us? Asked Susy Gaily. Of course not,
• 54:12
  Speaker 1: I'd forgotten. You've given up books entirely. Well, it's simply
• 54:17
  Speaker 1: killing you. See, I'm supposed to turn streffee down and then,
• 54:21
  Speaker 1: of all things, get a job as child's nurse for
• 54:24
  Speaker 1: you'd never guess the five Fomer kids, Remember that awful bunch?
• 54:28
  Speaker 1: Can you imagine me? Then you do the same to Coral.
• 54:32
  Speaker 1: Isn't that the limit? You turning down coral imagination. Well,
• 54:38
  Speaker 1: I guess yes, and you come bumbling round and it's
• 54:41
  Speaker 1: all on again. No divorce at all, think of it,
• 54:45
  Speaker 1: and we go off with all the Fomer kids for
• 54:48
  Speaker 1: a second honeymoon at this is the top notch at
• 54:51
  Speaker 1: fontainblow cheap hotel, awful restaurants. And then I suppose we
• 54:57
  Speaker 1: live happily ever after, though the Lord knows what we're
• 55:00
  Speaker 1: supposed to live on. They didn't know us, did they,
• 55:04
  Speaker 1: old one. I'll say they didn't. Everybody roared with laughter.
• 55:10
  Speaker 1: Oh well, said Nicky. You know they're the thing nowadays,
• 55:14
  Speaker 1: unhappy endings. They all do it. Call it realism, the
• 55:18
  Speaker 1: vanishing point, with apologies to the breaking point. I give
• 55:22
  Speaker 1: Elizabeth a kiss for me, Uncle David called after him
• 55:26
  Speaker 1: as he left the house. David said, Aunt Lucy, he'll
• 55:30
  Speaker 1: never marry Elizabeth until the mystery is cleared up. Nonsense,
• 55:35
  Speaker 1: said doctor David. Donaldson's dead Maggie will keep quiet for
• 55:40
  Speaker 1: her own sake. She's as criminally liable as I am.
• 55:45
  Speaker 1: Beverly Carlyle hasn't been heard of for years. The Thorwald
• 55:49
  Speaker 1: woman will never tell. The whole thing's dead and buried
• 55:54
  Speaker 1: at dinner, Dick was as cheerful as usual. I've asked
• 55:58
  Speaker 1: Elizabeth Wheeler to go to the theater on Wednesday to
• 56:00
  Speaker 1: see Beverly Carlyle in the valley. Aunt Lucy fork in
• 56:05
  Speaker 1: Air stared at him. Uncle David stared at his plate.
• 56:09
  Speaker 1: To Walter, who is Dick Livingstone? Missus Wheeler asked her husband,
• 56:16
  Speaker 1: son of Henry, doctor David's brother, Walter. Dick's been living
• 56:20
  Speaker 1: in this town for ten years, and everybody knows him
• 56:23
  Speaker 1: and likes him. But suddenly everybody in town has remembered
• 56:26
  Speaker 1: that Henry Livingstone wasn't married. It is most embarrassing for Elizabeth.
• 56:31
  Speaker 1: I think you ought to do something about it. Very well, dear,
• 56:36
  Speaker 1: I'll go to Wyoming and look into it. But he
• 56:39
  Speaker 1: never reached Wyoming alive to be continued three because he
• 56:45
  Speaker 1: never started. He was too busy. Who was Dick Livingstone?
• 56:51
  Speaker 1: Dick did not know he could remember that little cabin
• 56:54
  Speaker 1: in the Wyoming Mountains, the snowstorm himself recovering from an
• 56:58
  Speaker 1: illness in the care of doctor David. Nothing back of that.
• 57:02
  Speaker 1: The rest was walled off. If he could only have
• 57:06
  Speaker 1: a severe shock a breaking point, get run over by
• 57:09
  Speaker 1: a train or something and awake, surrounded by familiar things
• 57:12
  Speaker 1: to stir his dormant memory. Perhaps Beverly Carlyle's brother, Fred
• 57:17
  Speaker 1: Gregory saw him in the theater. Louis Bassett, reporter on
• 57:21
  Speaker 1: the Times American, saw Gregory see him. What did it mean?
• 57:26
  Speaker 1: He hurried back to the office, got out the files
• 57:29
  Speaker 1: of the paper for ten years back, read them through,
• 57:32
  Speaker 1: advertisements and all, then read them through again. It was
• 57:36
  Speaker 1: four o'clock in the morning when his eye fell on
• 57:38
  Speaker 1: this advertisement. Wanted cook Protestant preferred anything taken apply L
• 57:45
  Speaker 1: twenty two this office. He clipped it, put it in
• 57:49
  Speaker 1: his note book, packed his bag, and took the midnight
• 57:52
  Speaker 1: train for Wyoming. Gregory hastened to Beverly Carlyle's dressing room.
• 57:57
  Speaker 1: Counted the house, she asked, fourteen hundred and one. He answered,
• 58:03
  Speaker 1: why so particular about the one? He's worth more than
• 58:07
  Speaker 1: all the rest put together. Who is he to be?
• 58:11
  Speaker 1: Continued for jud Clark? Rightful heir to the millions of
• 58:16
  Speaker 1: old l Hugh Clark, said Gregory. And incidentally the murderer
• 58:21
  Speaker 1: of my husband, said Beverly Carlyle. So they say, said he,
• 58:27
  Speaker 1: Isn't it true? You ought to know? So ought you,
• 58:31
  Speaker 1: for that matter, better than I. Why talk in riddles?
• 58:36
  Speaker 1: It's so much more mysterious. Are you sure it was
• 58:40
  Speaker 1: jud Clark? No, not at all. But who else could
• 58:44
  Speaker 1: it be? You're going dotty? You'd better see a doctor.
• 58:49
  Speaker 1: Which doctor, he asked? No, certainly, not a brain specialist.
• 58:56
  Speaker 1: The Gregory rang the doctor's bell. Many came to the door.
• 59:01
  Speaker 1: Is the doctor in which doctor? No? Certainly not, I
• 59:07
  Speaker 1: mean neither of them. He saw Doctor David. Have a chair,
• 59:12
  Speaker 1: said the doctor. Have you a photograph of your nephew,
• 59:16
  Speaker 1: asked Gregory. Here is one taken in Chicago. Was he
• 59:20
  Speaker 1: there at the time? Where did you think he was?
• 59:24
  Speaker 1: Overseas well? It looks kind of half seas over. Why
• 59:29
  Speaker 1: did you want to see it? Oh? I thought maybe
• 59:32
  Speaker 1: it would add to the confusion. Doctor David's right hand
• 59:36
  Speaker 1: was fumbling in the desk drawer beside him. He found
• 59:39
  Speaker 1: what he sought. Stealthily he drew it forth. Gregory caught
• 59:44
  Speaker 1: the glitter of reflected light to be continued six from
• 59:48
  Speaker 1: the gilded band of the cigar which was offered him.
• 59:52
  Speaker 1: Have a chair, said the doctor. You asked me that before,
• 59:57
  Speaker 1: so I did, But that was a week ago. In
• 59:59
  Speaker 1: the last number, have another for this week? Are you
• 1:00:03
  Speaker 1: trying to bribe me? Sir? Leave this house thunder, Doctor David,
• 1:00:09
  Speaker 1: leave it at once? Write where it is? I like
• 1:00:13
  Speaker 1: this location. Speaking of that, I'm going to night. Where
• 1:00:19
  Speaker 1: to the next location? Wyoming? Have a chair, I mean,
• 1:00:24
  Speaker 1: have a care, Have a care Come along with me. Seven.
• 1:00:30
  Speaker 1: I'm going to Wyoming, Dearest, Elizabeth, gone long, Dick, Probably
• 1:00:36
  Speaker 1: not until the last chapter, Dearest. There are bound to
• 1:00:40
  Speaker 1: be complications, you see. I'm going to find out who
• 1:00:44
  Speaker 1: I am, if any, I must unravel the mystery of
• 1:00:48
  Speaker 1: my adolescence. It is very annoying not to know whether
• 1:00:52
  Speaker 1: or not you are whom as it is now, I
• 1:00:55
  Speaker 1: may be or I may not be who whom, whichever
• 1:01:00
  Speaker 1: it is. Jud Clark, the murderer of Beverly, Carlyle's husband,
• 1:01:05
  Speaker 1: said he how interesting she murmured. The midnight train to
• 1:01:11
  Speaker 1: Wyoming carried all the principles, all except those who remained
• 1:01:15
  Speaker 1: at home. Eight Louis Bassett met Dick in the nooreda hotel.
• 1:01:20
  Speaker 1: Bassett gave him a drink of good new post war whisky,
• 1:01:23
  Speaker 1: and David immediately passed out. They were nearly arrested by
• 1:01:26
  Speaker 1: the prohibition agent who had the exclusive bootlegging privilege for
• 1:01:30
  Speaker 1: Nooreda and surrounding territory. But Lewis carried the unconscious man
• 1:01:35
  Speaker 1: down the fire escape, stole two horses, and took him
• 1:01:38
  Speaker 1: through a blinding blizzard to the well known mountain cabin,
• 1:01:41
  Speaker 1: one of the most frequented points of interest in the state,
• 1:01:44
  Speaker 1: robberneck wagons every two hours nine to the seclusion of
• 1:01:48
  Speaker 1: this mountain fastness. Bassett brought the unconscious Richard, laid him
• 1:01:52
  Speaker 1: in a bunk bunk how appropriate, surrounded him with a
• 1:01:56
  Speaker 1: gillet razor, an ingersoll watch, an arrow collar, a can
• 1:02:00
  Speaker 1: of Campbell's soup, and a Ford car. He watched narrowly.
• 1:02:05
  Speaker 1: The sleeping man awoke. His eyes fell upon the old
• 1:02:09
  Speaker 1: familiar things. He started, I remember, stopped. Bassett cranked him again.
• 1:02:16
  Speaker 1: What do you remember? I remember? I remember the house
• 1:02:20
  Speaker 1: where I was born, the little window where the sun
• 1:02:22
  Speaker 1: came peeping in at morn. What is your name? Said
• 1:02:26
  Speaker 1: Lewis quietly. My name is to be continued X. My
• 1:02:31
  Speaker 1: name is Norvil on the Grampian Hills. He relapsed into coma.
• 1:02:37
  Speaker 1: Some hooch, exclaimed Bassett. Two days later he again awoke,
• 1:02:43
  Speaker 1: Are you normal now or still Norvil, asked Bassett, I
• 1:02:48
  Speaker 1: am jud Clark. He answered, I shot Beverly Carlyle's husband.
• 1:02:52
  Speaker 1: In there he stopped in what, asked Bassett, regarding him
• 1:02:57
  Speaker 1: steadily in the billiard room, He tore the cloth with
• 1:03:01
  Speaker 1: his cue. It was justifiable homicide. There were no witnesses.
• 1:03:08
  Speaker 1: I could not possibly be convicted. We must flee at once.
• 1:03:13
  Speaker 1: Do you remember anything else? Yes? I am Dick Livingstone.
• 1:03:19
  Speaker 1: I can remember Papa and Mamma, Uncle David and Lucy,
• 1:03:23
  Speaker 1: the cook, mister and Missus, Wheeler, the postman, and the
• 1:03:26
  Speaker 1: spot on the parlor rug. Everything, every one except one.
• 1:03:31
  Speaker 1: I cannot remember, Elizabeth. I remember how she looked, her voice,
• 1:03:36
  Speaker 1: her eyes, her hair, but not her name, Elizabeth. I
• 1:03:40
  Speaker 1: cannot remember that. Bassett took Dick on his back and
• 1:03:44
  Speaker 1: carried him for days and days, miles and miles, up
• 1:03:48
  Speaker 1: and down the mountains through the blinding blizzard, without food, drink,
• 1:03:52
  Speaker 1: or sleep. When he deposited his burden on the station
• 1:03:56
  Speaker 1: platform at Nareda, his hands and feet were worn to ribbons.
• 1:04:00
  Speaker 1: He looked cautiously around A man approached blue uniform brass buttons.
• 1:04:07
  Speaker 1: They must not be taken alive. He shouldered the conscious
• 1:04:11
  Speaker 1: man again drew his revolver, set his back against a door.
• 1:04:15
  Speaker 1: It yielded. They fell headlong backwards. To be continued eleven.
• 1:04:21
  Speaker 1: Into the waiting room. Basset shoved the still conscious man
• 1:04:25
  Speaker 1: under a bench and met the blue coated officer nonchalantly,
• 1:04:29
  Speaker 1: looking for any one. Why, yes, who whom? Oh, only
• 1:04:36
  Speaker 1: jud Clark. They say there's a reward on his head.
• 1:04:41
  Speaker 1: Just then the still conscious man rolled out from under
• 1:04:43
  Speaker 1: the bench. The officer sprang forward and snatched the hat
• 1:04:47
  Speaker 1: from his head. Nope, he said, not him, nothing there
• 1:04:51
  Speaker 1: but hair. Who are you the sheriff of this county? Gosh,
• 1:04:58
  Speaker 1: I am relieved. I thought you were the prohibition officer. Again,
• 1:05:03
  Speaker 1: he lifted the still conscious man on his shoulder. Where
• 1:05:07
  Speaker 1: are we going now, asked Dick, New York, said Bassett.
• 1:05:12
  Speaker 1: Twelve three days later they reached New York by train.
• 1:05:16
  Speaker 1: We must find Fred Gregory, said Bassett. I thought he
• 1:05:20
  Speaker 1: told Uncle David he was going to Wyoming a bluff.
• 1:05:25
  Speaker 1: He'll be right out in front of the Martinique. But
• 1:05:28
  Speaker 1: he was not. They found him in Beverly Carlyle's house.
• 1:05:33
  Speaker 1: They entered with drawn revolvers, hands up. To be continued
• 1:05:39
  Speaker 1: thirteen Up they went Beverly's and Gregory's. You look natural,
• 1:05:44
  Speaker 1: jud said Beverly, all dressed up with a gun. Silence,
• 1:05:49
  Speaker 1: woman said Bassett sternly. I have brought a confession for
• 1:05:53
  Speaker 1: you too to sign. All right, said Gregory. Got a
• 1:05:58
  Speaker 1: fountain pen. This was the confession. We, being of sound
• 1:06:02
  Speaker 1: mind and in fear of death, do voluntarily make sign, seal, publish,
• 1:06:07
  Speaker 1: and declare this our last confession. Dick Livingstone is not
• 1:06:10
  Speaker 1: Judd Clark. He is Fred Gregory, Howard Lucas. Beverly Carlyle's
• 1:06:16
  Speaker 1: husband was not killed by jud Clark. She was not
• 1:06:20
  Speaker 1: married to the man jud Clark killed. It was Fred Gregory.
• 1:06:25
  Speaker 1: Howard Lucas did not gouge jud Clark's billiard table. It
• 1:06:29
  Speaker 1: was a pool table. Fred Gregory gouged it practicing putting.
• 1:06:35
  Speaker 1: Jud Clark was not killed by Howard Lucas. It was
• 1:06:39
  Speaker 1: Fred Gregory. He was shot by Howard Lucas or else.
• 1:06:43
  Speaker 1: Howard Clark was shot by Fred Lucas one or the other.
• 1:06:47
  Speaker 1: Beverly Carlyle saw the man shot in the billiard room.
• 1:06:51
  Speaker 1: She was in her own room when the trigger was pulled,
• 1:06:53
  Speaker 1: and hurried down in time to see the fatal bullet
• 1:06:56
  Speaker 1: hit Fred Clark or Howard Gregory, whichever it was. Fred
• 1:07:00
  Speaker 1: Gregory's real name is Fred Gregory. He was the son
• 1:07:04
  Speaker 1: of Henry Livingstone on his mother's side. The children were twins,
• 1:07:09
  Speaker 1: so was Howard Lucas. There is something wrong somewhere. The
• 1:07:14
  Speaker 1: whole thing was a mistake. We do further confess that
• 1:07:18
  Speaker 1: Dick Livingstone is not the son of l Ugh Clark,
• 1:07:21
  Speaker 1: but of Fred Gregory, unless he decides to claim the
• 1:07:23
  Speaker 1: Clark millions, in which case he is. We do further
• 1:07:28
  Speaker 1: confess that Fred Gregory gave the drink to Dick Livingstone
• 1:07:31
  Speaker 1: in Nareda. It was not Louis Bassett who violated the
• 1:07:35
  Speaker 1: Valstead Act. God have mercy on our souls, signed Beverly Gregory,
• 1:07:41
  Speaker 1: Fred Carlyle fourteen. Dick was back in Havelely Aunt Lucy
• 1:07:46
  Speaker 1: met him at the door. Elizabeth is engaged to Wally Sayer.
• 1:07:50
  Speaker 1: She said, who's Elizabeth asked Dick. Aunt Lucy remained unconscious
• 1:07:56
  Speaker 1: for three days, but finally recovered. It was we later
• 1:08:00
  Speaker 1: when the door bell rang and Minnie admitted Elizabeth to
• 1:08:03
  Speaker 1: the doctor's office. Name please, said Dick, Elizabeth Wheeler. She replied,
• 1:08:10
  Speaker 1: what can I do? For you, he asked, marry me,
• 1:08:14
  Speaker 1: said Elizabeth. There now, he said, I knew I'd forgotten something.
• 1:08:21
  Speaker 1: Please excuse me, I've been so busy. Louis Bassett in
• 1:08:26
  Speaker 1: the Times Republican Office stared at the notice in the paper.
• 1:08:30
  Speaker 1: Married on the seventeenth at Saint Barnabas's Church, Elizabeth, daughter
• 1:08:35
  Speaker 1: of mister and Missus Walter Wheeler, to doctor Richard Livingstone. Gosh,
• 1:08:40
  Speaker 1: he said, I wonder who she married? Babbot on Sainclair Lewis.
• 1:08:45
  Speaker 1: It was night in Zenith, the knight of the Grand
• 1:08:47
  Speaker 1: testimonial banquet tendered to George F. Babbitt by the Boosters
• 1:08:51
  Speaker 1: Club in honor of the publication of the well known
• 1:08:54
  Speaker 1: novel entitled Babbitt. Mister Babbitt spoke on American literature in
• 1:08:59
  Speaker 1: partisan follows fellow Boosters. In rising to address you on
• 1:09:03
  Speaker 1: this auspicious occasion, I want to say first and foremost
• 1:09:06
  Speaker 1: that I am glad and proud that when it came
• 1:09:08
  Speaker 1: to the turn of the city of Zenith and yours
• 1:09:10
  Speaker 1: truly to have had their old old story told, so
• 1:09:13
  Speaker 1: to speak, it was by an up to date, modern
• 1:09:16
  Speaker 1: successful writer who I am told on good authority sells
• 1:09:20
  Speaker 1: his books by their thousands and their tens of thousands,
• 1:09:23
  Speaker 1: amounting in all, I am led to believe to somewhere
• 1:09:26
  Speaker 1: in the neighborhood of upward of approximately about four hundred
• 1:09:28
  Speaker 1: thousand volumes of a single book, an output, my friends,
• 1:09:33
  Speaker 1: which compares favorably with the production of cans of condensed
• 1:09:36
  Speaker 1: milk and pasteboard cartons produced in our great city, and
• 1:09:39
  Speaker 1: puts literature firmly upon the basis of quantity production of
• 1:09:42
  Speaker 1: a standardized output. I am glad and proud I may
• 1:09:47
  Speaker 1: say that it was him, this modern, up to date
• 1:09:50
  Speaker 1: literary writer, full of pep and punch, who sees things
• 1:09:53
  Speaker 1: as they are and not as others see us, that
• 1:09:56
  Speaker 1: it has fallen to his lot to depict this book. Now, friends,
• 1:10:00
  Speaker 1: let us come with me and cast a glance backward
• 1:10:03
  Speaker 1: upon American literature in the old days of your as
• 1:10:05
  Speaker 1: the poet says, and see how different it used to be?
• 1:10:08
  Speaker 1: And I will not detain you long. Let us see
• 1:10:11
  Speaker 1: how different was the lot of such writers as James J.
• 1:10:14
  Speaker 1: Whittier and Edwin ay Poe and William Wordsworth Longfellow when
• 1:10:19
  Speaker 1: they were in their prime? Did they sell their books
• 1:10:22
  Speaker 1: by their thousands and their tens of thousands, and have
• 1:10:24
  Speaker 1: a snug bank account, and a nice little bungalow maybe,
• 1:10:27
  Speaker 1: and a good little bus standing ready in his own
• 1:10:29
  Speaker 1: garage so he could climb in, step on the gas
• 1:10:33
  Speaker 1: and shoot out into God's good out odors for a
• 1:10:36
  Speaker 1: little airing and exercise after the day's work. No, sir,
• 1:10:40
  Speaker 1: my friends, I say it without fear of contradiction. They
• 1:10:43
  Speaker 1: did not literature in those bygone days of your was
• 1:10:47
  Speaker 1: something else again, as one of our greatest writers puts
• 1:10:50
  Speaker 1: it in his well known Tales of Potash and Promutter,
• 1:10:53
  Speaker 1: depicting the better side of our Hebrew friends. With all
• 1:10:56
  Speaker 1: their love of home and family, they were lucky if
• 1:10:59
  Speaker 1: they sold one of their poems or fiction writings for
• 1:11:01
  Speaker 1: a mere song to some publisher who may be paid
• 1:11:04
  Speaker 1: them enough to eke out a miserable pittance in some
• 1:11:06
  Speaker 1: garret or some place like that. And why, my friends,
• 1:11:11
  Speaker 1: was this the case? Simply and solely, because, my friends,
• 1:11:15
  Speaker 1: they didn't write about the things that Zenith City wants
• 1:11:18
  Speaker 1: to read. What do we want to read? If I
• 1:11:21
  Speaker 1: may put the question, why we want to read about
• 1:11:24
  Speaker 1: the things we know about and understand about the things
• 1:11:27
  Speaker 1: of home and business? About business first and foremost, the
• 1:11:32
  Speaker 1: kind of romance we want is not the romance of
• 1:11:34
  Speaker 1: two knights in tin armor trying to punch holes in
• 1:11:37
  Speaker 1: each other's stomachs. If you will excuse the word with
• 1:11:40
  Speaker 1: spears or something, or maybe making illicit love, I speak plainly,
• 1:11:43
  Speaker 1: for we must not blink these evils to some countess
• 1:11:46
  Speaker 1: who was maybe already the wife of some lord or duke,
• 1:11:50
  Speaker 1: as in the bygone days of chivalry, when knighthood was
• 1:11:53
  Speaker 1: in flower. As the poet says, that's not the kind
• 1:11:57
  Speaker 1: of romance we want. Believe me or not, my friends,
• 1:12:01
  Speaker 1: When two keen witted American realtors, may be of my
• 1:12:04
  Speaker 1: own profession, sit down to make a deal, may be
• 1:12:07
  Speaker 1: about a piece of real estate, matching our keen wits
• 1:12:10
  Speaker 1: against each other in the struggles and triumphs of modern business, there,
• 1:12:14
  Speaker 1: my friends, is the romance of to day us real
• 1:12:18
  Speaker 1: he American men and our wives and kiddies want to
• 1:12:20
  Speaker 1: read about our city Zenith, God bless it, and our
• 1:12:24
  Speaker 1: homes properly equipped with a bathroom with sanitary plumbing, which
• 1:12:28
  Speaker 1: I say without disrespect, and I challenge any man to
• 1:12:31
  Speaker 1: deny it, is the hall mark of civilization in this
• 1:12:33
  Speaker 1: twentieth century of ours, and not like the filthy habits
• 1:12:37
  Speaker 1: and customs of the effete nations of Europe, to whom
• 1:12:40
  Speaker 1: the use of soap, God save the mark, is practically unknown.
• 1:12:45
  Speaker 1: We like to read about our autos, our hot water heating,
• 1:12:48
  Speaker 1: and kitchen cabinets and vacuum cleaners and those sort of things.
• 1:12:52
  Speaker 1: It is facts we want, and not imagination. And I
• 1:12:55
  Speaker 1: am glad to say that the successful literary writers of
• 1:12:57
  Speaker 1: to day, with their ears to the ground, their eyes
• 1:13:00
  Speaker 1: to the keyhole, and their nose to the grindstone, are
• 1:13:03
  Speaker 1: hearing the stern voice of the people, yeah, and heeding it.
• 1:13:08
  Speaker 1: Imagination has had its day, my friends. It was all
• 1:13:12
  Speaker 1: very well in those by gone days of your for
• 1:13:14
  Speaker 1: an author to depend on his imagination. But it's different now.
• 1:13:18
  Speaker 1: Let us contrast for a moment, and I will not
• 1:13:20
  Speaker 1: detain you long. Too. Well known writers. Take Washington Irwin,
• 1:13:25
  Speaker 1: for instance, what did he write about? Why? It is
• 1:13:29
  Speaker 1: well known of all men that he wrote about many
• 1:13:31
  Speaker 1: things that never had actually happened in this broad land
• 1:13:33
  Speaker 1: of ours, nor anywhere else. Take Rip van Winkle, for instance,
• 1:13:38
  Speaker 1: all about a disgraceful old bum who soused himself into
• 1:13:41
  Speaker 1: such a state that he beat his wife, a thing
• 1:13:44
  Speaker 1: I am sure, with all due respect, no man here
• 1:13:47
  Speaker 1: in this audience would be guilty of in public. Then
• 1:13:50
  Speaker 1: he got chased by a headless horseman. A headless horseman,
• 1:13:54
  Speaker 1: mind you, my friends, an utter impossibility. And then to
• 1:13:58
  Speaker 1: crown the climax, he slept for twenty years. Thirty years,
• 1:14:00
  Speaker 1: a perfect absurdity, in one which I am sure no
• 1:14:04
  Speaker 1: citizen of Zenith would place in the hands of a
• 1:14:06
  Speaker 1: growing boy. As an example to imitate, now take another
• 1:14:10
  Speaker 1: writer of the same name, Zippy Peppy up to date,
• 1:14:14
  Speaker 1: a man who can sell his stuff to the Saturday
• 1:14:16
  Speaker 1: Evening Post than which there is no higher standard in
• 1:14:19
  Speaker 1: our day and generation. Why, gentlemen, if Washington Irwin should
• 1:14:24
  Speaker 1: turn over in his grave, I say, without fear of contradiction,
• 1:14:27
  Speaker 1: he would be absolutely and teetotally unable to recognize his
• 1:14:31
  Speaker 1: own son. Will and gentlemen, consider for a moment where
• 1:14:35
  Speaker 1: this here imagination leads. If you depend on it for
• 1:14:39
  Speaker 1: your raw material, you can't go in and out among
• 1:14:42
  Speaker 1: the people, note book in hand and jot down what
• 1:14:44
  Speaker 1: you actually see with your own eyes. No, sir, you
• 1:14:48
  Speaker 1: got to work your old imagination for what you write
• 1:14:51
  Speaker 1: about and what does this lead to? Why, gentlemen, you
• 1:14:55
  Speaker 1: all know that Edwin ay Poe, for instance, when he
• 1:14:59
  Speaker 1: wanted to write about some raven or a skeleton in
• 1:15:02
  Speaker 1: armor or something, had to drink himself into a state
• 1:15:04
  Speaker 1: of insensibility or worse before he could put pen to paper.
• 1:15:08
  Speaker 1: That's what they had to do. Think of those debased
• 1:15:11
  Speaker 1: minds like James J. Whittier, or William Wordsworth Longfellow, or
• 1:15:16
  Speaker 1: George Cullen Bryant, maybe hiding in their wretched garrets or
• 1:15:20
  Speaker 1: some place, taking shot after shot of hop, smoking opium
• 1:15:23
  Speaker 1: maybe or worse, to keep their imaginations going, to supply
• 1:15:27
  Speaker 1: even the feeble demand for their handmade output. That was
• 1:15:31
  Speaker 1: bad enough, my friends. But things got going from bad
• 1:15:34
  Speaker 1: to worse before they got better. And who made them better? Why? You,
• 1:15:39
  Speaker 1: my friends, and me the American business man. It was
• 1:15:43
  Speaker 1: this way, the wide awake business man of America began
• 1:15:47
  Speaker 1: to employ the best writers to write his ads. These
• 1:15:51
  Speaker 1: writers dealt with facts, gentlemen, facts in their own inimical style,
• 1:15:56
  Speaker 1: if I may say so, And the advertising sections of
• 1:15:59
  Speaker 1: our great amas American magazines shortly rivaled in interest the
• 1:16:02
  Speaker 1: stories and other fictional matter, so that it was the
• 1:16:05
  Speaker 1: common custom of our business men to tear out the
• 1:16:08
  Speaker 1: advertising section and keep that to read, and throw the
• 1:16:11
  Speaker 1: rest away. The editors and publishers of our great magazines
• 1:16:15
  Speaker 1: found themselves paying good money for stories and for good
• 1:16:17
  Speaker 1: white paper to print them on, and it being torn
• 1:16:20
  Speaker 1: out and thrown away, which wasn't good business. This gentleman
• 1:16:25
  Speaker 1: was the lowest depths to which literature at last got
• 1:16:27
  Speaker 1: the hypothesis of our literature. If you will pardon the
• 1:16:30
  Speaker 1: use of a highbrow term, then as smart, keen witted
• 1:16:34
  Speaker 1: American business man who happened to be editor of one
• 1:16:37
  Speaker 1: of the magazines saved the situation, so to speak. He
• 1:16:41
  Speaker 1: saw that literature had got an emic. It was short
• 1:16:44
  Speaker 1: on red blood corpusals. It needed a transfusion of blood.
• 1:16:50
  Speaker 1: So he put the patient face to face and shoulder
• 1:16:52
  Speaker 1: to shoulder with the real force in American life. The
• 1:16:55
  Speaker 1: advertisements made a page at face a page of so
• 1:16:58
  Speaker 1: called literature, cut the story into strips, and put a
• 1:17:01
  Speaker 1: column ad next to a column of fictional writing. The
• 1:17:04
  Speaker 1: name of this literary genius, I am creditably informed, was
• 1:17:08
  Speaker 1: Cyrus H. K. Bach, And believe me, the greatest surgeon
• 1:17:12
  Speaker 1: of modern times who saved American literature from taking the
• 1:17:16
  Speaker 1: count in a fight to a finish was this same
• 1:17:18
  Speaker 1: old doc bok. The result was not only that you
• 1:17:21
  Speaker 1: couldn't tear out the stories and throw them away without
• 1:17:24
  Speaker 1: simultaneously and at the same time destroying the thing you
• 1:17:27
  Speaker 1: wanted to read. And after you had read all the
• 1:17:29
  Speaker 1: ads two or three times, you simply had to give
• 1:17:31
  Speaker 1: the stories the once over and moreover. And likewise, the
• 1:17:36
  Speaker 1: fictitious writers couldn't keep on writing their imaginative bunk and
• 1:17:39
  Speaker 1: get away with it. They couldn't stack up some guph
• 1:17:42
  Speaker 1: about a raven or a skeleton in armor against the
• 1:17:45
  Speaker 1: real thing, like the Ginko cigar or the Jimmy pipe.
• 1:17:49
  Speaker 1: If they tried to pull any Rip van Winkle stuff
• 1:17:51
  Speaker 1: alongside a smart talk about Hartenheimer's more style clothing, the
• 1:17:55
  Speaker 1: picture of the clean faced young man, bright eyed, square jawed,
• 1:17:59
  Speaker 1: and everything simply made old Rip look like three mutilated dimes.
• 1:18:04
  Speaker 1: So they got wise and changed their act and begun
• 1:18:06
  Speaker 1: writing the kind of real stuff about which I've been
• 1:18:08
  Speaker 1: talking to you about. It got to be so good,
• 1:18:12
  Speaker 1: so full of real American life and everything, that some
• 1:18:15
  Speaker 1: of it gets printed every week on the page facing
• 1:18:17
  Speaker 1: the highest priced full page ad in the Saturday Evening Post.
• 1:18:20
  Speaker 1: And that's the proudest position in American literature to which
• 1:18:23
  Speaker 1: any man can aspire to. It used to be that
• 1:18:27
  Speaker 1: the preferred position, as the ad men say, for an ad,
• 1:18:30
  Speaker 1: was next to reading matter. Now look at the columns
• 1:18:33
  Speaker 1: of the greatest American magazine, with its millions of readers.
• 1:18:37
  Speaker 1: Are the ads next to reading matter? No, sir, not
• 1:18:41
  Speaker 1: on your life. The reading matter is next to the ads.
• 1:18:45
  Speaker 1: And that's saying something. Believe you me. Now, gentlemen, let
• 1:18:50
  Speaker 1: me say a few words about the book about which
• 1:18:52
  Speaker 1: we are gathered here tonight, and I will not detain
• 1:18:54
  Speaker 1: you long. It's a good book, a great book. And yet,
• 1:18:58
  Speaker 1: my friends, it has its faults, as whom of us
• 1:19:01
  Speaker 1: has not friend author. For all, he calls himself a
• 1:19:05
  Speaker 1: realist and pretends he don't shy at nothing in calling
• 1:19:08
  Speaker 1: a spade a spade. Don't do it, No, sir, he
• 1:19:12
  Speaker 1: don't take that chapter in this book now about me
• 1:19:16
  Speaker 1: getting up and getting dressed. What's he say there? Why
• 1:19:21
  Speaker 1: he talks about the best of nationally advertised and quantitatively
• 1:19:24
  Speaker 1: produced alarm clocks. Now anybody here knows he means a
• 1:19:29
  Speaker 1: big bob and why not say it right out just
• 1:19:31
  Speaker 1: like that? Why he just as well say he removed
• 1:19:36
  Speaker 1: the superfluous growth of hair from his countenance by means
• 1:19:38
  Speaker 1: of an instrument designed for that purpose, when he means
• 1:19:42
  Speaker 1: he shaved his face with a razor. But these realistic,
• 1:19:45
  Speaker 1: fictitious writers will come to it, And just to help them,
• 1:19:48
  Speaker 1: I'll tell you how that chapter ought to be. Wrote.
• 1:19:51
  Speaker 1: The big bob alarm clock gave him a jolt that
• 1:19:54
  Speaker 1: knocked all the sleep out of him. He drug his
• 1:19:57
  Speaker 1: legs in matchless pajamas out from under the downy wool
• 1:20:00
  Speaker 1: blanket and sat on the edge of the oustermarsh mattress
• 1:20:03
  Speaker 1: supported by the neversag spring. While he paddled around with
• 1:20:07
  Speaker 1: his feet to find his comfy slippers. He looked out
• 1:20:10
  Speaker 1: at his new flamsa built sectional garage, which looked good
• 1:20:13
  Speaker 1: to him. Then he beat it to the good old,
• 1:20:15
  Speaker 1: warm bathroom, all tiled with shiny white glazed tiles. The
• 1:20:20
  Speaker 1: bathroom was fitted with a state clean bath tub, a
• 1:20:23
  Speaker 1: Porcela washstand, and other sanitary fixtures all complete, including a
• 1:20:27
  Speaker 1: nascow all steel medicine cabinet. He cleaned his teeth with
• 1:20:31
  Speaker 1: a rub well tooth brush and a squeeze of lilidol
• 1:20:34
  Speaker 1: to get the fuzzy taste out of his mouth. Then
• 1:20:37
  Speaker 1: he rubbed a gab of whiskerine on his face to
• 1:20:39
  Speaker 1: soften his beard, and lathered her good with shallow cream
• 1:20:42
  Speaker 1: on his bristle tight shaving brush. The good old neverkeen
• 1:20:46
  Speaker 1: safety razor did the rest. A d V undershirt and
• 1:20:51
  Speaker 1: knee length drawers started the job of dressing, followed by
• 1:20:54
  Speaker 1: a Bronx shirt onto which he buttoned the spear collar
• 1:20:57
  Speaker 1: with a kalish one piece collar button. Then he put
• 1:21:01
  Speaker 1: on his Hartenheimer suit and a pair of walk straight shoes.
• 1:21:05
  Speaker 1: Then he put in his pockets a Walgin watch with
• 1:21:07
  Speaker 1: a Wherever gold chain, a leak Well fountain pen and
• 1:21:10
  Speaker 1: a never point pencil. For breakfast, he had a moonshine orange,
• 1:21:14
  Speaker 1: a plate of Mother's wild oats, a slice of Morris
• 1:21:17
  Speaker 1: ham and two ordinary unadvertised eggs, digesto bread spread with
• 1:21:21
  Speaker 1: Prunella butter, and a cup of Mocho Boco coffee. And
• 1:21:24
  Speaker 1: when he had lighted a good old Ginko cigar, George F.
• 1:21:28
  Speaker 1: Babbitt was ready for the fray. There, my friends, I
• 1:21:32
  Speaker 1: don't pretend to be a literary gink. But you give
• 1:21:34
  Speaker 1: me my good old fountain pen in the advertising pages
• 1:21:37
  Speaker 1: of the Saturday Evening Post, and I'll show you how
• 1:21:39
  Speaker 1: to marry literature and life together. That's what we want, gentlemen.
• 1:21:44
  Speaker 1: That's real, true blue United States, one hundred percent realism.
• 1:21:49
  Speaker 1: Joseph and the Bright Shawl. He had never before heard
• 1:21:52
  Speaker 1: of Cuba, but a chance mention of its name Cuba
• 1:21:55
  Speaker 1: dominated Joseph completely. The Spaniards were shooting Cubans down there,
• 1:22:01
  Speaker 1: boys younger than himself, and they were shot with muskets guns.
• 1:22:07
  Speaker 1: That was so much more horrible than if they were
• 1:22:09
  Speaker 1: shot with candlesticks or white mice. Instantly he knew that
• 1:22:13
  Speaker 1: he must liberate Cuba. He must shoot the beastly Spanish
• 1:22:17
  Speaker 1: captain general in his gold laced abdomen tummy, himself, be
• 1:22:21
  Speaker 1: shot in return or elsewhere, and die heroically while a
• 1:22:24
  Speaker 1: competent brass band played Annie Lorrie. So should Cuba be free?
• 1:22:30
  Speaker 1: He quickly settled every visible, every audible detail save one.
• 1:22:34
  Speaker 1: His last dying words, don't give up the ship seemed inappropriate.
• 1:22:40
  Speaker 1: I owe a cock to Esculapius, see that it is paid.
• 1:22:44
  Speaker 1: Was too long. Kiss me hardy was short, but heaven
• 1:22:48
  Speaker 1: knew what utter stranger might accept the invitation. At last
• 1:22:52
  Speaker 1: he fixed upon six semper tyrannies to be said as
• 1:22:56
  Speaker 1: he fired, and eighty two brute as he was shot.
• 1:23:00
  Speaker 1: Brute with a small beat, seen so nicely to combine
• 1:23:03
  Speaker 1: defiance and grim humor. Providing a costume for the event
• 1:23:07
  Speaker 1: was a puzzling matter. It should be of the period,
• 1:23:11
  Speaker 1: But what was the present year of grace? It was
• 1:23:14
  Speaker 1: in the fall, exactly forty years before the return of
• 1:23:17
  Speaker 1: the Americans from the Great War in nineteen nineteen. Was
• 1:23:21
  Speaker 1: this then eighteen seventy nine impossible since Grant was president
• 1:23:25
  Speaker 1: and Fish Secretary of State, and that would make it
• 1:23:29
  Speaker 1: not later than eighteen seventy six. He gave it up
• 1:23:33
  Speaker 1: through chronology to the winds, bought a plum colored cape,
• 1:23:36
  Speaker 1: vintage of the regency, and a lot of very high
• 1:23:39
  Speaker 1: stocks period of Daniel Webster. Perhaps in this he was
• 1:23:43
  Speaker 1: misled by reading in a newspaper that stocks were very high.
• 1:23:47
  Speaker 1: His armament was one small pearl handled derringer, date eighteen
• 1:23:51
  Speaker 1: forty nine. He wore it suspended by a string inside
• 1:23:55
  Speaker 1: of one leg of a trouser a pant, and could
• 1:23:57
  Speaker 1: always verify its presence by sitting down. It had been
• 1:24:01
  Speaker 1: given him by his father, and was not really a
• 1:24:03
  Speaker 1: dangerous weapon, since it was necessary to turn down all
• 1:24:06
  Speaker 1: its grease cups daily, else it would not go off
• 1:24:09
  Speaker 1: shoot on the deck of the Morro Castle. Whence all
• 1:24:13
  Speaker 1: but he had fled stood a solitary figure. Little Joe,
• 1:24:16
  Speaker 1: the boy Liberator, the tallest of stock, seemed to proclaim
• 1:24:20
  Speaker 1: the Duke of Wellington, the plum coloredist of Capes beau Brummel.
• 1:24:25
  Speaker 1: Like Napoleon, he depended greatly on his heavy artillery, which
• 1:24:29
  Speaker 1: in turn depended inside a nicely cut trouser. Andres Escobar
• 1:24:34
  Speaker 1: called on him at the hotel in Gletera. Is this
• 1:24:37
  Speaker 1: your first visit to Cuba? He asked, What do you
• 1:24:41
  Speaker 1: think of our Cuban women? It is I do not laconic,
• 1:24:46
  Speaker 1: Joseph replied, I mean I don't think about them at all.
• 1:24:50
  Speaker 1: He continued, My mind has been singularly purified. I have
• 1:24:55
  Speaker 1: a sensation of remoteness from my flesh, Ah, said Andres,
• 1:25:00
  Speaker 1: I see something like an esqualido, a skeleton, very nice
• 1:25:05
  Speaker 1: for the hot weather. Not exactly, said Joseph, doubtfully. Still,
• 1:25:11
  Speaker 1: come to think of it, there is something in what
• 1:25:13
  Speaker 1: you say. But Lisa and friend Amigo, I came here
• 1:25:19
  Speaker 1: to shoot Tarar el Capitan General in his gold laced tummy,
• 1:25:22
  Speaker 1: and to get shot in the fracas or somewhere else.
• 1:25:26
  Speaker 1: Thus Cuba shall be freed. I have been here twenty
• 1:25:29
  Speaker 1: four hours. We are both still alive, and Cuba is
• 1:25:33
  Speaker 1: not yet free. My fiery nature will not brook such delays.
• 1:25:38
  Speaker 1: Can you not leave me to El Capitan General so
• 1:25:41
  Speaker 1: that I may fulfill a destiny? Andres clasped his hand Maravelloso,
• 1:25:47
  Speaker 1: He cried, We Cubans are not so precipitato. We bide
• 1:25:52
  Speaker 1: our tempo. Let me tell you our watchword. College yell Secretissimo, wait,
• 1:25:59
  Speaker 1: wait for ninety ah. Then Cuba shall be libra. Meanwhile
• 1:26:05
  Speaker 1: we conspire, oh so discreetly. At Escobar's house, the entire
• 1:26:11
  Speaker 1: family sat in a silent circle upon gilt chairs. A
• 1:26:15
  Speaker 1: crystal chandelier cast upon them. An icy flood of light
• 1:26:19
  Speaker 1: bathed them in a vitreous fluid, preserving them in a
• 1:26:22
  Speaker 1: hard pallor forever. Think of that. The Escobars have been
• 1:26:26
  Speaker 1: much besought by ambitious undertakers desiring to use this really
• 1:26:29
  Speaker 1: effective embalming process. Andres and Joseph came in. Andres, silent, faultless,
• 1:26:37
  Speaker 1: sat down immobile. But Joseph and Narcissa, the daughter withdrew
• 1:26:42
  Speaker 1: to the balcony. It was night. Narcissa was decidedly fetching,
• 1:26:48
  Speaker 1: but fetch her darnedest. She could not fetch Joseph. I
• 1:26:53
  Speaker 1: love you, said she. Joseph put his arm one arm
• 1:26:57
  Speaker 1: around her shoulders, not her waist, and kissed her cheek,
• 1:27:01
  Speaker 1: not her lips. Once, Lisan said he love is not
• 1:27:05
  Speaker 1: for me. You know my name? Have you grasped its significance?
• 1:27:11
  Speaker 1: Read your bible? Moreover, he continued, I am devoted to
• 1:27:16
  Speaker 1: one purpose. I must shot el Capitan general in his
• 1:27:20
  Speaker 1: gold laced well, that is in his gold laced uniform. Yes,
• 1:27:25
  Speaker 1: and get shot myself in well. That is a detail,
• 1:27:29
  Speaker 1: a mere detail. Anyhow, Thus shall Cuba be Libra. Now,
• 1:27:34
  Speaker 1: Lisen you to me, said Narcissa. I'm in trouble. I
• 1:27:39
  Speaker 1: am engaged to marry a fat planter of fifty. I
• 1:27:42
  Speaker 1: loathe him. I shall kill him or myself. Get me
• 1:27:47
  Speaker 1: out of this, Get me on a steamer so I
• 1:27:50
  Speaker 1: can go to my aunt in New York. Help me. Oh, really,
• 1:27:55
  Speaker 1: you know I couldn't, replied dauntless Joseph, I might get
• 1:27:59
  Speaker 1: a restted or spanked or something and sent home to
• 1:28:02
  Speaker 1: mother before I get properly shot. Oh, it wouldn't do
• 1:28:06
  Speaker 1: at all. No, it wouldn't do. It would free only
• 1:28:11
  Speaker 1: a single Cuban narcissa. He must free the whole Cuban people,
• 1:28:16
  Speaker 1: kaboodle and perish in the attempt. He was at the
• 1:28:20
  Speaker 1: Theater Teatro when he first saw the shawl, that orange, blue, emerald, scarlet, magenta, vermilion,
• 1:28:28
  Speaker 1: crimson atrocity. Incidentally, there was a woman inside it, La Clavel,
• 1:28:33
  Speaker 1: the dancer. Joseph thought it was the woman who thrilled
• 1:28:37
  Speaker 1: himuntil he could support it no longer. It made him
• 1:28:39
  Speaker 1: so ashamed of himself. But it wasn't. It was the shawl,
• 1:28:44
  Speaker 1: for he was Joseph. He went to her room, sat
• 1:28:49
  Speaker 1: there day after day. They talked, conversed interminably, and that
• 1:28:54
  Speaker 1: was all. Once she kissed him and was severely frostbitten,
• 1:28:59
  Speaker 1: he was annoyed seriously and told her he didn't know
• 1:29:02
  Speaker 1: what she would think of him for letting her do
• 1:29:04
  Speaker 1: a thing like that. She gave him messages for his friends,
• 1:29:08
  Speaker 1: the Fabians cunctators, who conspired so sweetly to pass the
• 1:29:12
  Speaker 1: time until eighteen ninety eight. Joseph felt that he was
• 1:29:16
  Speaker 1: just the cutest little plotter in all Cuba. Oh it
• 1:29:20
  Speaker 1: was grand. He was in her room when Santa Claus entered.
• 1:29:24
  Speaker 1: Capitan Santa Claus, one of the rudest of the rude Spaniards.
• 1:29:29
  Speaker 1: You are conspiring against the king, l ray, said Santa Claus.
• 1:29:34
  Speaker 1: You and your young devotee, little Josie here you will
• 1:29:38
  Speaker 1: both be killed. It will be very enjoyable. The time
• 1:29:43
  Speaker 1: had come. Santa Claus, while not the Capitan general, was
• 1:29:47
  Speaker 1: notably well equipped for the proper reception of the sacred bullet.
• 1:29:51
  Speaker 1: Joseph hoisted out the artillery, leveled it, pulled the trigger click,
• 1:29:57
  Speaker 1: nothing more. Dared dully at the faithless weapon. Oh sugar,
• 1:30:04
  Speaker 1: you're a mean old thing, was all he said. Ah Ha,
• 1:30:09
  Speaker 1: sneered Santa Claus. You forgot to turn down the grease
• 1:30:13
  Speaker 1: cups this morning. It was snearly his last sneer. Although
• 1:30:18
  Speaker 1: he knew it not, he was sneering his end. La
• 1:30:22
  Speaker 1: Clavelle had not yet begun to fight. When she did,
• 1:30:25
  Speaker 1: there certainly was one toble old battle. Joseph stood bravely
• 1:30:29
  Speaker 1: by a chair raised above his head, almost resolved to
• 1:30:33
  Speaker 1: give Santa Claus a hard knock. One round was all
• 1:30:38
  Speaker 1: Santa Claus, prostrate, prone, defunct, dead, took the count. Joseph
• 1:30:43
  Speaker 1: carefully replaced the chair. Now look what you've done, said he.
• 1:30:49
  Speaker 1: Now remember you killed him. I didn't do a thing
• 1:30:53
  Speaker 1: to him. Don't tell on me, please. I came down
• 1:30:57
  Speaker 1: here to get killed nice and clean with one bullet.
• 1:31:01
  Speaker 1: I certainly don't want to get all must up by
• 1:31:03
  Speaker 1: a firing squad. Mother wouldn't like me to. La Clavelle
• 1:31:08
  Speaker 1: was arrested, tortured, shot, hung, drawn and quartered for all
• 1:31:13
  Speaker 1: Joseph knew. But she sent him the shawl, so it
• 1:31:17
  Speaker 1: was his lucky day after all. Pillar Delima was a
• 1:31:21
  Speaker 1: lovely little chink. She tried it on with Joseph, but
• 1:31:25
  Speaker 1: Joseph continued to be Joseph andres took her up. Lend
• 1:31:31
  Speaker 1: me the shawl. Vieho chimo, old top, said he pillar
• 1:31:36
  Speaker 1: wants it to wear at the dans On Dance. No,
• 1:31:40
  Speaker 1: Joseph responded, answered Mio carl compagnero, my dear fellow, protested Andrece.
• 1:31:47
  Speaker 1: Please remember that the bright shawl is the principal character
• 1:31:49
  Speaker 1: in this piece, the title role. It must have staged
• 1:31:53
  Speaker 1: center and the spotlight all the time. The whole show
• 1:31:57
  Speaker 1: is built around it. And this is to be the
• 1:32:00
  Speaker 1: climax of the third act. True, said Joseph. True, if
• 1:32:05
  Speaker 1: it wasn't for the bright shawl, where would all of
• 1:32:08
  Speaker 1: us be still? In the inkwell? Pillar wore it at
• 1:32:11
  Speaker 1: the Danzon. In the teatro, Joseph sat in a box
• 1:32:15
  Speaker 1: and Arko Devaca told him that Andres was about to
• 1:32:18
  Speaker 1: be killed. He loved Andres with his whole soul, such
• 1:32:22
  Speaker 1: as it was, so he watched the last scene with
• 1:32:24
  Speaker 1: interest from a safe place. To free Cuba and be
• 1:32:27
  Speaker 1: shot while the band played was one thing. To mix
• 1:32:31
  Speaker 1: up in the murder of his best friend and maybe
• 1:32:33
  Speaker 1: get arrested. That was something else again, but his iron
• 1:32:37
  Speaker 1: nerve failed him. He took his hat and fled blindly
• 1:32:41
  Speaker 1: right into the midst of the frakas, where Pillar was
• 1:32:43
  Speaker 1: stabbing Andres, and ink flowed like blood. Some kind friend
• 1:32:48
  Speaker 1: batted Joseph over the head and he passed out curtain.
• 1:32:52
  Speaker 1: That was about all, except that the s p c
• 1:32:56
  Speaker 1: C shipped the little Dare devil back to his mother. Unpunctured.
• 1:33:00
  Speaker 1: He thought the matter over for forty years, and was
• 1:33:03
  Speaker 1: finally inclined to the belief that the blow on his head, well,
• 1:33:07
  Speaker 1: maybe it did and maybe it didn't. Who can tell?
• 1:33:11
  Speaker 1: The judge or turning the tea tables. Illustrating the influence
• 1:33:14
  Speaker 1: of Henry James upon an otherwise perfectly good novelist, Rebecca
• 1:33:18
  Speaker 1: West chapter eleven t asked Marian through the long casement window,
• 1:33:23
  Speaker 1: which lazily unfolded its unauster yet deliberate length in a
• 1:33:26
  Speaker 1: benediction of sunlight not more interminable than the crepitent genuflection
• 1:33:30
  Speaker 1: of the waveless ocean, came the tall, dark cry of
• 1:33:33
  Speaker 1: the curlew as it lashed its angry though querulous tale
• 1:33:36
  Speaker 1: in intermittent certitude. Perhaps that was why the shiny, untarnished
• 1:33:41
  Speaker 1: mud flats blue veined with the tortuous, eternal channels of
• 1:33:44
  Speaker 1: the running tides, interspersed with the nostalgic counterparts of antiquity,
• 1:33:48
  Speaker 1: and the gray green marshes, where the red shanks quired
• 1:33:51
  Speaker 1: in uninterrupted but not unvexed perlxity. Despite their propinquity, had
• 1:33:56
  Speaker 1: always seemed to her as remote from the perpetual and
• 1:33:59
  Speaker 1: brolio with spears, virtual things that makes man the most
• 1:34:01
  Speaker 1: ridiculous of animals, though just emerged from a brave dive
• 1:34:04
  Speaker 1: in some pool of vitality, Whose whereabouts are the secret
• 1:34:08
  Speaker 1: that makes the mouth vigilant? Yes, please, answered Ellen, smiling.
• 1:34:14
  Speaker 1: Perhaps that was why the chair on which she sat
• 1:34:17
  Speaker 1: so dully gleaming in its polished adroitness, that, not, even
• 1:34:20
  Speaker 1: in her childhood, when the saffron tinted memories of yesterday
• 1:34:23
  Speaker 1: were mellowed in glorious achievement, could she withstand the monotonous
• 1:34:27
  Speaker 1: testimony of its faultlessness. Seemed now to her to concentrate
• 1:34:31
  Speaker 1: and reveal what either simple necessity or pain flawed consanguinity
• 1:34:35
  Speaker 1: had crowded back into the stuffed closets of perpetual oblivion.
• 1:34:38
  Speaker 1: Darkling upon the wimpled surface of an efflorescent yet intangible conviction,
• 1:34:43
  Speaker 1: she could not but recall to mind another night more
• 1:34:46
  Speaker 1: than thirty years before, when she stood in the barnyard,
• 1:34:49
  Speaker 1: where it was brown and oozy underfoot, and there was
• 1:34:51
  Speaker 1: nothing neat about it all. Yet the mellow cry of
• 1:34:53
  Speaker 1: well fed cattle lamently surged through the windows of the
• 1:34:56
  Speaker 1: tumble down sheds, with their thatched eaves like th brows
• 1:35:00
  Speaker 1: over eyes. Ever gazing at the strange fluctuations of the
• 1:35:03
  Speaker 1: winelike light, as if they were consciously preserving the cattle
• 1:35:06
  Speaker 1: from the magic of any enchantment, and the round red
• 1:35:09
  Speaker 1: moon hung on the breast of a flawless knight, whose
• 1:35:11
  Speaker 1: feet were hidden in an amethystan haze and held in
• 1:35:15
  Speaker 1: her arms two little Berkshire pigs sugar. It was because
• 1:35:20
  Speaker 1: of this sterility of outlook that Richard's father's tomb, standing
• 1:35:24
  Speaker 1: whitely in its feudal magnificence, abruptly, almost innately yet clandestinely
• 1:35:29
  Speaker 1: intricate in its classic contour, could never have called to
• 1:35:31
  Speaker 1: her with the high, ecstatic voice with which the pentlands,
• 1:35:35
  Speaker 1: so remote but not untutored nor conflicting with the harmonious
• 1:35:39
  Speaker 1: interposition of all that was sagely beneficial, challenged Ellen. No one,
• 1:35:44
  Speaker 1: not even he, had ever engendered a skepticism of the
• 1:35:47
  Speaker 1: value of all activities. Rose tinted but not blue, shining
• 1:35:51
  Speaker 1: vaguely like a great cloud galleon whose shrill cry drilled
• 1:35:54
  Speaker 1: a tiny hole in the ensphering silence. Richard had never
• 1:35:58
  Speaker 1: done that. Two lumps, please, she replied, her voice trailed
• 1:36:04
  Speaker 1: away from her mouth in a long, ambiguous spiral of
• 1:36:07
  Speaker 1: malachi green silk, shot through with golden gleams like porphyry,
• 1:36:10
  Speaker 1: so that the other, knowing nothing of its source, could
• 1:36:13
  Speaker 1: not have supposed that, with the conscious artistry of the unprecedented,
• 1:36:17
  Speaker 1: yet not unembarrassed by all the implications of a too
• 1:36:19
  Speaker 1: great an attention, there could be other than the most
• 1:36:23
  Speaker 1: delicate intimation of flattery, in its rich effulgency, tempered by
• 1:36:26
  Speaker 1: the knowledge of interminable philanthropy that so often masquerades as
• 1:36:30
  Speaker 1: the unseen offspring of a nature noble in its essential attributes,
• 1:36:34
  Speaker 1: yet not unhampered by the apparent and elasticity of its
• 1:36:37
  Speaker 1: unchangeable though not immutable, because finely tempered intimations of immortality,
• 1:36:44
  Speaker 1: never had there been any doubt of this lemon. It
• 1:36:48
  Speaker 1: was not so easy to forgive Antiphonsine, for her voice
• 1:36:52
  Speaker 1: had been as sharp as the shear's click, clacking with
• 1:36:54
  Speaker 1: never ceasing vigilance through the axiguous fleeces of the launate lambs. Now,
• 1:36:58
  Speaker 1: in alliterative honesty, so palely, so profitably becomes shorn sheep,
• 1:37:03
  Speaker 1: and yet not angry, though with an acerbating asperity evident
• 1:37:07
  Speaker 1: in every tone of its fluctuating tambore running indefatigably up
• 1:37:10
  Speaker 1: the switchbacks and circling in the merry go rounds, capriciously
• 1:37:13
  Speaker 1: perambulating on which the voices of French women, from the
• 1:37:16
  Speaker 1: loocent symbolism of the errant wife of Charles Martel bathed
• 1:37:21
  Speaker 1: in the ineffable luxury of medieval intricacy, to the misguided
• 1:37:24
  Speaker 1: yet pitiable complacency of a Parisian midinette travel eternally since
• 1:37:29
  Speaker 1: that French thrift which made her clean her shoes at
• 1:37:32
  Speaker 1: home and thereby maim herself into something new and strange,
• 1:37:35
  Speaker 1: Seared by the hot vapors of the exploding benzene that
• 1:37:38
  Speaker 1: desired to assassinate love sacred and profane whenever she saw it,
• 1:37:43
  Speaker 1: made her terribly exercised at the potency of starvation, to
• 1:37:47
  Speaker 1: dull the edge of appetite into the semblance of inarticulate inevitability,
• 1:37:51
  Speaker 1: the crucifixion of honest hunger. Richard himself was aware of that,
• 1:37:56
  Speaker 1: no thank you. In all of this, there had been
• 1:37:59
  Speaker 1: nothing to distract her attention, which so often divigated intermittently,
• 1:38:04
  Speaker 1: as with the pulsing beat of the tides, now lapsing
• 1:38:06
  Speaker 1: into desuetude in the purple bathed intricacies of interminable monotony
• 1:38:10
  Speaker 1: from a candid valuation of the dress of the other,
• 1:38:13
  Speaker 1: so blue, so deeply blue, that from depths unsound. Whence
• 1:38:18
  Speaker 1: ghostly memories of her childhood emerging appeared and beat upon
• 1:38:22
  Speaker 1: her nether eyelids. There was now extruded none of those
• 1:38:25
  Speaker 1: waves of intelligent vacuity, whose infrequency alone gave her pleasant
• 1:38:30
  Speaker 1: physical sensations as of creeping goose flesh at the roots
• 1:38:33
  Speaker 1: of her hair, and the desire to erase from the
• 1:38:35
  Speaker 1: pages of her memory the pictures of the Christmas number
• 1:38:37
  Speaker 1: of the graphic, though all their colors, seemed to refuse
• 1:38:40
  Speaker 1: to travel from her eyes to her nerves and back again,
• 1:38:43
  Speaker 1: as with rhythmic diastoly, pendulously they swung in their predestined arc,
• 1:38:48
  Speaker 1: such as she usually experienced when the turbid instancy of
• 1:38:51
  Speaker 1: old Rose impinged in somilent ecstasy upon the complicated convolutions
• 1:38:55
  Speaker 1: of her brain. Richard was right, after all, the perils
• 1:39:00
  Speaker 1: of peregrine. I'll a Jeffrey Farnell eye. I awoke very
• 1:39:03
  Speaker 1: sore from the grueling adventures of the previous day, being
• 1:39:07
  Speaker 1: more hungry than was my wont I quickly despatched the
• 1:39:10
  Speaker 1: hunch of crusty bread and bit of cheese which the
• 1:39:12
  Speaker 1: highwaymen had left me, and fared forth upon my journeying
• 1:39:16
  Speaker 1: My way lay adown a leafy lane lined with hedgerows,
• 1:39:20
  Speaker 1: gemmed with myriad sparkling dew drops, wherein birds sang a
• 1:39:23
  Speaker 1: jubilant paean. So faring forth, I crossed a small rustic
• 1:39:28
  Speaker 1: bridge spanning a murmurous brook, and so into a dense wood,
• 1:39:31
  Speaker 1: whose twisted rit hand branches and myriad leaves made a
• 1:39:34
  Speaker 1: dim twilight, wherein a wind dank and chill moaned fitfully,
• 1:39:38
  Speaker 1: very dismal to hear. I sought to flee these gloomy shades,
• 1:39:42
  Speaker 1: but tripped and fell headlong into a leafy glade, where
• 1:39:45
  Speaker 1: sat a small, fierce, quick keen eyed tinker ache tinkering. Oh,
• 1:39:51
  Speaker 1: said I pray, pardon my intrusion, old ard, quoth he
• 1:39:55
  Speaker 1: in mighty voice. That's a good word. I'm a poet myself.
• 1:40:00
  Speaker 1: What d'ye think o this full fathom? Five? My father
• 1:40:05
  Speaker 1: lies in Xanadu with Kabla Khan, with a hay and
• 1:40:08
  Speaker 1: a hoe and a hay nanino night and day on me.
• 1:40:12
  Speaker 1: He cries, go fetch to me a pint o wine, cuckoo, cuckoo.
• 1:40:19
  Speaker 1: So was it when my life began? So is it
• 1:40:21
  Speaker 1: now that I'm a man, I've always had to chase
• 1:40:23
  Speaker 1: the can hay go fair rosalind Oh cried, I you
• 1:40:28
  Speaker 1: say that is original? I it is, he answered, strange.
• 1:40:34
  Speaker 1: How much you resemble your father, quoth I, and left
• 1:40:37
  Speaker 1: him two. I had scarce advanced an hundred paces ere.
• 1:40:41
  Speaker 1: I espied a murmurous brook, and at the same time
• 1:40:43
  Speaker 1: was aware of snapping of twigs and sounds of one
• 1:40:46
  Speaker 1: who burst through all obstacles in desperate flight. I gazed
• 1:40:50
  Speaker 1: wildly about, and a spied a gipsy girl who came
• 1:40:53
  Speaker 1: bounding it down the steep At sight of me. She
• 1:40:56
  Speaker 1: checked and stood a gaze. There she stood a young
• 1:41:00
  Speaker 1: dryed of the woods, gray eyes, a dream, passionate with life,
• 1:41:03
  Speaker 1: yet boldly virginal. Who the hell are you? She murmured softly.
• 1:41:09
  Speaker 1: Then she seized me by the hand. Come let's run,
• 1:41:13
  Speaker 1: she quoth. Thereafter me, Oh, I gasped, who shadrock meschek
• 1:41:20
  Speaker 1: and abednego She stated briefly the raw many three count them,
• 1:41:25
  Speaker 1: and so saying, she fled I perforce following ensued wild
• 1:41:30
  Speaker 1: scramble through dismal wood, where mournful wind stirred trees, dankly
• 1:41:34
  Speaker 1: dripped with leaves, brushed faces, rain sodden underbrush clung about
• 1:41:38
  Speaker 1: wearied limbs. Came we at last out upon a broad
• 1:41:42
  Speaker 1: highway between grassy banks, topped by hedgerows and trees whose
• 1:41:46
  Speaker 1: wide flung, rustling leafage cast a pleasant shade. While high
• 1:41:50
  Speaker 1: in air a lark caroled faint and sweet against the blue. Three.
• 1:41:55
  Speaker 1: Then looked I again upon my companion, so vivid with life,
• 1:41:58
  Speaker 1: so boldly virginal, and catching my breath, which had hitherto
• 1:42:02
  Speaker 1: eluded me. Some runner, I quoth, haven't I met you
• 1:42:07
  Speaker 1: somewhere before? I daresay? She lightly answered. You See, George
• 1:42:13
  Speaker 1: Borrow was my father, and I played isopel Berners to
• 1:42:16
  Speaker 1: his levengro You'll meet a lot of those old troopers
• 1:42:19
  Speaker 1: before you're through this book. There's the tinker now, and
• 1:42:23
  Speaker 1: old missus Hearne. She plays azor in this piece. Oh
• 1:42:29
  Speaker 1: them was the days, she sighed when we was playin
• 1:42:32
  Speaker 1: in the legit before we come down to this movie stuff,
• 1:42:36
  Speaker 1: Oh quoth I? Then I suppose I ought to teach
• 1:42:39
  Speaker 1: you grammar, it seems to me cut it out, she
• 1:42:42
  Speaker 1: responded wearily. Don't levengro done that once and for all.
• 1:42:49
  Speaker 1: You can't improve on him. For after a space where
• 1:42:52
  Speaker 1: we were of a wayside in the yard, whereof was
• 1:42:55
  Speaker 1: a throng with gigs, carts, creecombes and other vehicles. One
• 1:43:00
  Speaker 1: was a handsome, close traveling carriage with blood horses stamping
• 1:43:04
  Speaker 1: impatient hoofs and tossing proud heads. Standing by it was
• 1:43:08
  Speaker 1: a man, tall, slim, superlatively dark, clad in garments of
• 1:43:12
  Speaker 1: quiet elegance. His handsome, pale face was paler by contrast
• 1:43:17
  Speaker 1: with locks of raven hue. When we drew anear, he espied, Diana, Come,
• 1:43:23
  Speaker 1: my goddess, let us fly, said he, and seizing her
• 1:43:27
  Speaker 1: by the waist, half lifted, half tossed her into the carriage.
• 1:43:30
  Speaker 1: Leapt lightly after. In an instant, the carriage, rocking and
• 1:43:34
  Speaker 1: reeling with its swift motion, disappeared in a cloud of dust. Dazed,
• 1:43:39
  Speaker 1: I looked about me, but Diana was nowhere to be seen.
• 1:43:43
  Speaker 1: Be not a moment was to be lost. Seizing the
• 1:43:47
  Speaker 1: nearest horse, a jet black creature with blood red nostrils,
• 1:43:50
  Speaker 1: I leaped lightly into the saddle, and was after them.
• 1:43:54
  Speaker 1: Hedges gemmed with dewdrops, trees with wide flung leafage spun
• 1:43:59
  Speaker 1: by as my gallant steed fell into his racing stride.
• 1:44:02
  Speaker 1: Onward we flew mile after mile, horse after carriage, me
• 1:44:06
  Speaker 1: after her. Ever I gained upon the pursuit at last
• 1:44:11
  Speaker 1: drew level with whiffle trees stooped over. With one stroke
• 1:44:14
  Speaker 1: of knife cut the traces. I was at the door
• 1:44:17
  Speaker 1: of the carriage as it lurched to a full stop. Come, Diana,
• 1:44:22
  Speaker 1: I said, this is no place for you. I do
• 1:44:25
  Speaker 1: not think this is a very nice man. And as
• 1:44:28
  Speaker 1: for you, sir, I shall spare you now, because methinks
• 1:44:32
  Speaker 1: you will get yours in the last chapter. But one.
• 1:44:35
  Speaker 1: With that we left him six And now our way
• 1:44:38
  Speaker 1: lay adown, a leafy lane lined with grassy banks, topped
• 1:44:41
  Speaker 1: by hedgerows and trees whose wide flung, rustling leafage cast
• 1:44:45
  Speaker 1: a pleasant shade. While high in air a lark caroled
• 1:44:48
  Speaker 1: faint and sweet against the blue, crossing by a rustic bridge,
• 1:44:53
  Speaker 1: a murmurous brook. I was ware of a rough clad,
• 1:44:55
  Speaker 1: villainous looking man who stood opposed to us, powerful legs apart,
• 1:45:00
  Speaker 1: hairy fist grasping a short, heavy stick or bludgeon, as
• 1:45:03
  Speaker 1: the case may be. Evil face out thrust, he leered
• 1:45:07
  Speaker 1: upon Diana's loveliness, Oh, said I, what do you want?
• 1:45:12
  Speaker 1: Not you? He snarled, and snarling leaped at me with
• 1:45:18
  Speaker 1: his bludgeon. He struck full force, a crashing blow upon
• 1:45:20
  Speaker 1: my hat. Staggering back, I reeled for a moment's space,
• 1:45:25
  Speaker 1: But as he made to smite again, I leaped lightly
• 1:45:28
  Speaker 1: aside Strike one. I cried the joy of battle welling
• 1:45:33
  Speaker 1: within me. Then my right flashed and smote him full
• 1:45:36
  Speaker 1: on his bristly chin. His great body shrank horribly upon itself,
• 1:45:41
  Speaker 1: rolled a limp and twisted lump upon the ground, and
• 1:45:44
  Speaker 1: lay still. I turned to look for Diana, but she
• 1:45:47
  Speaker 1: was nowhere to be seen. Seven. So I went my way,
• 1:45:51
  Speaker 1: sorrowing for my lost love, adown leafy lanes lined with hedgerows,
• 1:45:55
  Speaker 1: gemmed with myriad sparkling dewdrops, wherein birds sang a jubilant
• 1:45:59
  Speaker 1: peon till I came to a broad highway lined with
• 1:46:02
  Speaker 1: grassy banks, topped by trees whose wide flung, rustling leafage
• 1:46:06
  Speaker 1: cast a pleasant shade. While high in air a lark
• 1:46:10
  Speaker 1: caroled faint and sweet against the blue full many a
• 1:46:14
  Speaker 1: weary mile I trod before I was ware of strange
• 1:46:16
  Speaker 1: sounds from a dingle. Hard By crashing into the dingle,
• 1:46:20
  Speaker 1: I came at last to behold Diana struggling in the
• 1:46:22
  Speaker 1: arms of a man, and him none other than he
• 1:46:24
  Speaker 1: from which I had so lately rescued her. Then, as
• 1:46:28
  Speaker 1: I stood at gaze ere yet I leaped lightly to
• 1:46:30
  Speaker 1: her succor, a hand gripped me eight I turned and
• 1:46:34
  Speaker 1: saw a little man, his slender figure erect, one hand
• 1:46:37
  Speaker 1: in the bosom of his coat. Devereux, he called, with
• 1:46:41
  Speaker 1: a terrible loud voice. The villain started, loosed Diana and
• 1:46:45
  Speaker 1: turned upon the speaker of the evening, meaning me withal
• 1:46:50
  Speaker 1: He sneered. That's not my name. Quite unimportant, said the
• 1:46:55
  Speaker 1: little man. Devereux, Hairedale, Marmaduke Chester Steerforth names unimportant. I've
• 1:47:03
  Speaker 1: met you a hundred times in a hundred books and plays,
• 1:47:05
  Speaker 1: and whatever the name, you're always the same. The stranger's
• 1:47:09
  Speaker 1: lips curled from gnashing teeth as he seized his heavy
• 1:47:12
  Speaker 1: riding whip. A blinding flash a deafening report. The oncoming
• 1:47:17
  Speaker 1: figure stopped right, arm dangling helplessly, then lurched and stumbled
• 1:47:21
  Speaker 1: out of sight. As the little man restored his little
• 1:47:24
  Speaker 1: silver mounted pocket pistol to his pocket. My child said,
• 1:47:28
  Speaker 1: he yonder comes, my man with the tea equabitch. He
• 1:47:32
  Speaker 1: always comes when he hears me shoot any one. Let
• 1:47:35
  Speaker 1: us have tea. I am the Earl of Wivelstoke. So
• 1:47:40
  Speaker 1: we had tea, but lingered not long, as yet there
• 1:47:43
  Speaker 1: was much to be done. Ere the rising of the
• 1:47:45
  Speaker 1: orbed moon gave us surcease of action. Nine, and so
• 1:47:49
  Speaker 1: we fared forth many a weary mile along the broad highway,
• 1:47:52
  Speaker 1: lined with grassy banks topped by hissed remarked Diana, Oh,
• 1:47:58
  Speaker 1: said I, my dear, you must not interrupt my description
• 1:48:02
  Speaker 1: of the scenery. Pray why hist shadroc meschek and abednego
• 1:48:08
  Speaker 1: she averred, pointing to where three evil faces peered through
• 1:48:12
  Speaker 1: three gaps in the hedgerow. Ensued a scrambling rush of
• 1:48:15
  Speaker 1: three dark figures with uppraised heavy sticks or bludgeons, one
• 1:48:21
  Speaker 1: snarling as was his wont strode me wards. I leaped
• 1:48:25
  Speaker 1: lightly aside, only to meet both the other weapons, which
• 1:48:28
  Speaker 1: simultaneously descended upon my head. Instant blackness overwhelmed me. Interspersed, however,
• 1:48:34
  Speaker 1: with luminaries of dazzling hue. When I recovered consciousness, Diana
• 1:48:39
  Speaker 1: was nowhere to be seen. X. So I went my way,
• 1:48:43
  Speaker 1: sorrowing for my lost love. It was growing dusk when
• 1:48:47
  Speaker 1: I reached a ruined and desolate barn, a solitary place
• 1:48:51
  Speaker 1: in dismal remote from the world, a very sinister place forsooth,
• 1:48:55
  Speaker 1: such indeed, as might be the haunt of grisly specters
• 1:48:57
  Speaker 1: and angry moucows. Bread Check with eyes of horror, stared
• 1:49:02
  Speaker 1: I at that dreadful barn, whence emanated the sound of
• 1:49:04
  Speaker 1: hollow knocks. Instantly I was transformed into a cool, dispassionate,
• 1:49:10
  Speaker 1: relentless creature, intent upon one desperate purpose, though as yet
• 1:49:14
  Speaker 1: I would not what that purpose was. Be damned. T
• 1:49:17
  Speaker 1: Ye shad rock panted a hoarse voice, eve man, eve
• 1:49:24
  Speaker 1: HER's a sittin on th h trapdoor. I crept toward
• 1:49:28
  Speaker 1: the latter, whereon they stood, leapt and smote with all
• 1:49:31
  Speaker 1: my might, ensued A battle, grim and great ensued. Thereupon
• 1:49:37
  Speaker 1: a silence, an emptiness, a stillness, and from afar I
• 1:49:40
  Speaker 1: heard lugubrious voices growing fainter and fainter. Oh, cried I
• 1:49:45
  Speaker 1: Diana ah there, Diana. Well, what's wanted? Queried she? Will
• 1:49:52
  Speaker 1: you marry me? Diana? Don't be foolish kid, you've mixed
• 1:49:57
  Speaker 1: your cues. That line longs in the last chapter. You'd
• 1:50:02
  Speaker 1: better go to bed now. You've had a busy day. So,
• 1:50:07
  Speaker 1: knowing that the morrow would bring further adventure, I lay
• 1:50:10
  Speaker 1: down and fell into a dreamless sleep. But when I
• 1:50:12
  Speaker 1: awoke in the morning, Diana was nowhere to be seen,
• 1:50:16
  Speaker 1: one of hers. Long after will A Cather Chapter one,
• 1:50:19
  Speaker 1: clawd Wheeler opened his eyes, just as he had done
• 1:50:21
  Speaker 1: often before. The dreary monotony of his day thus monotonously began.
• 1:50:27
  Speaker 1: He turned on one elbow and gazed at his shirt
• 1:50:30
  Speaker 1: hanging on the chair beside his bed. It was the
• 1:50:33
  Speaker 1: same shirt which he had worn yesterday would wear tomorrow.
• 1:50:37
  Speaker 1: But it was not the monotony of the shirt that
• 1:50:39
  Speaker 1: deluged him with self pity. It was the fact that
• 1:50:42
  Speaker 1: he had only one collar button. Other people, the Irlick
• 1:50:46
  Speaker 1: boys in Lincoln, his own father had two, cloud had
• 1:50:51
  Speaker 1: but one which fastened his shirt in front. When he
• 1:50:54
  Speaker 1: wore a collar, he had to fasten it at the
• 1:50:56
  Speaker 1: back with an old piece of string which Mahelei had
• 1:50:59
  Speaker 1: given him. Claude would have liked to buy another collar button.
• 1:51:03
  Speaker 1: He had more than enough money, and his father was
• 1:51:06
  Speaker 1: a rich farmer. He tried to excuse his cowardice to himself,
• 1:51:10
  Speaker 1: but in his heart he knew that it was too
• 1:51:12
  Speaker 1: difficult for him to do this simple thing. He arose
• 1:51:15
  Speaker 1: wearily and dressed. He crept down a flight of stairs
• 1:51:19
  Speaker 1: to the second floor. Thence he descended to the first
• 1:51:22
  Speaker 1: floor by a rude ladder. There had been a staircase
• 1:51:25
  Speaker 1: where the ladder stood, but in an access of humility,
• 1:51:28
  Speaker 1: Claude had slid down the banisters two weeks before, mistaking
• 1:51:33
  Speaker 1: his self effacement for hilarity. His father, laughing heartily, had
• 1:51:37
  Speaker 1: removed the stairs with an axe. Nat Wheeler was a large, easygoing,
• 1:51:41
  Speaker 1: affable man with a strong sense of humor. It made
• 1:51:45
  Speaker 1: little difference with the habits of the household. The men
• 1:51:49
  Speaker 1: used the ladder freely. Mahali slept in the cellar on
• 1:51:52
  Speaker 1: a hanging shelf, which Claude had built for her so
• 1:51:55
  Speaker 1: that the rats could not get at her. She used
• 1:51:58
  Speaker 1: to put herself to sleep by swinging the shelf to
• 1:52:00
  Speaker 1: and fro while she sang. And they laid Jesse James
• 1:52:03
  Speaker 1: in his grave. It was one of her quaint customs,
• 1:52:07
  Speaker 1: a survival of her early arboreal life in Virginia. It
• 1:52:11
  Speaker 1: added much to the gloom which overspread the household. Missus
• 1:52:15
  Speaker 1: Wheeler suspected that this removal of the stairs was a joke.
• 1:52:19
  Speaker 1: She had learned that her husband's humor might wear any guise,
• 1:52:23
  Speaker 1: But she was old fashioned. She thought it improper either
• 1:52:27
  Speaker 1: to descend or ascend the ladder if there were any
• 1:52:29
  Speaker 1: men below. And as the men always arose before she
• 1:52:32
  Speaker 1: did and stayed up after her bedtime, she was practically
• 1:52:35
  Speaker 1: confined to the second floor. Claude could hear her now
• 1:52:39
  Speaker 1: walking up and down the passage above. He could hear
• 1:52:43
  Speaker 1: her wandering, uncertain footsteps. He knew that she had both
• 1:52:47
  Speaker 1: hands pressed tightly to her breast, that she was lost
• 1:52:50
  Speaker 1: in religious meditation. He feared that in her absence of mind,
• 1:52:55
  Speaker 1: she might descend by the ladder and then be unable
• 1:52:57
  Speaker 1: to overcome her scruples against ascending. There would be no
• 1:53:01
  Speaker 1: place for her to sleep except with Mahlei in the cellar.
• 1:53:05
  Speaker 1: He had not made the shelf wide enough for two.
• 1:53:08
  Speaker 1: His mother might die for want of sleep. He felt
• 1:53:12
  Speaker 1: bitterly about that. He heard her voice calling him. She
• 1:53:16
  Speaker 1: was blinking down at him over the banisters. It is
• 1:53:20
  Speaker 1: circus day, clawed, and I'm so worried about your collar button.
• 1:53:24
  Speaker 1: I have a piece of an old can opener here.
• 1:53:27
  Speaker 1: Do you think you could make that? Do? Don't bother
• 1:53:30
  Speaker 1: about it, mother, I'll use a shingle nail. Rest rest
• 1:53:36
  Speaker 1: perturbed spirit, she said softly, and resumed her wanderings. He
• 1:53:41
  Speaker 1: went out into the kitchen to wash. Other people had
• 1:53:44
  Speaker 1: used the bathroom before him, and he was very exclusive.
• 1:53:48
  Speaker 1: In Mahley's old broken mirror, he looked at himself. He
• 1:53:52
  Speaker 1: was a handsome boy, with a red face, pink eyebrows,
• 1:53:55
  Speaker 1: and a square head upon which his red hair stood
• 1:53:57
  Speaker 1: up like a cock's comb. He he hated his head, however,
• 1:54:01
  Speaker 1: because he always had to wear a soft hat. A
• 1:54:05
  Speaker 1: stiff derby upbraided the sharp corners. Mahali came with a
• 1:54:09
  Speaker 1: low patting step, her apron thrown over her face, as usual.
• 1:54:14
  Speaker 1: She always wore it this way in the Wheeler family.
• 1:54:18
  Speaker 1: No one but clod had ever seen her face. Sometimes
• 1:54:22
  Speaker 1: she shyly removed her apron when no one was about
• 1:54:25
  Speaker 1: and gave him one look. It was enough. Claude knew
• 1:54:29
  Speaker 1: why she kept the apron over it. When Cloud saw
• 1:54:33
  Speaker 1: her coming, he ran out of doors down the hillside
• 1:54:36
  Speaker 1: toward the barn. Mollie, the faithful old three legged cow,
• 1:54:40
  Speaker 1: was mournfully chewing her cut. She had lost her other
• 1:54:44
  Speaker 1: leg in the Civil War. He put his arms around
• 1:54:47
  Speaker 1: her neck and kissed her. She stopped chewing and kissed
• 1:54:51
  Speaker 1: him in return. He remained there a long time and
• 1:54:54
  Speaker 1: thought about the life of a farmer. A farmer raised
• 1:54:57
  Speaker 1: good corn and wheat and sold them. In return, he
• 1:55:01
  Speaker 1: got clothes that wore out in two or three years,
• 1:55:04
  Speaker 1: a house that would not stand more than a century,
• 1:55:06
  Speaker 1: an automobile good for less than fifty thousand miles, furniture
• 1:55:10
  Speaker 1: that broke down in two generations, food that lasted hardly
• 1:55:13
  Speaker 1: a day. The life of a farmer was useless, vain, empty, unsatisfying, monotonous, depressing, dreary.
• 1:55:22
  Speaker 1: He was a farmer, and he had but one collar button.
• 1:55:26
  Speaker 1: A terrible joy clutched at the boy's heart. He knew
• 1:55:29
  Speaker 1: that he was playing the part to perfection. If he
• 1:55:32
  Speaker 1: could keep it up through four hundred and fifty nine pages,
• 1:55:35
  Speaker 1: the book would be a success. The young Hamlet of
• 1:55:38
  Speaker 1: the Prairies would make a Hit Chapter nineteen. Claude and
• 1:55:42
  Speaker 1: his men BE Company were holding the Boar's Head trench.
• 1:55:46
  Speaker 1: He knew that the German attack might be expected about dawn.
• 1:55:50
  Speaker 1: The smoke and darkness had begun to take on the
• 1:55:52
  Speaker 1: livid color that announced the coming of daybreak. When a
• 1:55:55
  Speaker 1: corporal hurried to him, saluted and announced that the lineman
• 1:55:58
  Speaker 1: had completed the connection that Claude was called on the telephone.
• 1:56:02
  Speaker 1: He went to the dugout, took down the receiver. Lieutenant
• 1:56:06
  Speaker 1: Wheeler in command B Company in H two speaking underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 1:56:24
  Speaker 1: underscore underscore, What, miss Willa, for the land's sake, what
• 1:56:29
  Speaker 1: are you doing way out here? Underscore underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 1:56:40
  Speaker 1: underscore underscore. Course you are, Miss Willa, I know that,
• 1:56:44
  Speaker 1: but you hadn't ought to come out in such a
• 1:56:46
  Speaker 1: dangerous place just to look out for me. Really, ma'am,
• 1:56:51
  Speaker 1: I'm getting along all right, You don't have to tell
• 1:56:54
  Speaker 1: me every little thing. Underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore.
• 1:57:05
  Speaker 1: You want me to what underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 1:57:15
  Speaker 1: underscore on the parapet when the attack comes. You don't mean,
• 1:57:20
  Speaker 1: really do it, miss Willa. Underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 1:57:29
  Speaker 1: underscore underscore underscore. Why good lord, miss Willa, I wouldn't
• 1:57:34
  Speaker 1: do that for a farm. They'll be shooting, honest to god,
• 1:57:38
  Speaker 1: lead bullets, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore.
• 1:57:53
  Speaker 1: I got to do it. How's that I don't see
• 1:57:57
  Speaker 1: why underscore, underscoreunderscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore.
• 1:58:07
  Speaker 1: Yes'm I know that I know you are. I read
• 1:58:12
  Speaker 1: it in a piece in a magazine said you were
• 1:58:15
  Speaker 1: one of America's serious novelists. Yes'm called you a serious
• 1:58:20
  Speaker 1: artist of high purpose. The piece did underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 1:58:31
  Speaker 1: underscore underscore. But say, you know that's awful, dangerous. I
• 1:58:36
  Speaker 1: might easy get killed underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 1:58:46
  Speaker 1: underscore underscore. You expect me to look here, lady, I
• 1:58:51
  Speaker 1: don't know what you're driving at. Underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 1:59:01
  Speaker 1: underscore underscore. Oh yes, oh course I know that. I know.
• 1:59:06
  Speaker 1: I got to do what you say after I sign
• 1:59:08
  Speaker 1: up with you. Underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore. No,
• 1:59:19
  Speaker 1: m I might not be I know that I might
• 1:59:24
  Speaker 1: be in the draft at a training camp or somewhere
• 1:59:26
  Speaker 1: back there, or probably i'd got exempted on account of
• 1:59:29
  Speaker 1: being the only one on the farm. If it wasn't
• 1:59:32
  Speaker 1: for you, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 1:59:45
  Speaker 1: underscore underscore, well, if you was right out in this trench, now,
• 1:59:48
  Speaker 1: I don't think you'd think there was any special thanks
• 1:59:51
  Speaker 1: to for your getting me here. Underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 2:00:01
  Speaker 1: underscore underscore. No, ma'am, I don't. I ain't hungry for
• 2:00:07
  Speaker 1: just that kind Oh glory, you bet not. I'll be
• 2:00:12
  Speaker 1: satisfied to go home alive. Underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 2:00:22
  Speaker 1: underscore underscore. Oh lord, yes, I got plenty to do
• 2:00:27
  Speaker 1: when I get home. Underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 2:00:37
  Speaker 1: underscore underscore. How's that spoiled? Oh no, miss Willa, My
• 2:00:44
  Speaker 1: life ain't spoiled. Yet, but I've got a hunch it
• 2:00:46
  Speaker 1: would be if I got up on that parapet Oh no,
• 2:00:50
  Speaker 1: I've got a lot oh plans. Don't you worry about that?
• 2:00:54
  Speaker 1: Ain't many young fellows gets their life spoiled at twenty
• 2:00:57
  Speaker 1: three Underscore underst score, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 2:01:07
  Speaker 1: underscore underscore. My wife, sure she's left me all right?
• 2:01:13
  Speaker 1: And Miss Willa, I hope you won't get mad if
• 2:01:15
  Speaker 1: I say I think that was really your fault. I'm
• 2:01:18
  Speaker 1: pretty sure Enid wouldn't have gone to China if you
• 2:01:21
  Speaker 1: hadn't kind of mesmerized her and made her go. I
• 2:01:24
  Speaker 1: think if you'd let her alone, she'd be on the
• 2:01:27
  Speaker 1: farm now. Underscore Underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 2:01:36
  Speaker 1: underscore underscore Underscore. Yes'm she did. She went all right,
• 2:01:41
  Speaker 1: and I'm not sure she's coming back. But if she don't,
• 2:01:45
  Speaker 1: why I don't know, as i'd die of grief. You see,
• 2:01:49
  Speaker 1: she was a kind of cold proposition her and I
• 2:01:52
  Speaker 1: never Oh, well, there's plenty more Gladys f R instance,
• 2:01:58
  Speaker 1: and that's another thing. And I kind of got against you,
• 2:02:01
  Speaker 1: miss Willa. If you'd left the three of us alone,
• 2:02:05
  Speaker 1: I think me and Gladys might have underscore underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 2:02:14
  Speaker 1: underscore underscore underscore. Oh yes, course, I know that there
• 2:02:18
  Speaker 1: wouldn't have been much of a book if you hadn't
• 2:02:20
  Speaker 1: mixed in some. Still, if I get home, I think
• 2:02:24
  Speaker 1: I can straighten things out after I get a good
• 2:02:27
  Speaker 1: rest on the farm. I'm thinking some of going into
• 2:02:30
  Speaker 1: the movies. Put a pair of goggles on me, and
• 2:02:33
  Speaker 1: you couldn't tell me from Harold Lloyd. Underscore underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 2:02:41
  Speaker 1: underscore underscore underscore. No, m I ain't trying to get
• 2:02:45
  Speaker 1: off the point. Underscore underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 2:02:51
  Speaker 1: underscore underscore underscore underscore, go out on that parapet when
• 2:02:54
  Speaker 1: the attack begins and get killed. No, ma'am, I'm most
• 2:02:59
  Speaker 1: certainly an app absolutely will not underscore underscore, underscore, underscore, underscore, underscore, underscore,
• 2:03:06
  Speaker 1: underscore underscore underscore underscore underscore, underscore, underscore, underscore underscore. Yes'm,
• 2:03:11
  Speaker 1: I know it. I told you. I know you're a
• 2:03:14
  Speaker 1: serious novelist, and I suppose you got to do those
• 2:03:17
  Speaker 1: kind oh things to make it tragic and important in
• 2:03:20
  Speaker 1: all that so as not to have a happy end
• 2:03:22
  Speaker 1: in dot underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 2:03:31
  Speaker 1: underscore underscore. No, m I don't think it is natural
• 2:03:34
  Speaker 1: if that's what you want. There ain't only about six
• 2:03:38
  Speaker 1: killed in action out of a thousand Americans in this war.
• 2:03:41
  Speaker 1: And I don't see why you pick on me how
• 2:03:44
  Speaker 1: to get elected. Underscore underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 2:03:54
  Speaker 1: underscore underscore. Yes, ma'am, I said three times already, I
• 2:03:58
  Speaker 1: know you're serious. Good lawn, miss Willa. I ought to
• 2:04:03
  Speaker 1: know why I ain't had a real good laugh hardly
• 2:04:07
  Speaker 1: once since I begun working for you. But you don't
• 2:04:10
  Speaker 1: seem to understand. I'm serious too, and this whole business
• 2:04:14
  Speaker 1: you're proposing is more serious to me than it's got
• 2:04:16
  Speaker 1: any chance of being to you. I've got a lot
• 2:04:20
  Speaker 1: of things to do in the next fifty years. Underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 2:04:31
  Speaker 1: underscore underscore, No, lady, I will not underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 2:04:43
  Speaker 1: Well first place. That's no place for an officer in command.
• 2:04:48
  Speaker 1: Officers are supposed to take care of theirselves and not
• 2:04:51
  Speaker 1: expose their selves unnecessarily. They got to look out for
• 2:04:55
  Speaker 1: their men, not try to be heroes or anything. Underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 2:05:06
  Speaker 1: underscore underscore, Well, I suppose it will. But see here,
• 2:05:11
  Speaker 1: If I've got to choose between spoiling the book and
• 2:05:14
  Speaker 1: getting spoiled myself forever, it's only natural, ain't it. Say? Listen,
• 2:05:20
  Speaker 1: do you ever go to the movies underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore.
• 2:05:32
  Speaker 1: Oh excuse me, I thought maybe you might have once
• 2:05:36
  Speaker 1: or twice underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 2:05:46
  Speaker 1: underscore underscore. Oh nothing, never mind, but say, have I
• 2:05:52
  Speaker 1: really got to get shot on the parapet. Won't anything
• 2:05:55
  Speaker 1: else do? Underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 2:06:05
  Speaker 1: underscore underscore. All right, then I suppose I got to
• 2:06:11
  Speaker 1: I'll manage it somehow. You leave it to me, don't
• 2:06:15
  Speaker 1: you worry? Underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore, underscore,
• 2:06:25
  Speaker 1: underscore underscore, don't mention it. That's all right. Anything to
• 2:06:30
  Speaker 1: oblige a serious lady novelist. Goodbye, Miss Willa. Claude was
• 2:06:36
  Speaker 1: very busy for the next fifteen minutes. Just as he
• 2:06:39
  Speaker 1: again took his position on the firing step, the hunt
• 2:06:42
  Speaker 1: advance began. There they were coming on the run. His
• 2:06:47
  Speaker 1: men were on their feet again. The rifles began firing.
• 2:06:52
  Speaker 1: Then something extraordinary happened. There was their commanding officer on
• 2:06:56
  Speaker 1: the parapet outlined against the eastern sky. Stiffly erect, he
• 2:07:01
  Speaker 1: stood one arm appraised, facing the oncoming foe. They heard
• 2:07:06
  Speaker 1: his voice, Steady, men, steady, it's up to you. They
• 2:07:12
  Speaker 1: were amazed, astounded, but they responded. A withering fire swept
• 2:07:17
  Speaker 1: the hun lines. Men were stumbling and falling. Then the
• 2:07:21
  Speaker 1: solitary figure on the parapet was discovered by the enemy.
• 2:07:25
  Speaker 1: A bullet rattled on the tin hat, one struck it
• 2:07:28
  Speaker 1: in the shoulder. It swayed, lost its balance, plunged face
• 2:07:33
  Speaker 1: down outside the parapet, Hicks caught a projecting foot, pulled,
• 2:07:38
  Speaker 1: and it came off in his hand. At the same moment,
• 2:07:41
  Speaker 1: the Missourians ran yelling up the communication trench, threw their
• 2:07:44
  Speaker 1: machine guns up on the sand bags, and went into action.
• 2:07:48
  Speaker 1: Hicks stood petrified, staring at the foot in his hand.
• 2:07:51
  Speaker 1: When clawed clad and his jaegers only appeared, reached out
• 2:07:55
  Speaker 1: and dragged the limp figure in by both legs. Here, sergeant,
• 2:08:00
  Speaker 1: help me with this to the dugout so I can
• 2:08:02
  Speaker 1: get my clothes on before it gets too public. My god, lieutenant,
• 2:08:07
  Speaker 1: I thought you was killed. What's this for to fool
• 2:08:11
  Speaker 1: the heinies? No, that was for the home folks. That
• 2:08:15
  Speaker 1: read serious novels. Paradise Be Damned by F. Scott Fitzjazzer.
• 2:08:21
  Speaker 1: This story was written between ten p m. And three
• 2:08:24
  Speaker 1: a m. Of one night, while I was playing Bridge.
• 2:08:29
  Speaker 1: The swift set paid me enough for it to recoup
• 2:08:31
  Speaker 1: what I lost at Bridge and leave me the price
• 2:08:33
  Speaker 1: of a diamond tiara and two theater tickets. The movie
• 2:08:37
  Speaker 1: rights brought me sixty thousand dollars. It is probably the
• 2:08:41
  Speaker 1: worst story I ever wrote, though for that distinction it
• 2:08:44
  Speaker 1: has many rivals. Grandpa and Papa. Anthony Blaine's grandfather had
• 2:08:49
  Speaker 1: all the money in the known world and lived in Tarrytown,
• 2:08:52
  Speaker 1: a remarkable coincidence. Entirely surrounded by cold cash, he had
• 2:08:57
  Speaker 1: acquired an austere frigidity of manner and was caught called
• 2:09:00
  Speaker 1: Old Chilblaine. This relationship made Anthony constantly conscious of social security,
• 2:09:06
  Speaker 1: since an aristocracy founded sheerly on money postulates wealth in
• 2:09:10
  Speaker 1: the particular whatever that means. His father, an ineffectual esteate
• 2:09:15
  Speaker 1: of that prehistoric period known as the nineties, had died
• 2:09:18
  Speaker 1: before he was born, apparently thus reversing the customarily usual
• 2:09:22
  Speaker 1: process of nature, a phenomenon explicable only on the hypothesis
• 2:09:26
  Speaker 1: that language sometimes obscures the thought it is supposed to elucidate.
• 2:09:30
  Speaker 1: The fact is that Anthony was a posthumorous child, a
• 2:09:33
  Speaker 1: kind of practical joke on his surprised mother. Anthony inherited
• 2:09:38
  Speaker 1: from his father nothing but his last name, his taper fingers,
• 2:09:41
  Speaker 1: and a million dollars, a miserable heritage. Mother dear but
• 2:09:45
  Speaker 1: his mother, Beatrice Blaine. She was a woman by curious chance,
• 2:09:51
  Speaker 1: born in Boston of the old Puritan family of O'Hara.
• 2:09:54
  Speaker 1: She was educated in Rome, also in Watertown and Ogdensburg.
• 2:09:58
  Speaker 1: Having been fired from three pre school successively, she went
• 2:10:02
  Speaker 1: abroad and was polished in Poland, and finished in Finland.
• 2:10:06
  Speaker 1: She learned to smoke camels in the desert of Sahara,
• 2:10:09
  Speaker 1: and at the Hague to drink the national beverage double strength.
• 2:10:14
  Speaker 1: All in all she absorbed a sort of education and
• 2:10:16
  Speaker 1: an amount of liquor that it will be impossible ever
• 2:10:19
  Speaker 1: again to find in this country. In an absent minded moment,
• 2:10:23
  Speaker 1: she married Stephen Blaine because she was a little bit weary,
• 2:10:26
  Speaker 1: a little bit sad, and more than a little bit
• 2:10:28
  Speaker 1: pie eyed. He tried to keep step with her, but
• 2:10:32
  Speaker 1: in less than a year, cheerfully died, so Anthony was
• 2:10:35
  Speaker 1: born fatherless, little child who made you? His childhood and
• 2:10:41
  Speaker 1: youth were spent in the midst of privations, private cars,
• 2:10:44
  Speaker 1: private yachts, and private tutors. At the age of seven,
• 2:10:48
  Speaker 1: he bit bellboys. At eight, smoked cigarettes at nine, played
• 2:10:52
  Speaker 1: poker at ten, red rabelais. At eleven, imbibed intoxicants. At
• 2:10:57
  Speaker 1: twelve kissed chorus girls. And at thirteen his mother died
• 2:11:00
  Speaker 1: of delirium tremens. He was sent to school at Saint
• 2:11:04
  Speaker 1: Ritz's Tom Brown at Rugby. Saint Ritz's isn't eaten, but
• 2:11:08
  Speaker 1: it is pretty strong on drinking. Anthony's private stock was
• 2:11:12
  Speaker 1: recruited from all parts of the world. What's is pink stuff?
• 2:11:16
  Speaker 1: Anthony asked a fellow dipsomaniac of the fourth form in
• 2:11:20
  Speaker 1: the Intimacy of intoxication. AT's old Genevieve from Geneva, at
• 2:11:25
  Speaker 1: Green's Grenadine from Grenada, and at Yellow's Yatagan from Yap,
• 2:11:30
  Speaker 1: make a fairish cocktail if you lace it with lil
• 2:11:33
  Speaker 1: old wood alcohol keeps a fella fit? Is stuff? Does
• 2:11:38
  Speaker 1: he drank liquors of incomparable strength and iridescent beauty? In
• 2:11:41
  Speaker 1: whose mysterious Depths, all the lost lures of mont Martyr,
• 2:11:44
  Speaker 1: and of forty second and Broadway, shivered and shimmied languorously
• 2:11:47
  Speaker 1: in resplendent redundancy. Also he took a shot of hop now,
• 2:11:51
  Speaker 1: and then he read enormously. In his first term he
• 2:11:56
  Speaker 1: accomplished Rousseau's Confessions, the Newgate Calendar, Boswell's Life of Johnston,
• 2:12:01
  Speaker 1: frank In The Mountains, CON's Critique, The Arabian Nights in
• 2:12:04
  Speaker 1: fourteen volumes, Ten Knights in a bar Room, The Dutch Twins,
• 2:12:08
  Speaker 1: the Memoirs of Casanova, Petronius, Suetonius, Vitruvius, Vesuvius, Plato, Cato, Keats, Yates,
• 2:12:17
  Speaker 1: and all the Elsie books. Incident of the impudent Headmaster,
• 2:12:21
  Speaker 1: clad in an opalescent dressing gown the color of Peacock's
• 2:12:25
  Speaker 1: eyes and Emu's finns, Anthony was lying on a luxurious
• 2:12:28
  Speaker 1: lounge of mauve satin, stuffed with eider down and agrats,
• 2:12:31
  Speaker 1: reading dunga din and drinking Gordon Gin. A timid knock
• 2:12:35
  Speaker 1: on the door preceded the entrance of the Headmaster. He
• 2:12:39
  Speaker 1: stood in the doorway, sheepishly, hat in hand, pulling an
• 2:12:42
  Speaker 1: obsequious forelock, Blaine er Er, mister Blaine, He said, well, Margotson,
• 2:12:50
  Speaker 1: what is it I called er to ask you? Sir?
• 2:12:55
  Speaker 1: If er you wouldn't kindly attend a recitation er now
• 2:12:59
  Speaker 1: an just as a matter of form, you know, go
• 2:13:04
  Speaker 1: to hell, said Anthony coldly, turning again to his liquor. Yes, sir,
• 2:13:10
  Speaker 1: very good, sir. The head master faded through the doorway,
• 2:13:14
  Speaker 1: and doubtless when as he had been directed, damn his impudence,
• 2:13:20
  Speaker 1: muttered Anthony. Incidental diversions. He was leading man in all
• 2:13:25
  Speaker 1: the school plays, editor of the Saint Ritz Bartender's Guide,
• 2:13:28
  Speaker 1: quarterback on the eleven, first base, on the nine, second base,
• 2:13:32
  Speaker 1: on the glee club, forward on the hockey team, and backward.
• 2:13:35
  Speaker 1: In his studies, he carried off first honors in the
• 2:13:38
  Speaker 1: hundred yards, the mile, the hurdles, the hammer throw, the
• 2:13:42
  Speaker 1: standing long drink, the debating society, and the Bacchanalian orgies.
• 2:13:47
  Speaker 1: Thus Anthony, at eighteen six feet tall and narrow in proportion,
• 2:13:51
  Speaker 1: green eyes that shone through a tangled mass of tawny eyelashes,
• 2:13:55
  Speaker 1: scornful of the bourgeoisie and of the proletariat, entered Princeton
• 2:14:00
  Speaker 1: fires and gurgles from the first He loved Princeton, the
• 2:14:02
  Speaker 1: pleasantest country club in America. He loved the tall, towering
• 2:14:07
  Speaker 1: tapestries of trees infinitely transient, transiently infinite, yearning infinitely with
• 2:14:12
  Speaker 1: infinite melancholy, the dreamy double chocolate jiggers, pleasing the palate,
• 2:14:16
  Speaker 1: drenching the innerts with a joy akin to pleasure, the
• 2:14:19
  Speaker 1: early moon mistily mysterious, more mysterious than mystery itself. The deep,
• 2:14:25
  Speaker 1: insidious devotion of the dreaming peaks, in their lofty aspiration
• 2:14:29
  Speaker 1: toward the Emporian threw at all the melancholy voices, singing
• 2:14:33
  Speaker 1: Old Nassau blunt in a pean of pain, while over
• 2:14:37
  Speaker 1: all the two great dreaming towers, towered toward the sky
• 2:14:40
  Speaker 1: like a gigantic pair of white flannel trousers, reversed the
• 2:14:44
  Speaker 1: subdeb The time is in the evening of any day,
• 2:14:47
  Speaker 1: in any month, in any year. The place is the
• 2:14:50
  Speaker 1: front room of an apartment in fifty second Street, New York,
• 2:14:53
  Speaker 1: the library of a house in sixty eighth Street, the
• 2:14:56
  Speaker 1: ballroom of the Ritz Royce, a limousine outside the country
• 2:14:59
  Speaker 1: club in Lieuov, the Princeton campus, anywhere else you choose
• 2:15:04
  Speaker 1: enter Rosalind kissable mouth. Other details unnecessary enter to her.
• 2:15:09
  Speaker 1: Anthony Blaine, He will you kiss me? She sure? They kiss,
• 2:15:16
  Speaker 1: definitely and thoroughly, in a most workmanlike manner. He did
• 2:15:21
  Speaker 1: you ever kiss anyone before? She dreamily dozens, hundreds, thousands
• 2:15:27
  Speaker 1: of boys. He kiss me again. They kiss she. How
• 2:15:33
  Speaker 1: old are you? He nineteen passed? She I'm sixteen. Just
• 2:15:40
  Speaker 1: he kiss me again. They kiss She. You're some kisser yourself?
• 2:15:47
  Speaker 1: He of course, Princeton you know she I knew it now.
• 2:15:53
  Speaker 1: Yale men. He don't mention the brutes. She but Harvard men.
• 2:15:59
  Speaker 1: He sissies. Kiss me again. They kiss she when I
• 2:16:05
  Speaker 1: was in He you're so loquacious. They kiss she by
• 2:16:11
  Speaker 1: the way. Who are you? He Anthony Blaine? She I've heard.
• 2:16:17
  Speaker 1: He don't talk. They kiss She. I'm he what difference
• 2:16:23
  Speaker 1: does it make? Who you are? Let's get married? She can't.
• 2:16:29
  Speaker 1: I'm engaged. He whom to she? What he to? Who?
• 2:16:36
  Speaker 1: Who to she? Oh? Why? To Dawson Ryder and Skeet's
• 2:16:42
  Speaker 1: McCormick and Amory patch Ann to a boy named Wilson
• 2:16:45
  Speaker 1: don't remember his first name? An to a Yale boy
• 2:16:48
  Speaker 1: I met in the dark and don't know any of
• 2:16:50
  Speaker 1: his names or what he looks like, and to oh
• 2:16:52
  Speaker 1: lots of others. He you love me, don't you? They kiss?
• 2:16:59
  Speaker 1: She I love you, I love you. I'm mad about you.
• 2:17:05
  Speaker 1: I can't do without you. They kiss. He my god,
• 2:17:11
  Speaker 1: you're spoiling both our lives. She my god? Am I
• 2:17:17
  Speaker 1: he here? We're losing time. They kiss, kiss, kiss, She
• 2:17:24
  Speaker 1: You've broken my heart. He my god, she my god?
• 2:17:31
  Speaker 1: He times up. I have a date with Cecilia Kanach.
• 2:17:36
  Speaker 1: She she's my sister. She's not very good at it.
• 2:17:41
  Speaker 1: He good bye. You've broken my heart and must me
• 2:17:44
  Speaker 1: all up? They kiss. He stumbles toward the exit a
• 2:17:49
  Speaker 1: broken man, then throws back his head with that proud
• 2:17:53
  Speaker 1: Princeton gesture and goes out. She Oh God, I want
• 2:17:59
  Speaker 1: to die. She looks about her, misty eyed, with a
• 2:18:02
  Speaker 1: deep aching sadness. That will pass, That will pass in time,
• 2:18:07
  Speaker 1: say three minutes dot. She looks for her vanity bag,
• 2:18:11
  Speaker 1: powders her nose, renews the carmine on those tired lips.
• 2:18:15
  Speaker 1: She well, are they going to keep me waiting all night? Next? Boy? Please?
• 2:18:22
  Speaker 1: More gurgles. The last light fades and drifts across the land,
• 2:18:26
  Speaker 1: the low long land, the land of towers and spires
• 2:18:29
  Speaker 1: that wanders lonely, lest the lurid liars press thy pale
• 2:18:32
  Speaker 1: petals with a passionate hand, enchanted essences and pagan pyres. Oh,
• 2:18:37
  Speaker 1: dream that sleeps, and sleep that knows no dreaming. So
• 2:18:41
  Speaker 1: wert thou wrought in fragrant, fadeless fires, So wert thou
• 2:18:45
  Speaker 1: wrapt in garments goldly gleaming, and dying, knew not what
• 2:18:48
  Speaker 1: should end this seeming. The ghosts of evenings haunt these afternoons.
• 2:18:53
  Speaker 1: The mid day twilight shifts with my desire, Nor yet
• 2:18:57
  Speaker 1: before my eyes do they conspire there to dist ill
• 2:19:00
  Speaker 1: the fragrance of the moons that burn and are consumed
• 2:19:02
  Speaker 1: with splendid fire, and hurl them to abide in their abode,
• 2:19:05
  Speaker 1: Where young Fijazzer tuned his youthful lyre and sang to Princeton,
• 2:19:08
  Speaker 1: his melodious old witch, what it means, there's no one
• 2:19:11
  Speaker 1: never knowed Collars and ties. Anthony Blaine paused in the
• 2:19:16
  Speaker 1: process of adjusting the universe to himself, and looked about
• 2:19:19
  Speaker 1: him an apartment in a house of murky material windows
• 2:19:22
  Speaker 1: that loomed gloomily down upon fifty second Street, Voluminous chairs,
• 2:19:26
  Speaker 1: a fireplace of murky black, a flamboyant exotic rug of
• 2:19:29
  Speaker 1: crimson velvet, an orange colored lamp. Everything suggested the solidarity
• 2:19:34
  Speaker 1: of wealth, an entree into the best society. He yawned
• 2:19:38
  Speaker 1: and sauntered to his bathroom, an enormous room where he
• 2:19:41
  Speaker 1: spent most of his time. He usually took five baths
• 2:19:45
  Speaker 1: a day on Sundays seven. Emerging from his bath, he
• 2:19:50
  Speaker 1: polished himself with fine sand paper, finishing with shammy skin,
• 2:19:54
  Speaker 1: until his smooth skin shone like satin. From the closets
• 2:19:58
  Speaker 1: bursting with clothes. Underwear for an army, silk shirts for
• 2:20:02
  Speaker 1: a city, collars and ties for a multitude. He selected
• 2:20:05
  Speaker 1: his attire. He taxied to Brooks's to buy him some
• 2:20:09
  Speaker 1: ties and collars, then to the grill room of the Jazza.
• 2:20:13
  Speaker 1: Life in Large Cities. The grill room of the Jazza.
• 2:20:17
  Speaker 1: Anthony seated, enter Richard Caramel in person, short, in pocket, shorter.
• 2:20:24
  Speaker 1: His figure is round. He is always round where Anthony
• 2:20:27
  Speaker 1: is buying drinks. Anthony, Hello, Caramel, old sweet Dick. Thanks,
• 2:20:34
  Speaker 1: I will Anthony waiter. Two double dacaris and teacups, and
• 2:20:40
  Speaker 1: four more to follow. Dick sounds to me Anthony, pour
• 2:20:45
  Speaker 1: it down, beardless boy, How many can you hold? Dick
• 2:20:50
  Speaker 1: don't know, never had enough, Anthony Waiter two dozen, quadruple
• 2:20:56
  Speaker 1: Da carries in bathtubs. Who's the luscious deva to cross
• 2:21:00
  Speaker 1: the room? Dick, my cousin, Gloria Goodle, the speed girl
• 2:21:05
  Speaker 1: from Kansas City? Anthony, No, Dick, Yes, these short lines
• 2:21:12
  Speaker 1: are life savers, aren't they, Anthony? Indeed, also, this dialogue
• 2:21:18
  Speaker 1: stuff so snappy? What were we talking about, Dick, Gloria
• 2:21:24
  Speaker 1: Goodle Anthony? Oh, yes, Dick the speed girl from Kansas City, Anthony,
• 2:21:31
  Speaker 1: aren't we nearly at the bottom of the page, Dick, Yes, turnover, Anthony,
• 2:21:37
  Speaker 1: your cousin, Dick, want to meet her? Anthony, Gloria Who
• 2:21:44
  Speaker 1: Dick Goodle? Anthony? Funny name, Dick, funny girl, Anthony. What's
• 2:21:51
  Speaker 1: her line? Dick legs Anthony. Who's Dick her own? Anthony?
• 2:22:00
  Speaker 1: My God, lead me to her, Dick. Come on, Anthony,
• 2:22:06
  Speaker 1: wait a minute, I've got something on my mind. Dick,
• 2:22:11
  Speaker 1: get it off before you meet Gloria. Anthony. Suppose I
• 2:22:15
  Speaker 1: were an Athenian, too proud to be enigmatic, too supple
• 2:22:18
  Speaker 1: to eventuate, too incongruous to ratify, too courageous to adorn
• 2:22:23
  Speaker 1: dick cut It suppose you are an author, too young
• 2:22:27
  Speaker 1: to be wise, too self sufficient to learn, too impatient
• 2:22:30
  Speaker 1: to wait, too successful to stop. That's the kind of
• 2:22:33
  Speaker 1: bunk you'd write. Glorious, Gloria, she was dazzling a light.
• 2:22:38
  Speaker 1: It was agony to comprehend her beauty in a glance,
• 2:22:41
  Speaker 1: hair full of heavenly glamor mouthful of gum drops. Where
• 2:22:45
  Speaker 1: are you from, inquired Anthony K C. M O got
• 2:22:50
  Speaker 1: any gum drops? Gum drops? My god? The clock on
• 2:22:56
  Speaker 1: the mantel struck five with a querulous, fashionable beauty. Then,
• 2:23:00
  Speaker 1: as if a brutish sensibility in him was reminded by
• 2:23:03
  Speaker 1: those thin, tinny beats that the petals were falling from
• 2:23:06
  Speaker 1: the flowered afternoon, Anthony pulled her to him and held
• 2:23:09
  Speaker 1: her helpless, without breath, with scarcely room to masticate the
• 2:23:12
  Speaker 1: gum drops in a kiss like a chloroform sponge. The
• 2:23:16
  Speaker 1: clock struck six, passion versus gum drops, Anthony, will you
• 2:23:22
  Speaker 1: marry me? Gloria? Gloria? Are you rich? Anthony? Haven't ascent?
• 2:23:28
  Speaker 1: Gloria thought you were a millionaire? Anthony absolutely Stony spent
• 2:23:34
  Speaker 1: it all on neckties and collars. Gloria, I must have
• 2:23:38
  Speaker 1: gum drops, Anthony. Impossible, Gloria, my God, how I love you,
• 2:23:46
  Speaker 1: but I must have gum drops. Anthony, My god, You've
• 2:23:51
  Speaker 1: broken my heart. Gloria, my God. Have I try a
• 2:23:57
  Speaker 1: gum drop? Anthony, Oh, my god, woman, you're heartless, Gloria.
• 2:24:04
  Speaker 1: I'm Gloria Goodle, the speed Girl. Coast to coast, Gloria, Anthony,
• 2:24:10
  Speaker 1: coast to coast, ashes to ashes, dust to dust. My
• 2:24:15
  Speaker 1: love is dead. Then a thick, impenetrable darkness descended on
• 2:24:19
  Speaker 1: his mind, though you'd hardly notice the difference. The dawning
• 2:24:23
  Speaker 1: of a brighter day. At seven thirty of the same evening,
• 2:24:26
  Speaker 1: Anthony was sitting on the floor of the front room
• 2:24:28
  Speaker 1: of his apartment with three books before him, a child
• 2:24:31
  Speaker 1: again playing with his stamp albums. When Gloria and Dick
• 2:24:35
  Speaker 1: came in, Anthony, she cried, your grandfather has died and
• 2:24:39
  Speaker 1: left you a hundred million bucks. Go away. He answered,
• 2:24:43
  Speaker 1: with petulant gentleness. I've got a five pisstake stamp of
• 2:24:47
  Speaker 1: Yugo Roumania, and there isn't any place for it in
• 2:24:49
  Speaker 1: the damned old book Hugo Rumania gasped Dick. Ain't that
• 2:24:55
  Speaker 1: the truth? The poor ginkscot m he always was a
• 2:24:59
  Speaker 1: weapon one. Never mind, said Glorious Gloria gently. I'll marry
• 2:25:05
  Speaker 1: him and take him to Arabia, where the gum comes from,
• 2:25:08
  Speaker 1: and you can get a decent drink. His trouble ain't
• 2:25:11
  Speaker 1: so much the humidity as the hoot the trials of
• 2:25:14
  Speaker 1: Triona in Locke step I, why is it? Mother, asked Olivia,
• 2:25:18
  Speaker 1: that we have never associated with the county families. Why
• 2:25:22
  Speaker 1: has the Squire never invited us to dinner? Why is
• 2:25:26
  Speaker 1: informal tea at the vicarage the summit of our social attainment?
• 2:25:30
  Speaker 1: Tell me, mother, tell me. Had missus Gale lived the
• 2:25:34
  Speaker 1: normal life of women, not only speaking but being spoken to,
• 2:25:38
  Speaker 1: she might have gone to her grave with her secret unrevealed.
• 2:25:41
  Speaker 1: But infinite sorrow had weakened her, and in this the
• 2:25:45
  Speaker 1: last poignant intimacy of her death bed, she disclosed it
• 2:25:48
  Speaker 1: to her daughter. My dear, she said, I am a
• 2:25:52
  Speaker 1: Bagshaw with the final e of that proud old Anglo
• 2:25:55
  Speaker 1: Indian family. My father was Bagshaw of the Indian Guides,
• 2:26:00
  Speaker 1: not to be confounded with Bradshaw of the Railway Guides.
• 2:26:04
  Speaker 1: Your father, my dear, was an excellent man in his way,
• 2:26:07
  Speaker 1: whom I loved as fondly as was consistent with the
• 2:26:09
  Speaker 1: difference in our positions. But they were different, Dearest Olivia,
• 2:26:15
  Speaker 1: as missus Bagshaw with the final e, I associated with generals,
• 2:26:19
  Speaker 1: colonels and sirs, and with their wives, of course, as
• 2:26:24
  Speaker 1: Missus Gale, only with tradespeople, linen drapers and haberdashers, tallow
• 2:26:29
  Speaker 1: chandlers and ironmongers, with an occasional fishmonger or drysalter by
• 2:26:33
  Speaker 1: way of variety. But why, mother, why, cried Olivia, What
• 2:26:40
  Speaker 1: did my father do to condemn us to such ignominy?
• 2:26:44
  Speaker 1: Your father, my dear, faltered the dying woman. Your father
• 2:26:47
  Speaker 1: dealt in pigs. That was the skeleton in the cupboard.
• 2:26:52
  Speaker 1: Stephen Gaylee had been a fine chap but as someone
• 2:26:55
  Speaker 1: whose modest anonymity shall be respected has so finely phrased it,
• 2:27:00
  Speaker 1: AIGs as pigs. Two after her mother's death, Olivia rented
• 2:27:04
  Speaker 1: the dear Old Place, the home of her ancestors, for
• 2:27:07
  Speaker 1: nearly twenty five years, filled with the priceless possessions purchased
• 2:27:10
  Speaker 1: from the proceeds of the preposterously profitable porcine proclivities of
• 2:27:14
  Speaker 1: her papa. But haunted by the family ghosts of Berkshire
• 2:27:17
  Speaker 1: and Chester White, she fled to London to escape her
• 2:27:21
  Speaker 1: heritage of shame. There she met Alexis Triona, the famous
• 2:27:25
  Speaker 1: author of Rushing through Russia. With his clean shaven face,
• 2:27:29
  Speaker 1: broad forehead, gray eyes, humorous mouth, he looked the hero
• 2:27:34
  Speaker 1: that he wasn't. He had faked his book from a
• 2:27:37
  Speaker 1: stolen diary, which he always carried about with him, so
• 2:27:39
  Speaker 1: that at the proper moment he might be found out.
• 2:27:43
  Speaker 1: He was a chauffeur, the son of a laborer. Therefore
• 2:27:46
  Speaker 1: his diction was faultless. Diction is the word he employed
• 2:27:51
  Speaker 1: it in ordinary conversation, unsparingly, diction and contradiction. For he
• 2:27:56
  Speaker 1: was a wonderful liar, lacking all the advantages of education,
• 2:28:01
  Speaker 1: he had nevertheless achieved a mendacity of majestic grandeur and
• 2:28:05
  Speaker 1: ravishing art free. It was not until after their marriage
• 2:28:09
  Speaker 1: that Olivia discovered Triona's essential greatness and his essential and
• 2:28:13
  Speaker 1: fatal defect. He had taken two drinks of whiskey and
• 2:28:16
  Speaker 1: lay in a drunken slumber. Olivia found on the floor
• 2:28:20
  Speaker 1: beside him the original notes of the stolen story preserved
• 2:28:23
  Speaker 1: for this Daynima. For the first time she knew him
• 2:28:27
  Speaker 1: for what he was. No mere recorder of his own
• 2:28:29
  Speaker 1: experiences and observations, no mere notebook and camera author, but
• 2:28:34
  Speaker 1: an imaginative artist of the first rank. She was almost
• 2:28:38
  Speaker 1: stunned by the greatness of her discovery, the realization that he,
• 2:28:41
  Speaker 1: her husband, was worthy to be placed on a pedestal
• 2:28:44
  Speaker 1: beside the greatest writers of fictitious travels, Homer, Dante, Milton, Munchausen,
• 2:28:49
  Speaker 1: doctor Cook. Then she made the second, the fatal discovery
• 2:28:54
  Speaker 1: that his real name was John Briggs. For the ugly
• 2:28:58
  Speaker 1: monosyllables struck her like a blow between the eyes. Alexis Triona,
• 2:29:03
  Speaker 1: John Briggs Briggs. How had she labored, erecting her scaling
• 2:29:09
  Speaker 1: ladders against the wall of exclusion to enter the fortified
• 2:29:12
  Speaker 1: city of the upper classes, the county families? With what
• 2:29:16
  Speaker 1: daring had she climbed the heights bearing the banner with
• 2:29:19
  Speaker 1: a strange device, Triona, And now flat on her back
• 2:29:24
  Speaker 1: outside the pail, she lay her cartes de viziite, scattered
• 2:29:27
  Speaker 1: confusedly on the ground, each inscribed Missus John Briggs. The
• 2:29:33
  Speaker 1: sound of the word its assonance its consonants, Its dissonance
• 2:29:37
  Speaker 1: rang in her ears. What had she fled from? The
• 2:29:41
  Speaker 1: supreme horror crashed in upon her consciousness. Briggs pigs now
• 2:29:48
  Speaker 1: forever inescapable her tragic heritage. No one would ever forget it,
• 2:29:53
  Speaker 1: No one would ever try to forget it. Missus John
• 2:29:56
  Speaker 1: Briggs's father sold pigs. She could hear the war cry
• 2:30:00
  Speaker 1: of the aristocracy, Briggs, Briggs, pigs, pigs, pigs, the drumbeat
• 2:30:07
  Speaker 1: of her conquering enemies. Oh, pigs as pigs, and Briggs
• 2:30:11
  Speaker 1: as Briggs, and never the twain will meet the chant
• 2:30:14
  Speaker 1: of embattled dowagers. One little pig went to market, so
• 2:30:18
  Speaker 1: two little Briggs stay home. The warning, the command of
• 2:30:21
  Speaker 1: the elect the desired. It was impossible, it was unthinkable,
• 2:30:28
  Speaker 1: It was unendurable. All night she sat and kept a
• 2:30:32
  Speaker 1: ghastly vigil to confront him in his first awakening with
• 2:30:35
  Speaker 1: proofs of his britishness. The Alexis took a ticket for Poland,
• 2:30:39
  Speaker 1: fleeing the fury of a woman Briggs. But at Victoria
• 2:30:43
  Speaker 1: Station his talent for invention revived. He would pretend to
• 2:30:47
  Speaker 1: be a traffic policeman. Up went his arms, semaphoring the
• 2:30:52
  Speaker 1: traffic a cold, incredulous motor. Laurie refused to believe him.
• 2:30:57
  Speaker 1: He awoke in a hospital. Six Olivia returned to her
• 2:31:01
  Speaker 1: old home. Blaize Oliphant, her tenant there, welcomed her properly,
• 2:31:06
  Speaker 1: chaperoned by his sister, gave her a home. He was
• 2:31:10
  Speaker 1: a one armed man with a long, long nose. He
• 2:31:13
  Speaker 1: had loved Olivia long. He longed for Olivia's love. But
• 2:31:18
  Speaker 1: he was a model of honorable circumspection. And for some
• 2:31:21
  Speaker 1: time nothing happened to disturb the platonic calm of their relations.
• 2:31:26
  Speaker 1: Then the passion of Blaize Olephant suddenly flamed forth. One
• 2:31:30
  Speaker 1: is careful in the choice of a verb to describe
• 2:31:32
  Speaker 1: the conflagration. He flung his arms about her and kissed
• 2:31:36
  Speaker 1: her passionately. She half surrendered. She tried to respond to
• 2:31:41
  Speaker 1: his kiss, but couldn't. His long, long nose intervened. How
• 2:31:47
  Speaker 1: he managed to kiss her she never knew, but there
• 2:31:51
  Speaker 1: it was, his long, long nose. Impossible to love a
• 2:31:56
  Speaker 1: man like that. Taper fingers, yes, Taper knows no Oliphant
• 2:32:03
  Speaker 1: Elephant could he be? But whether he was or not,
• 2:32:07
  Speaker 1: she could not kiss him try as she might. The
• 2:32:11
  Speaker 1: obstacle was insurmountable, inevitable, so she gave it up and
• 2:32:15
  Speaker 1: decided to be true to Alexis. Seven. Myra Stebbings, Olivia's maid, was,
• 2:32:21
  Speaker 1: as her name implies, long, lean, angular, and withered, had
• 2:32:25
  Speaker 1: been so from the beginning of time she had been married.
• 2:32:29
  Speaker 1: But before the honeymoon was over, she found her husband
• 2:32:32
  Speaker 1: wasn't in his right mind. His mother exonerated Myra, saying,
• 2:32:37
  Speaker 1: tain't your fault. I knowed he was crazy when he
• 2:32:40
  Speaker 1: said he were goin to marry you. One day a
• 2:32:43
  Speaker 1: woman called at the hospital to see John Brakes. They
• 2:32:47
  Speaker 1: brought him the name miss Myra Stebbings. Oh my God,
• 2:32:52
  Speaker 1: said he and fainted. Myra had that effect upon sensitive natures. Eight.
• 2:32:58
  Speaker 1: When he had recovered from the effects of the motor
• 2:33:00
  Speaker 1: Laurie's skepticism and Myra's visit, he got a job as chauffeur. Therefore,
• 2:33:06
  Speaker 1: he met his wife walking along the road. So he
• 2:33:09
  Speaker 1: ran right off a precipice. It was the only thing
• 2:33:13
  Speaker 1: to do to keep up the interest. But he could
• 2:33:16
  Speaker 1: not escape her. She came down the precipice after him.
• 2:33:21
  Speaker 1: What are you doing in that absurd livery chauffeuring He
• 2:33:25
  Speaker 1: told her the simple truth. The shock was too great.
• 2:33:30
  Speaker 1: She left him go to blazes. He called after her, Blazes,
• 2:33:36
  Speaker 1: it's not she answered, it's my own home. I only
• 2:33:41
  Speaker 1: rented it to him nine But she thought it all over.
• 2:33:45
  Speaker 1: Later she was missus Alexis Triona, spoken to, invited to
• 2:33:49
  Speaker 1: many of the homes of the gentry. Here was John Briggs,
• 2:33:53
  Speaker 1: her husband, a chauffeur likely to be arrested at any
• 2:33:56
  Speaker 1: time for trespassing on private precipices. Then the truth might
• 2:34:01
  Speaker 1: come out. What would the county family say to that
• 2:34:05
  Speaker 1: something must be done? She went out into the sweet
• 2:34:09
  Speaker 1: scented June night to the highly perfumed garage where he slept.
• 2:34:13
  Speaker 1: Ex Alexis, she cried, name of John Briggs. He answered candidly.
• 2:34:20
  Speaker 1: Never again, she said, Alexis Triona. When you try on
• 2:34:24
  Speaker 1: a new name and its suits wear it. She was
• 2:34:28
  Speaker 1: so bright that her brilliance would have dimmed the celestial
• 2:34:30
  Speaker 1: hierarchy or Broadway. At midnight, she clutched him tight. Oh
• 2:34:36
  Speaker 1: my god, if you had only been killed, omit the
• 2:34:40
  Speaker 1: only and it goes, said he. So they talked through
• 2:34:43
  Speaker 1: the sweet scented June night into the equally deliciously odoriferous
• 2:34:47
  Speaker 1: June dawn, and of course, she inadvertently let slip the
• 2:34:53
  Speaker 1: pigs magnaes lingua femini e t privallevit what to do?
• 2:34:58
  Speaker 1: Then Briggs could be buried, but the paternal pigs pursued her.
• 2:35:04
  Speaker 1: Alexis rose to the occasion. Come let us go, said he.
• 2:35:08
  Speaker 1: Let us leave this snobridden island populated by porcophogues. Let
• 2:35:13
  Speaker 1: us go where pigs mean ancestry, honors, family portraits, high society,
• 2:35:18
  Speaker 1: and money in the bank. Where, oh, where is that
• 2:35:22
  Speaker 1: delectable place? She cried, Chicago, he said, simply, captain bloodless.
• 2:35:28
  Speaker 1: An episode far from Sabatini, Chapter I exel. This swiftly
• 2:35:32
  Speaker 1: executed maneuver laid the saucy Arabella board and board the
• 2:35:35
  Speaker 1: great Spanish galleon. A dozen grapnels, fell and tore and
• 2:35:39
  Speaker 1: shivered the timbers of the huge San Salvador contrabonos mores.
• 2:35:44
  Speaker 1: A wild, yelling swarm of borders swept over the rail,
• 2:35:48
  Speaker 1: thirty men against six hundred on the quarter deck, Dondego
• 2:35:52
  Speaker 1: de Matador. Why Mantilla, Lord Admiral of Castile, Why Sapolio
• 2:35:56
  Speaker 1: and Grandee of Spain, livid of face, short of breath,
• 2:36:00
  Speaker 1: dumb with despair. Frantically raged, as all Spaniards do, Speechless,
• 2:36:05
  Speaker 1: he shouted conflicting, contradictory commands to his craven crew. The Spaniards,
• 2:36:11
  Speaker 1: though outnumbering the attacking party twenty to one, were demoralized
• 2:36:14
  Speaker 1: by the knowledge that these were Englishmen, entitled to win
• 2:36:18
  Speaker 1: by all the rules of the riding game. Wolverstone, a
• 2:36:21
  Speaker 1: one eyed giant with a most kindly disposition, led the buccaneers.
• 2:36:26
  Speaker 1: He was ably seconded by Hagthorpe, a soberly dressed gentleman
• 2:36:30
  Speaker 1: with a clear cut, attractive countenance, and by a golden haired,
• 2:36:34
  Speaker 1: sunny faced Somersetshire lad Jeremy Pitt Up and down the
• 2:36:38
  Speaker 1: waist from the keelson to the plimsaw Mark raged, these three,
• 2:36:42
  Speaker 1: treating the Spaniards very rough, though no blood was shed
• 2:36:45
  Speaker 1: by either party. Above them, on the quarter deck, upon
• 2:36:49
  Speaker 1: which none of these rough common sailors thought of intruding,
• 2:36:52
  Speaker 1: stood a straight up and down slip of a girl
• 2:36:54
  Speaker 1: clad in shivering gray silk. Her oval face, upon which
• 2:36:59
  Speaker 1: the tropic sun had made no impression, so permanent was
• 2:37:02
  Speaker 1: her complexion, was shaded by the broad brim of a
• 2:37:05
  Speaker 1: gray hat garnished with a scarlet ostrich plum. Her clear
• 2:37:09
  Speaker 1: hazel eyes sparkled with onui as she witnessed the furious
• 2:37:12
  Speaker 1: onslaught of the invaders upon the crowded crew. Yet for
• 2:37:16
  Speaker 1: a space, as one might say, the battle hung uncertain,
• 2:37:20
  Speaker 1: pushed the Spaniards to and fro as they might. There
• 2:37:23
  Speaker 1: were so many that the gallant little band of wild, hairy,
• 2:37:26
  Speaker 1: half naked English pirates could not keep them in order.
• 2:37:30
  Speaker 1: It seemed almost impossible that they could quell the riot
• 2:37:32
  Speaker 1: without calling out the mounted police. One moment, please, a crisp,
• 2:37:38
  Speaker 1: metallic voice speaking the purest Castilian cut across the tumult,
• 2:37:43
  Speaker 1: like a Toledo blade, beautifully damascened with golden scarabesques. At
• 2:37:47
  Speaker 1: the sound of its master's voice, the uproar ceased as
• 2:37:50
  Speaker 1: suddenly and as completely as it had begun. Arabella, For
• 2:37:55
  Speaker 1: the young lady on the quarter deck was indeed our heroine,
• 2:37:58
  Speaker 1: gazing with childish wonder and hazel eyes, saw coming toward her,
• 2:38:02
  Speaker 1: picking his way daintily through their ghastly shambles. A man, tall, lean, graceful,
• 2:38:07
  Speaker 1: spruce modish, et cetera. Peter, For it was none other
• 2:38:12
  Speaker 1: than he was in scrupulously attired in a singularly elegant
• 2:38:15
  Speaker 1: costume of crimson satin, trimmed as it were with gold lace.
• 2:38:20
  Speaker 1: A broad brimmed hat adorned with a scarlet feather, secured
• 2:38:23
  Speaker 1: by a brooch set with a single great quadroon which
• 2:38:26
  Speaker 1: gleamed dully like a lambent flame, was set above beautifully
• 2:38:30
  Speaker 1: marcelled and freshly oiled ringlets of deepest black, which with
• 2:38:33
  Speaker 1: a broad linen collar of finest point, framed a swarthy,
• 2:38:36
  Speaker 1: tawny sardonic keen intrepid face, and a pair of light
• 2:38:41
  Speaker 1: blue eyes like pale sapphires, set in copper. Around his
• 2:38:46
  Speaker 1: neck like a stole, which it probably was, he wore
• 2:38:49
  Speaker 1: a madigraal of scarlet silk, from each end of which
• 2:38:52
  Speaker 1: hung a silver mounted pistol. A gold hilted sword dangled
• 2:38:56
  Speaker 1: at his side from a gold embroidered garibaldi. In his
• 2:39:00
  Speaker 1: left hand, he carried daintily a tall ebony cane. His
• 2:39:03
  Speaker 1: stockings were of silk. He wore fine spinach leather shoes
• 2:39:08
  Speaker 1: on his feet, His suspenders were delicately hand embroidered, and
• 2:39:12
  Speaker 1: his undies, though invisible, were doubtless of equal elegance. He
• 2:39:17
  Speaker 1: was a very nifty dresser, moving with easy nonchalance. He
• 2:39:21
  Speaker 1: came on until he fronted Don Daego. The light blue
• 2:39:25
  Speaker 1: eyes played over the speechless Spaniard like points of steel.
• 2:39:29
  Speaker 1: The level black eyebrows went up. A faint smile curled
• 2:39:33
  Speaker 1: the lips of the long mouth, and with a crisp, authoritative,
• 2:39:37
  Speaker 1: faintly disdainful manner blended of suavity, impressiveness and mockery, not
• 2:39:42
  Speaker 1: to mention anso science and savore fair let alone, sevre
• 2:39:46
  Speaker 1: vive and sang froid. He spoke in fluent Castilian, whereof
• 2:39:50
  Speaker 1: he was master, and with grave courtesy. Admiral darlint and
• 2:39:55
  Speaker 1: is it all day, your dirthy gang, oh cutthroat's Spaniards
• 2:39:58
  Speaker 1: will be cap'ned up this riot bedad. We have met again,
• 2:40:02
  Speaker 1: Don Dago, and without offense, I may remark how small
• 2:40:06
  Speaker 1: the world is meseems that no one other than yourself
• 2:40:10
  Speaker 1: and your brother Don Miggel sails the Spanish main so
• 2:40:14
  Speaker 1: called for never forsooth do I board a ship without
• 2:40:17
  Speaker 1: finding either one of you in command. Be jabers miself,
• 2:40:21
  Speaker 1: you t as will be a skin ye to get
• 2:40:23
  Speaker 1: your dirthy carcass and your blaggered crew off me ship
• 2:40:26
  Speaker 1: before somebody gets hurted. The level black eyebrows, having come
• 2:40:31
  Speaker 1: down again in the same place whence they had went up,
• 2:40:33
  Speaker 1: came together above the vivid blue eyes, speechless, livid with rage,
• 2:40:39
  Speaker 1: his mouth distorted all kind of crooked with anger. The
• 2:40:41
  Speaker 1: haughty Hidalgo gazed calmly upon the intruder. Off your ship,
• 2:40:46
  Speaker 1: He gasped inarticulately, again in purest Castilian. The elegantly dressed
• 2:40:51
  Speaker 1: man spoke, sure, Mike, is you t ye don't know
• 2:40:56
  Speaker 1: every ships my ship when me gangs with me? Is
• 2:40:59
  Speaker 1: it possible that you are fatuously harboring the delusion that,
• 2:41:02
  Speaker 1: with only thirty men against six hundred, I would be
• 2:41:05
  Speaker 1: at a loss for a ready expedient wherewith to bring
• 2:41:07
  Speaker 1: to fruition my hopes of possessing this noble vessel. Ah, Admiral,
• 2:41:12
  Speaker 1: you have forgotten your horse quadruped and Putram's suna to
• 2:41:15
  Speaker 1: quattungula campum. Those ancient Greeks were very wise, were they not?
• 2:41:21
  Speaker 1: Look there, ye, dirty scot, ye miserable blagguard, look furninstye.
• 2:41:27
  Speaker 1: He waved one hand with elegant languor toward his gallant crew,
• 2:41:30
  Speaker 1: which meantime had gathered in a compact group in the
• 2:41:33
  Speaker 1: waist just abaft the rudder. At the signal, they drew
• 2:41:36
  Speaker 1: aside and disclosed their secret to the astonished eyes of
• 2:41:39
  Speaker 1: the affrighted admiral and his cowardly minions. Agreeably to a
• 2:41:44
  Speaker 1: plan concerted beforehand, these hardy, hairy buccaneers had availed themselves
• 2:41:48
  Speaker 1: of the diversion caused by the entrance of their leader,
• 2:41:51
  Speaker 1: to collect all the ship's ordinance, its bowchasers, broadsides and
• 2:41:55
  Speaker 1: stern chasers, and arranged them in a line across the
• 2:41:58
  Speaker 1: deck to their frowning muzzles, and trained full upon the
• 2:42:02
  Speaker 1: dense mass of Spaniards. Therein an appalling row behind each
• 2:42:07
  Speaker 1: gun a gallant English pirate with lighted penstock in hand,
• 2:42:10
  Speaker 1: were ranged nine sackbuts, seven coverts for Spontans, and two
• 2:42:15
  Speaker 1: great cuspidors. The glittering dark eyes of Don Daego fell,
• 2:42:19
  Speaker 1: as did all the rest of him, upon the deck,
• 2:42:23
  Speaker 1: with a fearful groan. He expired. The victor turned to
• 2:42:26
  Speaker 1: the mere slip of a girl and spoke in purest
• 2:42:29
  Speaker 1: palm olive whereof he was master. Be not alarmed, Miss Bishop.
• 2:42:34
  Speaker 1: My intentions are strictly honorable. Object matrimony not a hair
• 2:42:40
  Speaker 1: of these men shall touch your little finger. Her clear
• 2:42:44
  Speaker 1: hazel eyes regarded him wistfully and contemptuously, and in a steady,
• 2:42:47
  Speaker 1: level voice, she stated, thief and pirate, thief and pirate.
• 2:42:53
  Speaker 1: The cruel phrase filled his brain, re echoing and reverberating
• 2:42:56
  Speaker 1: in its vast empty spaces. Thief and not those, my God,
• 2:43:03
  Speaker 1: not those pirate. I may be, madam, he replied, stiffly,
• 2:43:08
  Speaker 1: with admirable candor, But not thief. For know you that
• 2:43:13
  Speaker 1: not have I taken from any man save in the
• 2:43:15
  Speaker 1: regular course of piracy? And more I have to say,
• 2:43:19
  Speaker 1: have you observed this fight? Saw you out of bloodshed?
• 2:43:24
  Speaker 1: Did any one of these Spanish dogs receive more severe
• 2:43:27
  Speaker 1: punishment than a rough push or a sharp slap? May have? No, Madam,
• 2:43:32
  Speaker 1: I embarked upon this career on high moral grounds, and
• 2:43:34
  Speaker 1: have conducted my piracy along strictly y m C lines
• 2:43:39
  Speaker 1: and in the most sanitary manner. You see before you,
• 2:43:42
  Speaker 1: the only original moral pirate. No drop of blood stains
• 2:43:46
  Speaker 1: my name in all the Spanish main I am known
• 2:43:50
  Speaker 1: and feared as Captain Bloodless. She came slowly to him
• 2:43:54
  Speaker 1: and held out her hand. I'm I'm glad, she said,
• 2:43:59
  Speaker 1: and strove to or was it not to smile? Who
• 2:44:03
  Speaker 1: can tell? Won't you? Won't you say good bye? Goodbye? Sure?
• 2:44:09
  Speaker 1: And why should I when it's good girl? I'd rather
• 2:44:11
  Speaker 1: be sayin Arah, ye love me, don't ye? Ye'll marry me,
• 2:44:16
  Speaker 1: won't ye? She sank into his arms. There never never
• 2:44:21
  Speaker 1: was a pirate like you, Peter, was all she said.
• 2:44:25
  Speaker 1: Some freedom with a great price two dollars obtained by
• 2:44:30
  Speaker 1: this freedom. Chapter one. Rosalie's first impression was that her
• 2:44:34
  Speaker 1: father owned the world. Extraordinary Father, wonderful Father, wonderful, wonderful Father.
• 2:44:43
  Speaker 1: There he is bounding across a field before a bull,
• 2:44:47
  Speaker 1: wonderful bull. There is Father. There is the bull, two theirs,
• 2:44:54
  Speaker 1: one after the other, the bull thereafter Father. There, wonderful theirs,
• 2:45:00
  Speaker 1: entrancing theirs. Did her mother ever bound before a bull? Never?
• 2:45:07
  Speaker 1: Her father was the only bounder in the family except
• 2:45:10
  Speaker 1: her two brothers. All men were bounders, wonderful, mysterious, entrancing men, wonderful,
• 2:45:18
  Speaker 1: wonderful men. Mother, how different, taught all the children until
• 2:45:24
  Speaker 1: each child was eight at her knee, the child's bible
• 2:45:28
  Speaker 1: expurgated hymns I need THEE every hour, Various methods of
• 2:45:33
  Speaker 1: knee teaching for child's Bible on the knee, her arm
• 2:45:37
  Speaker 1: around you for hymns at the knee, your hands behind
• 2:45:41
  Speaker 1: you for deportment across the knee, her hand appraised. Chapter two,
• 2:45:48
  Speaker 1: school Headmistress, missus impact ominous name, second in command, Miss
• 2:45:55
  Speaker 1: Ouch natural sequence, then Miss Keggs, also eponymous. As we
• 2:46:00
  Speaker 1: shall see, so she grew up twelve thirteen, fourteen, fifteen, sixteen,
• 2:46:07
  Speaker 1: seventeen years old in just that order. No. Twelve fourteen
• 2:46:13
  Speaker 1: thirteen fifteen seventeen sixteen irregularity, a precise arithmetical sequence forecast
• 2:46:21
  Speaker 1: of mathematical abilities, almost unfeminine. She is eight years older
• 2:46:26
  Speaker 1: than when she was nine. Eight added to nine makes
• 2:46:30
  Speaker 1: ninety eight. No. Seventeen, surely seventeen. There can be no
• 2:46:36
  Speaker 1: doubt about it, especially in the case of a young
• 2:46:39
  Speaker 1: girl like Rosalie. Absurd to doubt it. Seventeen. Be sure
• 2:46:45
  Speaker 1: of that. Chapter three. She's left school. She's looking for
• 2:46:50
  Speaker 1: a job. She's got a job, Simcock's boss. She's still
• 2:46:55
  Speaker 1: got the job. She hasn't lost it yet Simcock Simcox
• 2:47:02
  Speaker 1: is buried. She's got another steadist boss. She's met a man,
• 2:47:09
  Speaker 1: she's kissed the man. She's married the man she has
• 2:47:13
  Speaker 1: one child, she has two children, she has three children.
• 2:47:19
  Speaker 1: She has no more children. She's lost them all careless, careless,
• 2:47:27
  Speaker 1: What jumps, what leaps? What bounds? How annoying? She's busted
• 2:47:35
  Speaker 1: right through the book. One clutches, tries to stop her, can't.
• 2:47:42
  Speaker 1: It's no use. She's a deluge. She's a maelstrom. She's
• 2:47:48
  Speaker 1: an earthquake, she's an avalanche. She's several other things, including
• 2:47:54
  Speaker 1: a boiling pot. What a life? What a life? God goh.
• 2:48:01
  Speaker 1: Chapter four to one starts again. Sincox funny little man,
• 2:48:06
  Speaker 1: walks in jerks, talks in jerks like one style, louse
• 2:48:10
  Speaker 1: style sail home. There you are, simcoxical, one writes simcociously,
• 2:48:19
  Speaker 1: Simcox then or Simcox now. The phrases are interchangeable. Man
• 2:48:24
  Speaker 1: of letters, very well posted, one may say, busy all
• 2:48:28
  Speaker 1: day writing letters to himself, skipping out to put them
• 2:48:31
  Speaker 1: in the pillar box, skipping home to receive them from
• 2:48:33
  Speaker 1: the postman. Whimsical idea, Oh, very one quite chuckles at
• 2:48:40
  Speaker 1: having conceived it. Then Simcox dies cacoethi scribendi complicated with
• 2:48:46
  Speaker 1: writer's cramp. Chapter five simcocks gone Steedgus arrives, Come with us,
• 2:48:54
  Speaker 1: No coy, Rosalie bluffs head, clerk, manager, partner, sole owner,
• 2:49:01
  Speaker 1: Chairman of Bank of England, Chancellor of Exchequer. Anything only
• 2:49:06
  Speaker 1: come with us very well, then, manager to start with
• 2:49:11
  Speaker 1: her life. Now her stage, a chair, a desk, mahogany, hue, inkwell, penholders, paper, typewriter, waste, basket, paste, pot, scissors,
• 2:49:30
  Speaker 1: everything and more besides, including glass partitions. Think of that
• 2:49:36
  Speaker 1: Lombard Street, Trafalgar Square, Pall Mall, Piccadilly, Bond Street, Regent Street,
• 2:49:46
  Speaker 1: Hyde Park, Kensington Gardens and points west and north. That's
• 2:49:52
  Speaker 1: her stage. Can you beat it? The war comes, It
• 2:49:57
  Speaker 1: had her permission, It goes on. She led it, it stops,
• 2:50:04
  Speaker 1: She was tired of it. And yet one must write
• 2:50:08
  Speaker 1: one's story in one's own way, in spite of one's
• 2:50:11
  Speaker 1: habit of prematurely spilling one's beams. One must tell it
• 2:50:15
  Speaker 1: all over in detail. But not here, not here, thank god,
• 2:50:20
  Speaker 1: not here. Chapter six Miss Kegs, again mysteriously unaccountably called Kego.
• 2:50:27
  Speaker 1: Why we shall see Rosalie met her Kego smiling fixedly,
• 2:50:35
  Speaker 1: had evidently been smiling for some time in a drab street,
• 2:50:39
  Speaker 1: sad drab forlorn drab drabs like sad, drab ghosts dreably
• 2:50:44
  Speaker 1: flickered in and out iinerant drabs in drab seermens, all drab,
• 2:50:49
  Speaker 1: except Kego, who was brilliantly lit up. Chapter seven, Harry Acleave.
• 2:50:54
  Speaker 1: Now she knew him slightly. She despised him, tame cat.
• 2:51:02
  Speaker 1: She hated him, beast. But he smelt nice, Yes he did,
• 2:51:09
  Speaker 1: of peat and soap and tobacco and whiskey and tweed,
• 2:51:12
  Speaker 1: always so of tweed, even when an evening dress odd.
• 2:51:18
  Speaker 1: She met him in her uncle's house, poor calf. How
• 2:51:22
  Speaker 1: she despised him, sick fool. She had to pass him, hateful.
• 2:51:29
  Speaker 1: She trembled her knees shook. She hated him so then
• 2:51:35
  Speaker 1: that smell pete, soap, tobacco, whisky and tweed. He in
• 2:51:41
  Speaker 1: evening dress. She caught her breath. He caught her in
• 2:51:46
  Speaker 1: his arms, Her face upturned. The things too poignant for
• 2:51:50
  Speaker 1: the words one has, really, but one does one's best
• 2:51:56
  Speaker 1: start over. Then she was caught in his arms, tear
• 2:52:00
  Speaker 1: enfolding her around and around and around. He wrapped those long, long,
• 2:52:04
  Speaker 1: strong arms. Few one gets so excited writing it. She
• 2:52:09
  Speaker 1: was incredibly swooning through incredible spaces, in incredible seas through
• 2:52:14
  Speaker 1: incredible blackness, in incredible tweedy smells. Then they went into dinner.
• 2:52:19
  Speaker 1: Chapter eight. She loved him so perfect. He was simply perfect,
• 2:52:26
  Speaker 1: perfectly simple in every way, a paragon. He never even
• 2:52:32
  Speaker 1: swore hanging a picture. He caught his thumb a proper
• 2:52:36
  Speaker 1: crack with a hammer. That is to say, he hid it.
• 2:52:40
  Speaker 1: Mice and mumps, cried Harry. She loved him so oh rare,
• 2:52:46
  Speaker 1: saying it epitomized Harry to her, his only swear word.
• 2:52:51
  Speaker 1: So perfect. He was mice and mumps. Never anything stronger,
• 2:52:58
  Speaker 1: never rats and rickets, never snakes and scarlet fever, never
• 2:53:04
  Speaker 1: terrapins and tuberculosis. No, only mice and mumps. She loved
• 2:53:11
  Speaker 1: him so oh rapturous affinity. Chapter nine. So they were married.
• 2:53:18
  Speaker 1: There were children. She not cognizant of nature's dower to
• 2:53:22
  Speaker 1: her sex, was surprised. No one had ever told her.
• 2:53:27
  Speaker 1: Sincox had never mentioned it, Stugas said nothing about it.
• 2:53:32
  Speaker 1: How was she to know? One cannot know everything? And
• 2:53:36
  Speaker 1: she was so busy at the office. Three children, happy Huggo,
• 2:53:40
  Speaker 1: happy Doda, happy Benji, happy Rosalie. Everybody happy except Harry.
• 2:53:47
  Speaker 1: He gloomed, sometimes glowered, sometimes brooded. Now spoke. Did you
• 2:53:53
  Speaker 1: ever notice anything queer about the children? Ha? What now
• 2:53:59
  Speaker 1: sets the that quarter? Her defense is bristle. What do
• 2:54:04
  Speaker 1: you mean? Have you ever thought that they are not
• 2:54:07
  Speaker 1: quite like other children? Oh? This was dangerous? Where would
• 2:54:12
  Speaker 1: this lead? Oh? Dangerous? Particular eye, Harry, particular eyes? Have
• 2:54:19
  Speaker 1: you ever noticed that Huggo is cross eyed? Or that
• 2:54:22
  Speaker 1: Doda has two left feet? And I think I think
• 2:54:26
  Speaker 1: that Benji's face is on upside down? Stand by, stand by,
• 2:54:33
  Speaker 1: she has the drift of this. Oh, let that go.
• 2:54:38
  Speaker 1: I have a reply to that? A mirage on her face?
• 2:54:42
  Speaker 1: What reply? I am a woman unanswerable. He put his
• 2:54:48
  Speaker 1: arm around her. It's over, it's over, Let's forget it, Rosalie.
• 2:54:55
  Speaker 1: Chapter ten. I don't believe the whales swallowed Jonah Huggo's speaking.
• 2:55:01
  Speaker 1: She sat upright, She stared, She called out dreadfully. Her
• 2:55:07
  Speaker 1: face was all miraged up. Hugo, Well, mother, you never
• 2:55:13
  Speaker 1: taught me to believe it. She drew her hand to
• 2:55:16
  Speaker 1: her heart. She was deathly sick. It was very embarrassing, Hugo.
• 2:55:23
  Speaker 1: The wail Jonah. She worked with her fingers at the
• 2:55:28
  Speaker 1: key ring, removing her office key. I'm coming home, Harry
• 2:55:33
  Speaker 1: coming home. Puzzled, Harry coming home. Why my, dear, my dear,
• 2:55:41
  Speaker 1: steady on, you're home already, mice and mumps? Why you
• 2:55:47
  Speaker 1: came home two hours ago? Why you bewildered Harry. They
• 2:55:53
  Speaker 1: carried her up to bed feet first. She had an
• 2:55:57
  Speaker 1: almost fatal mirage Chapter e le. So she gave up
• 2:56:01
  Speaker 1: her job, spent all her time with her children, read
• 2:56:05
  Speaker 1: them the dear old things, the kind that mother used
• 2:56:08
  Speaker 1: to teach, line upon line step by step mother goose
• 2:56:12
  Speaker 1: the Rowlo books. Mice and mumps, cried Harry, adding mice
• 2:56:17
  Speaker 1: and mumps. He was so happy, But the children dull,
• 2:56:23
  Speaker 1: They cried, deadly, dull old stuff. Mid Victorian absolutely o,
• 2:56:30
  Speaker 1: be so laite. Cut it out, mother dear, dispense with it.
• 2:56:36
  Speaker 1: She gave it up, went back to the office. After all,
• 2:56:41
  Speaker 1: I am a woman, She spoke a mouthful Chapter twelve,
• 2:56:46
  Speaker 1: A quick finish. Now the toboggan for everybody, they're off.
• 2:56:52
  Speaker 1: Harry came in his face iron hard. What is it, Harry?
• 2:56:58
  Speaker 1: It's huggo hugg hugo, hug go hugg not hugo, yes, hugo. Well,
• 2:57:10
  Speaker 1: what in jail for highway robbery? She went to the bell.
• 2:57:16
  Speaker 1: Will you have your tea? Now? Tea mice ann, I
• 2:57:20
  Speaker 1: mean tea. Why didn't you teach that boy that the
• 2:57:23
  Speaker 1: whale swallowed Jonah? His voice like axe is thudding. That's
• 2:57:28
  Speaker 1: the cause of this. How could he know that highway
• 2:57:32
  Speaker 1: robbery was wrong if he didn't know the Jonah swall
• 2:57:35
  Speaker 1: the whale swallowed Jonah? Why didn't you tell him that
• 2:57:38
  Speaker 1: well known fact? She looked at him maragically as usual.
• 2:57:44
  Speaker 1: I'll tell you why I am a woman, bull's eye
• 2:57:49
  Speaker 1: the perfect answer. He put his arm around her. Come,
• 2:57:54
  Speaker 1: let's forget it. She saw Huggo in prison. Why did
• 2:57:58
  Speaker 1: you do it? Huggo? My name's Hugh. Everybody at home
• 2:58:03
  Speaker 1: called me that awful name. I couldn't stick it. I'd
• 2:58:08
  Speaker 1: rather be in jail. Strike one, Chapter thirteen. Doda Now
• 2:58:14
  Speaker 1: her turn. The less said, the better, But one must
• 2:58:18
  Speaker 1: say something. Say Dodah. Then, baby girl, tiny daughter, that'll do.
• 2:58:25
  Speaker 1: To start it. Say look there she is, she's fourteen.
• 2:58:32
  Speaker 1: Look there she is, she's sixteen. Look there she is,
• 2:58:39
  Speaker 1: she's eighteen. That'll help out a bit. Say dances untidiness,
• 2:58:47
  Speaker 1: powder on her nose, no Jonah in her head, that'll do.
• 2:58:52
  Speaker 1: To fill in, say Look there she is. She's dead.
• 2:58:58
  Speaker 1: That'll finish her. The less said the better. Strike two,
• 2:59:04
  Speaker 1: Chapter fourteen. And Benji. Look there he is Benji. Look
• 2:59:11
  Speaker 1: there's the Benji one. Not much to look at Benji,
• 2:59:16
  Speaker 1: mostly spectacles. The darling her Benji. He's at school, is Benji.
• 2:59:23
  Speaker 1: He's at his books, he gets prizes. Harry idolizes him,
• 2:59:29
  Speaker 1: weeps over him. Rosalie two, though a woman her we won.
• 2:59:35
  Speaker 1: One should have mentioned that his name was Benji. Little
• 2:59:39
  Speaker 1: Benji collides with a train. It isn't a fair match.
• 2:59:44
  Speaker 1: Benji was outclassed. The train and Benji weren't in the
• 2:59:48
  Speaker 1: same class at all. A bicycle would have sufficed. But
• 2:59:53
  Speaker 1: the result is the same. Benji dies. She had never
• 2:59:57
  Speaker 1: taught him about Jonah and not to collide with trains.
• 3:00:00
  Speaker 1: Therefore he's dead. Strike three, Strike her out. That's all
• 3:00:07
  Speaker 1: there is. There isn't any more supply of children exhausted.
• 3:00:13
  Speaker 1: Yet there was to have been more, much more, and worse.
• 3:00:17
  Speaker 1: Harry dynamiting the Albert Memorial as a protest against matrimony. Rosalie,
• 3:00:22
  Speaker 1: what who can say? But one cannot any more? Go on? Tears,
• 3:00:29
  Speaker 1: run down one's nose and dilute one's ink, one's heart,
• 3:00:33
  Speaker 1: look forward. Then they're all right now. Huggo in Canada reformed,
• 3:00:40
  Speaker 1: so he's all right now. Rosalie at home every day
• 3:00:44
  Speaker 1: all day teaches Huggo's daughter about Jonah, So she's all
• 3:00:48
  Speaker 1: right now. Harry say mice and mumps over and over
• 3:00:52
  Speaker 1: again all day long. So he's all right now. Doda
• 3:00:57
  Speaker 1: and Benji still dead, sore, all right now. Certain people
• 3:01:02
  Speaker 1: of eno importance not by Kathleen Norris Ei. The Crabtree
• 3:01:05
  Speaker 1: family is ancient and honorable. Though the beginnings of the
• 3:01:09
  Speaker 1: American branch are obscure, the family's origin is undoubted. Its
• 3:01:14
  Speaker 1: founder was the well known Adam Crabtree, a landed proprietor
• 3:01:17
  Speaker 1: whose country estate was notable for its extent and magnificence,
• 3:01:21
  Speaker 1: but especially for a certain famous tree, which bore beautiful
• 3:01:24
  Speaker 1: but bitter apples, called crabs, whence the family took its name.
• 3:01:30
  Speaker 1: He had perhaps the largest private zoological garden ever assembled,
• 3:01:33
  Speaker 1: unequal for completeness until one of his descendants, Noah Crabtree,
• 3:01:38
  Speaker 1: built up his collection. Adam Crabtree lived in Eden, Mesopotamia,
• 3:01:43
  Speaker 1: where in forty o four b c. He married his
• 3:01:46
  Speaker 1: second wife, Eve spar areb. Their third son, Seth, was
• 3:01:51
  Speaker 1: the ancestor of the American branch of the family. Though
• 3:01:55
  Speaker 1: a man of large means, Adam Crabtree's taste in dress
• 3:01:58
  Speaker 1: was simple. He commonly wore only a sort of sporn
• 3:02:02
  Speaker 1: made of fig leaves. His second wife, Eve, was more
• 3:02:06
  Speaker 1: given to dress than his first, Lilith, but was really unostentatious.
• 3:02:11
  Speaker 1: Her costume was a merece as single of the same material,
• 3:02:14
  Speaker 1: edged with scallops of geraniums. It is regrettable that her
• 3:02:18
  Speaker 1: quiet taste was not inherited by her American descendants. The
• 3:02:22
  Speaker 1: dominant family trade of restlessness was early displayed in the
• 3:02:25
  Speaker 1: departure of the Adam Crabtrees from Eden shortly after their marriage.
• 3:02:30
  Speaker 1: Longevity was also a characteristic, emphasized in the case of
• 3:02:34
  Speaker 1: Old Methuslah Crabtree. At the time of his death, he
• 3:02:37
  Speaker 1: was the oldest inhabitant of his hometown. Noah Crabtree was
• 3:02:42
  Speaker 1: an eminent shipmaster. He was the genius who put the
• 3:02:45
  Speaker 1: ark in archaeology. Successive crab Trees kept on the move
• 3:02:50
  Speaker 1: are facts at grandson of Noah, Tura, his descendant in
• 3:02:54
  Speaker 1: the seventh generation, and Abraham, son of Tura, were notable travelers.
• 3:03:00
  Speaker 1: Ibraham's great grandson was the first Reuben Crabtree, the first
• 3:03:04
  Speaker 1: to engage in the business so successfully conducted years afterward
• 3:03:07
  Speaker 1: in San Francisco, the dealing in spices was Solomon Crabtree,
• 3:03:11
  Speaker 1: an importer in a large way of business. The coming
• 3:03:15
  Speaker 1: of the family to England, whence the founder of the
• 3:03:17
  Speaker 1: American branch emigrated, is wrapped in the mists of history.
• 3:03:21
  Speaker 1: But at the round table, it seems the family was
• 3:03:24
  Speaker 1: represented by the Knight, known by the family's commonest pseudonym Borse.
• 3:03:29
  Speaker 1: Throughout this distinguished line of ancestors there were displayed the
• 3:03:32
  Speaker 1: Crabtree characteristics of longevity, frequent change of abode, large families,
• 3:03:37
  Speaker 1: and complicated kinships. These are especially observable in the earlier
• 3:03:42
  Speaker 1: Eastern line, but persist remarkably to the present day. No
• 3:03:46
  Speaker 1: Crabtree can ever confidently state his relationship to any other
• 3:03:49
  Speaker 1: without consulting the family tree, which each carries about with him.
• 3:03:54
  Speaker 1: To the Reuben Crabtree family mansion that San Rafael was
• 3:03:57
  Speaker 1: a large house with three floors and as many It
• 3:04:01
  Speaker 1: also had a cellar for walls, a roof, numerous bay windows,
• 3:04:05
  Speaker 1: a kitchen, and a sink. It was fully furnished with chairs, tables, beds, bureaus, carpets,
• 3:04:13
  Speaker 1: wall papers, stationary washstands, and daughters. It was surrounded, as
• 3:04:18
  Speaker 1: well as inhabited by wallflowers, also by syringas, fuchias, and fences.
• 3:04:24
  Speaker 1: Reuben's daughter May Brewer lived in the house and was
• 3:04:27
  Speaker 1: responsible for its upkeep, also in part for the daughters.
• 3:04:32
  Speaker 1: Missus Brewer had a high bosom and many fine costumes,
• 3:04:36
  Speaker 1: descriptions of which may be found in Godie's Ladies Book
• 3:04:39
  Speaker 1: in Harper's Bazaar of Appropriate Dates. The chief occupation of
• 3:04:43
  Speaker 1: the Brewer household was husband hunting. Just what the girls
• 3:04:47
  Speaker 1: would do with their husbands after they were caught, they
• 3:04:49
  Speaker 1: did not know, having been brought up very carefully, Tina,
• 3:04:54
  Speaker 1: said Vicki, who wore a figured lavender fulard, pleated and
• 3:04:57
  Speaker 1: flounced over a small bustle, its skirts sweet the ground,
• 3:05:01
  Speaker 1: its tight sleeve ending below the elbow and above the wrist,
• 3:05:04
  Speaker 1: the other sleeve doing the same. Do you think Vernon
• 3:05:06
  Speaker 1: Yellen will marry you, well, answered Tina, who wore a
• 3:05:10
  Speaker 1: girlish white muslin and no bustle, her broad uncorseted waist
• 3:05:14
  Speaker 1: merely indicated by a sash of satin ribbon. I've looked
• 3:05:17
  Speaker 1: at the family tree and find that he has to
• 3:05:19
  Speaker 1: marry Grace Fairchild first, but that she will die in
• 3:05:22
  Speaker 1: eighteen ninety four, and then he marries me. What a
• 3:05:25
  Speaker 1: long time to wait, said Esme, in a pleated pink
• 3:05:28
  Speaker 1: shallice gown trimmed with blue cashmere cut on the bias
• 3:05:32
  Speaker 1: hemstitched with broad bands of Gouy pure lace with flounces
• 3:05:36
  Speaker 1: of dimity and old rose brocade. Yes, said Tina, but
• 3:05:40
  Speaker 1: it's a cinch at that, compared with your chance or
• 3:05:43
  Speaker 1: Vicki's a what, my dear, asked her mother, who wore
• 3:05:48
  Speaker 1: a costume of purple cloth ornamented with festoons of flowered
• 3:05:51
  Speaker 1: satine and brochette, from which hung elegant tabs of potu sois,
• 3:05:55
  Speaker 1: garnished with payettes of crimson plush and organdye. The panier's
• 3:05:59
  Speaker 1: cut entrain and looped over the bustle with ropes of
• 3:06:01
  Speaker 1: blue sarsenet pleaded with rosemary cheneel. Do not let mamma
• 3:06:06
  Speaker 1: hear you use that knotty word again. Say I'm sorry, mamma.
• 3:06:12
  Speaker 1: Lou the fourth daughter, clad in scarlet tapestry trimmed with
• 3:06:16
  Speaker 1: jet chenyans and basks of green corduroy interrupted the conversation.
• 3:06:21
  Speaker 1: Is itch, there's some one coming up the drive, a man,
• 3:06:26
  Speaker 1: They cried in unison. I think so to your stations, girls,
• 3:06:32
  Speaker 1: said their mother. Whose turn is it to day? Vicki's, said,
• 3:06:37
  Speaker 1: Esmay reluctantly. Vicki seized the lasso, which hung ready to hand,
• 3:06:42
  Speaker 1: and clambering through the window, stretched herself prone upon the
• 3:06:46
  Speaker 1: porch roof over the front steps. Her mother, holding the
• 3:06:50
  Speaker 1: end of the rope, braced herself against the window sill
• 3:06:53
  Speaker 1: for a strong pull at the proper moment. The others
• 3:06:56
  Speaker 1: scurried down the back stairs and circled the house. Two
• 3:07:00
  Speaker 1: of them took up positions in the shrubbery bordering the drive,
• 3:07:03
  Speaker 1: Esme with a shotgun, Lou with a pitchfork, to prevent
• 3:07:06
  Speaker 1: the evasion of their prey. Tina reached the gate unseen,
• 3:07:11
  Speaker 1: closed it, locked it, and chained to it the man
• 3:07:13
  Speaker 1: eating watchdog. There was a moment of tense excitement, then
• 3:07:17
  Speaker 1: Esme's voice calling sold again, Vickie, it's only Papa. Mister
• 3:07:23
  Speaker 1: Brewer approached the house. His face was simply dressed in
• 3:07:27
  Speaker 1: a full beard alaruse garnished with side whiskers of the
• 3:07:31
  Speaker 1: same anybody married since I left this morning? He asked, hopefully.
• 3:07:36
  Speaker 1: There was no response. A look of deep melancholy overspread
• 3:07:41
  Speaker 1: his features. His shoulders sagged visibly. The wrinkles in his
• 3:07:44
  Speaker 1: bombazine coat showed plainly his desperation. Three Aunt Fanny and
• 3:07:49
  Speaker 1: Aunt Lucy came over to sam Rafael to spend the day.
• 3:07:53
  Speaker 1: They had taken the nine forty five ferry to Saucelito
• 3:07:56
  Speaker 1: and the ten thirty train. Hence there had been a
• 3:07:59
  Speaker 1: change in the skin schedule the previous week. The boat,
• 3:08:01
  Speaker 1: formerly leaving at nine forty now left at nine forty five,
• 3:08:05
  Speaker 1: and the train, whose time had been ten fifteen now
• 3:08:08
  Speaker 1: departed at ten thirty. They had, with difficulty adjusted themselves
• 3:08:12
  Speaker 1: to these innovations. All the female members of the Brewer
• 3:08:16
  Speaker 1: family and their guests were assembled in the parlor. The
• 3:08:20
  Speaker 1: Brewer girls ranged in age from twenty four to twenty
• 3:08:22
  Speaker 1: eight years. Aunt Fanny was an old maid with a
• 3:08:26
  Speaker 1: flexible nose, which, when agitated, she used to beat. By
• 3:08:31
  Speaker 1: the intervals between the blows and by their force, one
• 3:08:34
  Speaker 1: could measure the depth of her agitation. She wore a
• 3:08:37
  Speaker 1: blue fullard trimmed with Camel's hair flounced with calico and
• 3:08:41
  Speaker 1: broadcloth and ornamented with passometry and passepartout in contrasting colors.
• 3:08:47
  Speaker 1: Aunt Lucy was garbed in a crazy quilt, which she
• 3:08:49
  Speaker 1: had made out of her former husband's discarded nectees. Missus
• 3:08:53
  Speaker 1: Brewer and the girls wore the dresses described in the
• 3:08:56
  Speaker 1: previous chapter. Have you heard of Amelia lately? Asked Missus Brewer.
• 3:09:01
  Speaker 1: Who is Amelia? Asked Vicki, aged twenty eight. Vickie, dearest,
• 3:09:07
  Speaker 1: you shouldn't ask mamma such questions, chided Missus Brewer. Mamma
• 3:09:12
  Speaker 1: doesn't like it. Amelia is your third cousin, once removed,
• 3:09:16
  Speaker 1: the daughter of Aunt Caroline's first husband, who was the
• 3:09:19
  Speaker 1: son of his father, one of the brewers of Milwaukee. No,
• 3:09:23
  Speaker 1: replied Aunt Fanny, beating her nose gently. But Rebecca's mother,
• 3:09:28
  Speaker 1: who was old Hannibal Crabtree's niece by his marriage to
• 3:09:31
  Speaker 1: Belinda Johnson, the sister of Cicero Tomkins, who was divorced
• 3:09:35
  Speaker 1: from her uncle's sister. What about her, said Esmey, Nothing,
• 3:09:40
  Speaker 1: answered Fanny. How do you make that delicious fruit cake?
• 3:09:44
  Speaker 1: May ask Lucy? Two cups of flour for eggs, a
• 3:09:48
  Speaker 1: spoonful of saleratus and two cups of horseradish. Break the
• 3:09:53
  Speaker 1: eggs gently, add the gravy drop by drop, stir from
• 3:09:56
  Speaker 1: left to right, Let it simmer on the back of
• 3:09:59
  Speaker 1: the st though for two days, and fry in a
• 3:10:01
  Speaker 1: clander over a slow fire, said may Lou. Interjected, Tina,
• 3:10:07
  Speaker 1: did you know our cat has kittens? Teeny weeny, cried
• 3:10:12
  Speaker 1: her mother. Don't you know that such things should never
• 3:10:15
  Speaker 1: be alluded to in Mamma's presence. Mama is deeply grieved.
• 3:10:20
  Speaker 1: Perhaps a few days in your room on bread and
• 3:10:22
  Speaker 1: water will be needed, yes, Mama, said Tina meekly. How
• 3:10:28
  Speaker 1: about paw crabtree? Asked Missus Brewer of Fanny, any prospects
• 3:10:33
  Speaker 1: of his dying soon? I'm afraid not, said Fanny, beating
• 3:10:37
  Speaker 1: her nose taccato. He does. Hang on, so, girls, said
• 3:10:42
  Speaker 1: Missus Brewer, go out on the porch for a few minutes.
• 3:10:46
  Speaker 1: Obediently they trooped out. Is Alice, yes, said Lucy December,
• 3:10:53
  Speaker 1: and Nellie November, and Dessi October. Lola is January, said
• 3:11:02
  Speaker 1: Missus Brewer. Missus Yelland February, and missus Tory March. The
• 3:11:09
  Speaker 1: cat yesterday I hope my daughters will never be so unladylike.
• 3:11:14
  Speaker 1: Aunt Fanny beat her nose violently, expressing chagrin. Come in, girls,
• 3:11:20
  Speaker 1: called Mamma. Tell Auntie Fanny, how you make that delightful
• 3:11:24
  Speaker 1: new salad? For cups of vinegar? Began Vickie. A pound
• 3:11:29
  Speaker 1: of macaroons, nine artichokes, two peppers, and a turnip. Crumble
• 3:11:34
  Speaker 1: the eggs in a warming pan, add the glycerin, Chop
• 3:11:37
  Speaker 1: the tomatoes into small pieces, and serve in patty pans
• 3:11:40
  Speaker 1: garnished with ostrich feathers. How lovely, said Lucy. This whole thing,
• 3:11:46
  Speaker 1: whispered lou to Tina, sounds to me like two pages
• 3:11:49
  Speaker 1: out of the Ladies Home Journal. Father's footsteps were heard
• 3:11:53
  Speaker 1: in the hall. Anybody married yet, he asked, hello, Fanny
• 3:12:00
  Speaker 1: paw dead. He read the answers in their faces, groaned audibly,
• 3:12:04
  Speaker 1: and left the room, for it was a fine, bright day.
• 3:12:07
  Speaker 1: In the latter part of the last chapter, May Brewer
• 3:12:11
  Speaker 1: and Stephen, her husband, were busy in the kitchen. She
• 3:12:15
  Speaker 1: washed the dishes at the sink. He dried them well,
• 3:12:20
  Speaker 1: said she. It's about finished. Yes, he replied, Esmey's dead,
• 3:12:26
  Speaker 1: Vicki's working her head off at Napa to keep the
• 3:12:28
  Speaker 1: wolf from their door. Tina is married to a poor
• 3:12:32
  Speaker 1: preacher and has three step children beside her own brood.
• 3:12:36
  Speaker 1: Lou married that old fellow in Buenos Aires. Bertie's thoroughly
• 3:12:40
  Speaker 1: unhappy with his wife. Lucy's left Harry and he's living
• 3:12:44
  Speaker 1: on George. Nellie's husband is a drunkard. Alice's beats her.
• 3:12:50
  Speaker 1: Bob's wife's dead, the family business is bankrupt, and I've
• 3:12:55
  Speaker 1: got nothing to do but wash dishes in this mortgaged
• 3:12:57
  Speaker 1: house and live on remittances from Lou's husband. It's been
• 3:13:01
  Speaker 1: a great life. There are compensations, dear said, May, yes,
• 3:13:07
  Speaker 1: to be sure, admitted Stephen, you're paws dead. That helped some.
• 3:13:14
  Speaker 1: The Blunderer of the Wasteland by Jane Gray Eyed Buenas
• 3:13:17
  Speaker 1: Dias Senor. The girl's liquid accents exactly fitted the dark,
• 3:13:22
  Speaker 1: piquant little face whence they had emerged. The slender grace
• 3:13:26
  Speaker 1: of her slight form, the delicate arch of her instep,
• 3:13:29
  Speaker 1: the shapely grace of her dainty ankle all marked her
• 3:13:32
  Speaker 1: as the child of a Mexican labor Marguerita, the maid
• 3:13:35
  Speaker 1: of Machacho Muchu's gracious so Nora. Adam Larry's Spanish was
• 3:13:41
  Speaker 1: not that of the lower class of Mexicans, but it
• 3:13:43
  Speaker 1: was the best he had. Adam Larry's face flushed beneath
• 3:13:47
  Speaker 1: its coat of tan, and his breath came in short pants,
• 3:13:50
  Speaker 1: for he was clothed in the innocence of eighteen summers.
• 3:13:54
  Speaker 1: Though his lofty stature betokened budding manhood, Adam Larry had
• 3:13:57
  Speaker 1: never before spoken to a woman other than his mind
• 3:14:00
  Speaker 1: or an occasional sister. Then suddenly, Marguerita launched herself upon him.
• 3:14:06
  Speaker 1: Her slender, twining form enveloped him like a wind of flame,
• 3:14:10
  Speaker 1: like a lissum specter. A strong shuddering shook his heart,
• 3:14:14
  Speaker 1: his blood leaped, beat burnt in his veins. He was
• 3:14:19
  Speaker 1: gathered in her close embrace. Don't don't, he gasped, You mustn't,
• 3:14:27
  Speaker 1: Someone will see. His words were stifled by those eager,
• 3:14:30
  Speaker 1: searching lips, and she kissed him. It was over in
• 3:14:33
  Speaker 1: a single scorching, flaming moment. Exerting his enormous strength to
• 3:14:39
  Speaker 1: the utmost, he tore himself from her twining arms. Half ran,
• 3:14:43
  Speaker 1: half stumbled up the rocky path to his cabin, flung
• 3:14:46
  Speaker 1: himself upon his bed and burst into a blinding flood
• 3:14:48
  Speaker 1: of tears. Two Adam Larry's aching eyelids opened on the cold,
• 3:14:53
  Speaker 1: gray dawn of the morning after. Simultaneously, the dread realization
• 3:14:58
  Speaker 1: of his loss overwhelmed him. Devas stated him made him
• 3:15:01
  Speaker 1: feel very bad. He had been through the fires of passion,
• 3:15:05
  Speaker 1: through the flames of dishonor. He could never never be
• 3:15:08
  Speaker 1: the same pure man again as previously he had been before.
• 3:15:13
  Speaker 1: She must atone, she must marry him, make an honest
• 3:15:17
  Speaker 1: man of him. He found her in converse with his brother,
• 3:15:20
  Speaker 1: gurd Larry, tall, superbly built, handsome, bold, keen, reckless, gay
• 3:15:26
  Speaker 1: gird Larry, whose face was perfect a feature, not a
• 3:15:29
  Speaker 1: single one missing, gurd Larry, a creature of g like
• 3:15:33
  Speaker 1: beauty with a heart as false as h l Margarita
• 3:15:38
  Speaker 1: Maggie mag He faltered, Will you won't you? Ain't you
• 3:15:44
  Speaker 1: going to marry me? After what happened last night? You won't?
• 3:15:49
  Speaker 1: Will you? I mean you will? Won't you? You ain't
• 3:15:53
  Speaker 1: chucked me? Are you? I'm on? Ain't I you can't
• 3:15:57
  Speaker 1: kill me? Can you? Ah? You know what I mean?
• 3:16:02
  Speaker 1: Nashutos senor, She answered lightly, meaning he inquired, Nay, no,
• 3:16:10
  Speaker 1: not nix never not at all, nothing doing, and several
• 3:16:15
  Speaker 1: other expressions of like import said she Ha Ha commented
• 3:16:20
  Speaker 1: Gerd Larry. His mocking tones roused all the d Ville
• 3:16:25
  Speaker 1: in the breast of Adam Larry. Take care, gurd Larry,
• 3:16:29
  Speaker 1: he said, omnivorously, say not so, Adam, say not so,
• 3:16:36
  Speaker 1: taunted Gerd Larry, and at the same time seized a
• 3:16:39
  Speaker 1: huge rock of several hundredweight and hurled it at his brother.
• 3:16:42
  Speaker 1: It struck Adam Larry full in the face and dazed
• 3:16:45
  Speaker 1: him for a moment. Then a rushing gush of rage
• 3:16:48
  Speaker 1: overwhelmed him. He snatched his gun from its holster. You
• 3:16:53
  Speaker 1: have snorre your last sneer, Gerd Larry, he cried, closed
• 3:16:58
  Speaker 1: both eyes and pulled the trigger or whatever you call
• 3:17:01
  Speaker 1: that little thing that makes it shoot, turned and fled
• 3:17:03
  Speaker 1: to the desert, the registered trademark of cane upon him.
• 3:17:07
  Speaker 1: Three Adam Larry's dull eyelids opened on the grim, dim
• 3:17:11
  Speaker 1: dawn of the zane gray desert. Before him, a wide, barren, endless, bleak, lifeless, silent,
• 3:17:18
  Speaker 1: desolate plateau. Illimitable space and silence and solitude and desolation
• 3:17:22
  Speaker 1: stretched illimitably to a illimitable horizon, wild and black and
• 3:17:26
  Speaker 1: sharp colossal buttresses, chocolate mountain ranges, bare and jagged peaks
• 3:17:31
  Speaker 1: silhouetted against the hazel dawn. Here and there were sparse,
• 3:17:35
  Speaker 1: vague tufts of sagebrush, greasewood, sneeze wood, cacti, Necti, octopi, actilla, acarina,
• 3:17:43
  Speaker 1: and similar hardy perennials. The strange verbiage of the desert.
• 3:17:47
  Speaker 1: On the left, lofty Pistachio lifted its pale green peak.
• 3:17:52
  Speaker 1: On the right Eskimope in lofty Grandeur heaved its chocolate height.
• 3:17:57
  Speaker 1: For two weeks had elapsed since Adam Larry had flown
• 3:18:00
  Speaker 1: the coupe. Two weeks without food, without water had left
• 3:18:04
  Speaker 1: him both hungry and thirsty, punctured by cactus spines, his
• 3:18:08
  Speaker 1: boots had suffered several important blow outs, and now he
• 3:18:12
  Speaker 1: was traveling practically on his rims. More than fifty miles
• 3:18:16
  Speaker 1: a day he had fled over the desert floor composed
• 3:18:19
  Speaker 1: chiefly of sand, gravel, lime, cement, and other building materials.
• 3:18:23
  Speaker 1: Yet every one of the last ten nights he had
• 3:18:25
  Speaker 1: slept in the same place. Morning after morning, he had
• 3:18:29
  Speaker 1: set out. Day after day. He had followed his own
• 3:18:33
  Speaker 1: trail now a broad, well beaten track. Night after night
• 3:18:38
  Speaker 1: he had reached the same starting point. The doom of
• 3:18:41
  Speaker 1: the desert had fallen on the wanderer. He was traveling
• 3:18:44
  Speaker 1: in a circle the the blazing disk of the sun
• 3:18:48
  Speaker 1: mounted the coppery sky, the Lord of Day ascending the
• 3:18:51
  Speaker 1: throne of this his empire. The desert seemed a flame
• 3:18:55
  Speaker 1: when Adam Larry set out on his daily round. The
• 3:18:59
  Speaker 1: rocks were hot, as red hot plates of iron or steel.
• 3:19:02
  Speaker 1: The sand was very warm also, and now a low
• 3:19:06
  Speaker 1: seeping silken rustle filled the air, sometimes rising to a
• 3:19:10
  Speaker 1: soft roar, the dread simulma of the desert. It whipped
• 3:19:14
  Speaker 1: up the sand in clouds, sheets, blankets, quilts, mattresses, till
• 3:19:19
  Speaker 1: all the air was pale yellow, thick and opaque and moaning.
• 3:19:23
  Speaker 1: It was hot, with the heat of a blast furnace,
• 3:19:26
  Speaker 1: heavy with the weight of leaden fire. It burned Adam
• 3:19:30
  Speaker 1: Larry's brow, charred his cheeks, and baked his brains, seared
• 3:19:34
  Speaker 1: scorched the rest of him. His blood was boiling in
• 3:19:37
  Speaker 1: his head, his motometer burst, steam issued from his ears,
• 3:19:41
  Speaker 1: and there was no water to replenish. His radiator. Still doggedly,
• 3:19:46
  Speaker 1: Adam Larry strove forward, fiercer and hotter, blew the wind.
• 3:19:51
  Speaker 1: His hair was ignited, his celluloid collar button exploded, his
• 3:19:56
  Speaker 1: shirt was charred to tinder. His suspender but buttons melted.
• 3:20:01
  Speaker 1: His trousers fell from him, still doggedly. Adam Larry strove forward,
• 3:20:07
  Speaker 1: fiercer and hotter, blew the wind. His skin dried, shriveled,
• 3:20:12
  Speaker 1: was calcigned, blew away in dust. His flesh followed as
• 3:20:17
  Speaker 1: deep inroads were thus made in his muscular substance. Unarticulated bones,
• 3:20:22
  Speaker 1: having no means of support, were detached and fell from him.
• 3:20:26
  Speaker 1: Still doggedly, Adam Larry strove forward, But when both knee
• 3:20:31
  Speaker 1: caps dropped, and his knee joints worked with equal ease
• 3:20:33
  Speaker 1: forward or backward, even he could no more. The skeleton
• 3:20:37
  Speaker 1: of Adam Larry fell rattling to the ground. Six their dismutes,
• 3:20:42
  Speaker 1: the old Prospector found him. It was a heart breaking
• 3:20:46
  Speaker 1: job to rebuild Adam Larry, to find the missing parts,
• 3:20:50
  Speaker 1: but the pertinacity of the Old Prospector was rewarded. Adam
• 3:20:54
  Speaker 1: Larry's chassis was re assembled. A few cups of soup
• 3:20:58
  Speaker 1: were administered carefully at first, because the gas tank leaked,
• 3:21:02
  Speaker 1: and at last Adam Larry rebuilt, refinished, throughout, stood, erect
• 3:21:06
  Speaker 1: once more. This mute gave him a new outfit, including
• 3:21:10
  Speaker 1: a burrow, showed him how to pack the burrow neatly
• 3:21:13
  Speaker 1: so the drawers would close, and Adam Larry set out
• 3:21:16
  Speaker 1: again on his travels. Seven eight years Adam Larry dwelt
• 3:21:20
  Speaker 1: in the desert, growing daily, stronger, finer, purer in its
• 3:21:24
  Speaker 1: illimitable wilds, the abode of purity, silence and tarantulas, Climbing
• 3:21:30
  Speaker 1: inaccessible heights, striding over impassable plains, stalking the savage antelope,
• 3:21:35
  Speaker 1: the impatient grizzly, the querulous bobcat. He acquired the eye
• 3:21:39
  Speaker 1: of a mountain sheep, the ear of a deer, the
• 3:21:41
  Speaker 1: nose of a wolf, and many other trophies of the chase.
• 3:21:45
  Speaker 1: He loved the lure of the desert. He learned its lore.
• 3:21:49
  Speaker 1: The secrets of nature were disclosed to him. He knew
• 3:21:53
  Speaker 1: whether the antelope choose her cut with a full set
• 3:21:55
  Speaker 1: of teeth upper and lower, or as to gummet in part,
• 3:21:59
  Speaker 1: why grizzly bears always walk in single file and why
• 3:22:02
  Speaker 1: they never do, Why the bark of a coyote or
• 3:22:05
  Speaker 1: of a tree, whichever it is, is always rougher on
• 3:22:08
  Speaker 1: the north or the south side, as the case may be.
• 3:22:12
  Speaker 1: Wherein the joyous cry of the great blue condor weeping
• 3:22:15
  Speaker 1: for its children differs from the melancholy note of the
• 3:22:18
  Speaker 1: lounge lizard courting its mate. Whether the gray desert wolf
• 3:22:21
  Speaker 1: is indigenous like the horned toad, or monogamous like the rattlesnake.
• 3:22:26
  Speaker 1: Whether the jack rabbit's tail curls in the direction of
• 3:22:29
  Speaker 1: the movement of hands of a watch like the trailing arbutus,
• 3:22:32
  Speaker 1: or counterclockwise like the lesser celandine. Whether the giraffe lies
• 3:22:37
  Speaker 1: down to sleep or merely appears to do so. Whether
• 3:22:40
  Speaker 1: the mesquite bush attracts lightning, or whether it is the
• 3:22:43
  Speaker 1: lightning's own fault. Whether sound travels faster in the direction
• 3:22:46
  Speaker 1: in which it is going or in the opposite direction.
• 3:22:49
  Speaker 1: Whether the vulture finds carrion by the odor emanating from
• 3:22:52
  Speaker 1: its prey or by its own sense of smell. Whether
• 3:22:55
  Speaker 1: the bobcat can see in the dark as well or
• 3:22:57
  Speaker 1: not as well, or better or worse, or at all
• 3:23:00
  Speaker 1: all or not at all, or at night, or partially
• 3:23:02
  Speaker 1: or impartially, or which if any adam Larry at last
• 3:23:05
  Speaker 1: knew the answers to all these questions, as well as
• 3:23:07
  Speaker 1: Stuart Edward White or any boy scout in America. He
• 3:23:11
  Speaker 1: had adopted the name of Once Fell in memory of
• 3:23:14
  Speaker 1: his single lapse from virtue, his momentary liaison with Margarita,
• 3:23:18
  Speaker 1: the mate of Machacho. As Once Fell, the wanderer, he
• 3:23:22
  Speaker 1: was known and feared throughout that desert land eight Death Valley,
• 3:23:27
  Speaker 1: Surrounded by ragged, jagged peaks, floored with ashes, borex sand, soap,
• 3:23:33
  Speaker 1: Dutch cleanser, watered by arsenic springs, swept by furnace blasts.
• 3:23:37
  Speaker 1: It was indeed an unpleasant place the lid of H. L. L,
• 3:23:43
  Speaker 1: a profane prospector, had called it. Yet there in a
• 3:23:47
  Speaker 1: rude shack on the sloping mountain side, overhung by an
• 3:23:50
  Speaker 1: impending mass of loose rock from whichever and the non
• 3:23:53
  Speaker 1: gigantic fragments detached themselves to roll with a booming crash
• 3:23:56
  Speaker 1: into the valley below, missing the cabin only by inches.
• 3:24:00
  Speaker 1: Dwelt Magdalen Viriy and Eliot, her husband. She was a
• 3:24:04
  Speaker 1: woman of noble proportions, though frail at least she had been.
• 3:24:08
  Speaker 1: On one occasion she suffered from insomnia because Eliot spent
• 3:24:12
  Speaker 1: his nights in the mass of rocks above the cabin,
• 3:24:14
  Speaker 1: detaching great boulders and rolling them down with a booming
• 3:24:17
  Speaker 1: crash into the valley below, trying to frighten his wife
• 3:24:20
  Speaker 1: to death. Eliot did not love his wife, and he
• 3:24:24
  Speaker 1: was a very disagreeable man. He was perhaps a little mad,
• 3:24:28
  Speaker 1: but his wife never got that way. She had a
• 3:24:32
  Speaker 1: very sweet, forgiving nature. The great boulders always narrowly missed
• 3:24:36
  Speaker 1: the tiny cabin. They bounded over, knocking the top off
• 3:24:40
  Speaker 1: the chimney, and she had to rebuild it every morning.
• 3:24:44
  Speaker 1: But the sad eyed saint never complained. Nine thither came
• 3:24:48
  Speaker 1: once fell the wanderer magdalen viary. Why do you dwell
• 3:24:52
  Speaker 1: in this horrible place? He asked, Once fell the Wanderer,
• 3:24:57
  Speaker 1: She answered, I love the silence, the loneliness, the mystery
• 3:25:01
  Speaker 1: of the great open spaces. And besides, dear Elliot finds
• 3:25:05
  Speaker 1: his rock gulf so amusing. He is so ambitious to
• 3:25:09
  Speaker 1: make the chimney in one I can endure it only
• 3:25:12
  Speaker 1: because I am sustained by my faith in g D,
• 3:25:15
  Speaker 1: and by the hope that some night he'll break his
• 3:25:17
  Speaker 1: do O d Gast neck, or pinch his fingers or something.
• 3:25:20
  Speaker 1: Magdalen Viary, he said, why does he do it? Once
• 3:25:24
  Speaker 1: fell the Wanderer, she said, because my daughter Ruth is
• 3:25:28
  Speaker 1: not Eliot Viary's daughter. Magdalen Viriy. Who is Eliot Viriy's daughter?
• 3:25:34
  Speaker 1: Then he asked, once fell the Wanderer, I do not know,
• 3:25:39
  Speaker 1: she answered, Magdalene Viriy. My g d, he exclaimed, who
• 3:25:45
  Speaker 1: was Eliot Viary's daughter? The mystery was insoluble. It was
• 3:25:50
  Speaker 1: plain to him now that he must kill Elliot Viry
• 3:25:53
  Speaker 1: with his bare hands, like he had killed Baldy mc ugh,
• 3:25:56
  Speaker 1: breaking his arms one at a time, then his legs,
• 3:25:59
  Speaker 1: then his ribs seriate him, then his neck, and that
• 3:26:02
  Speaker 1: was about all x that knight Elliot Viery engaged as
• 3:26:06
  Speaker 1: usual in his favorite outdoor sport. Rock after rock, bolder
• 3:26:11
  Speaker 1: and yet more bold, crashed, streaked, hurtled down the mountain
• 3:26:16
  Speaker 1: singly in pairs, in column of force, in mass formation
• 3:26:20
  Speaker 1: by dozens and hundreds. They crashed and boomed as the
• 3:26:23
  Speaker 1: madman hurled them at the humble dwelling of his lawful wife.
• 3:26:27
  Speaker 1: The time had come. Adam Larry started up the slope Viary.
• 3:26:33
  Speaker 1: He roared above the thunder of the rocks. I'm going
• 3:26:35
  Speaker 1: to break your bones like I done. Baldy mc cus.
• 3:26:38
  Speaker 1: The madman heard him, for he yelled, and with one
• 3:26:42
  Speaker 1: last supreme effort, tore loose the whole mountain side down.
• 3:26:46
  Speaker 1: It came with a thunderous roar, a cataclysmic rush, and
• 3:26:50
  Speaker 1: with it came viry. It swept the cabin from its underpinning.
• 3:26:55
  Speaker 1: As the mass of rocks bearing the little shack crashed
• 3:26:57
  Speaker 1: past Adam Larry, the saintly womanlyan far out o'er the
• 3:27:01
  Speaker 1: window sill and handed him a small photograph. Once fell
• 3:27:05
  Speaker 1: the wanderer, she said, in a low, clear voice, take it.
• 3:27:09
  Speaker 1: It is my daughter, my child, not Eliot's. With the
• 3:27:14
  Speaker 1: clairvoyant truth given to a dying woman, I tell you
• 3:27:17
  Speaker 1: that you and she will meet. Go find her, and
• 3:27:21
  Speaker 1: now I do not know where we're going, but we're
• 3:27:23
  Speaker 1: certainly on our way. You'll excuse my leaving you, won't you.
• 3:27:28
  Speaker 1: Her name is Ruth au Revoir. What a pretty name,
• 3:27:33
  Speaker 1: said Adam Larry musingly. As the avalanche in mister and
• 3:27:36
  Speaker 1: missus vriy spilled over into the declivity below, lifting to
• 3:27:40
  Speaker 1: heaven a thick, crashing, rolling roar of thunder. When the
• 3:27:44
  Speaker 1: last rumble died away, silence and solitude reigned over all.
• 3:27:49
  Speaker 1: Adam Larry was alone at last eleven. He did meet
• 3:27:53
  Speaker 1: Ruth on page three hundred and ninety two. Her mother
• 3:27:56
  Speaker 1: had evidently been reading ahead. Oh yes, she she said,
• 3:28:01
  Speaker 1: desert man, I am lonesome. Stay stay, desert man, and
• 3:28:07
  Speaker 1: make me a woman. Gosh, wasn't she awful? Adam Larry fled.
• 3:28:14
  Speaker 1: The younger generation was too much for him. Besides, he
• 3:28:18
  Speaker 1: had yet to atone for his brother's death. To surrender
• 3:28:21
  Speaker 1: to the sheriff, be hanged for murder. Then only then
• 3:28:24
  Speaker 1: would his conscience cease at seventeen years bickering. Then only
• 3:28:28
  Speaker 1: then could he return and claim her for his bride.
• 3:28:32
  Speaker 1: Twelve muchacho again the scene of his boyhood and his
• 3:28:35
  Speaker 1: old friend merry. Well, old friend, said Adam Larry. Lead
• 3:28:40
  Speaker 1: me to my brother's grave. His grave, said Mary. Well, Gosh,
• 3:28:46
  Speaker 1: he ain't got none as I knows? On what, cried
• 3:28:50
  Speaker 1: Adam Larry. Why didn't they bury him cause he ain't
• 3:28:55
  Speaker 1: dead yet? Didn't I kill him? Gosh, no, your pistol
• 3:29:01
  Speaker 1: missed fire. Gerd Larry's live as you be? Do you
• 3:29:05
  Speaker 1: mean to say? Cried Adam Larry that I've been expiating
• 3:29:09
  Speaker 1: Gerd Larry's death in the desert for seventeen years, with
• 3:29:11
  Speaker 1: sandstorms and tarantulas and everything, and he ain't dead. This
• 3:29:16
  Speaker 1: is an outrage. Somebody'll pay for this. Go easy, young man,
• 3:29:22
  Speaker 1: said Mary. Well, ain't you been workin' fair? Mister Zaine Gray? Well,
• 3:29:27
  Speaker 1: don't you know as mister Gray don't never let his
• 3:29:29
  Speaker 1: heroes do nothin. That's really bad. The end. Thanks for listening.