Cantitate/Preț
Produs
Total produse
Vezi coșul
Dubliners de James Joyce

Dubliners

Autor James Joyce Editat de Hollybook
en Limba Engleză Paperback – vârsta de la 18 ani

Vezi toate premiile Carte premiată

Audies (2001)
Dubliners is a collection of fifteen short stories by James Joyce, first published in 1914. 1] They form a naturalistic depiction of Irish middle class life in and around Dublin in the early years of the 20th century.
Citește tot Restrânge

Toate formatele și edițiile

Toate formatele și edițiile Preț Express
Paperback (93) 3324 lei  22-36 zile
  Penguin Random House Group – 31 dec 2000 3324 lei  22-36 zile
  Dover Publications – 30 apr 1991 3785 lei  22-36 zile +1156 lei  5-11 zile
  Alma Books COMMIS – 21 iun 2017 3962 lei  22-36 zile +934 lei  5-11 zile
  Penguin Books – 25 iul 2012 4221 lei  25-31 zile +1540 lei  5-11 zile
  Penguin Books – 4 apr 2012 4658 lei  25-31 zile +1578 lei  5-11 zile
  CreateSpace Independent Publishing Platform – 4737 lei  22-36 zile
  CREATESPACE – 4759 lei  22-36 zile
  Quercus Books – 27 sep 2023 4779 lei  22-36 zile +2394 lei  5-11 zile
  Penguin Books – 2 feb 2000 4912 lei  25-31 zile +2005 lei  5-11 zile
  CreateSpace Independent Publishing Platform – 5015 lei  22-36 zile
  – 5068 lei  22-36 zile
  CreateSpace Independent Publishing Platform – 5068 lei  22-36 zile
  CREATESPACE – 31 iul 2010 5095 lei  22-36 zile
  CREATESPACE – 5139 lei  22-36 zile
  CreateSpace Independent Publishing Platform – 5173 lei  22-36 zile
  Vintage Publishing – 5 dec 2012 5262 lei  25-31 zile +1899 lei  5-11 zile
  CREATESPACE – 5443 lei  22-36 zile
  CREATESPACE – 5541 lei  22-36 zile
  OUP OXFORD – 11 iun 2008 5581 lei  22-36 zile +1100 lei  5-11 zile
  Canongate Books – 4 dec 2019 5700 lei  22-36 zile +767 lei  5-11 zile
  KUPERARD (BRAVO LTD) – 23 ian 2013 5736 lei  22-36 zile +898 lei  5-11 zile
  – 5778 lei  22-36 zile
  UNION SQUARE & CO – 12 mai 2024 5802 lei  22-36 zile
  CreateSpace Independent Publishing Platform – 6078 lei  22-36 zile
  – 6123 lei  22-36 zile
  CREATESPACE – 6158 lei  22-36 zile
  Vintage Publishing – 31 mar 1993 6167 lei  22-36 zile
  Penguin Books – 31 mai 1993 6267 lei  22-36 zile +2013 lei  5-11 zile
  – 6285 lei  22-36 zile
  – 6393 lei  22-36 zile
  – 6400 lei  22-36 zile
  – 6410 lei  22-36 zile
  CreateSpace Independent Publishing Platform – 6445 lei  22-36 zile
  CreateSpace Independent Publishing Platform – 6445 lei  22-36 zile
  – 6494 lei  22-36 zile
  – 6671 lei  22-36 zile
  – 6675 lei  22-36 zile
  CREATESPACE – 6779 lei  22-36 zile
  – 6822 lei  22-36 zile
  CreateSpace Independent Publishing Platform – 6828 lei  22-36 zile
  CreateSpace Independent Publishing Platform – 7156 lei  22-36 zile
  EMPIRE BOOKS – 31 oct 2011 7237 lei  22-36 zile
  CREATESPACE – 7413 lei  22-36 zile
  – 7715 lei  22-36 zile
  CreateSpace Independent Publishing Platform – 8 dec 2015 8004 lei  22-36 zile
  Penguin Books – 6 aug 2014 8012 lei  25-31 zile +3048 lei  5-11 zile
  CREATESPACE – 9557 lei  22-36 zile
  G&D MEDIA – 13 noi 2023 9627 lei  22-36 zile
  CREATESPACE – 10775 lei  22-36 zile
  – 12692 lei  22-36 zile
  CreateSpace Independent Publishing Platform – 13833 lei  22-36 zile
  CREATESPACE – 13958 lei  22-36 zile
  Chump Change – 25 sep 2017 5126 lei  43-57 zile
  CREATESPACE – 6300 lei  43-57 zile
  Digireads.com – 31 mar 2019 6531 lei  43-57 zile
  – 6996 lei  43-57 zile
  Digireads.com – 20 mai 2016 7279 lei  38-44 zile
  – 7440 lei  43-57 zile
  SMK Books – 21 mar 2012 7487 lei  43-57 zile
  – 7593 lei  43-57 zile
  LIGHTNING SOURCE INC – 11 oct 2018 7695 lei  17-23 zile
  LIGHTNING SOURCE INC – 29 oct 2018 7695 lei  17-23 zile
  Clearlight – 26 iul 2013 7814 lei  43-57 zile
  Clearlight – 20 mai 2020 7814 lei  43-57 zile
  Lits – 31 iul 2010 7897 lei  43-57 zile
  SC Active Business Development SRL – 5 apr 2017 7962 lei  38-44 zile
  Lector House – 5 mai 2019 8054 lei  43-57 zile
  Blurb – 7 feb 2019 8676 lei  38-44 zile
  CreateSpace Independent Publishing Platform – 8865 lei  43-57 zile
  Public Park Publishing – 8 ian 2020 8989 lei  43-57 zile
  – 9033 lei  43-57 zile
  Mary Publishing Company – 17 iun 2020 9063 lei  43-57 zile
  Camel Publishing House – 17 iun 2020 9063 lei  43-57 zile
  Barclays Public Books – 17 iun 2020 9063 lei  43-57 zile
  Texas Public Domain – 17 iun 2020 9063 lei  43-57 zile
  Toronto Public Domain Publishing – 17 iun 2020 9063 lei  43-57 zile
  Public Public Books – 17 iun 2020 9063 lei  43-57 zile
  USA Public Domain Books – 17 iun 2020 9063 lei  43-57 zile
  Yorkshire Public Books – 17 iun 2020 9063 lei  43-57 zile
  Susan Publishing Ltd – 17 iun 2020 9063 lei  43-57 zile
  Public Publishing – 17 iun 2020 9063 lei  43-57 zile
  Echo Library – 9073 lei  38-44 zile
  BLURB INC – 8 ian 2019 9329 lei  17-23 zile
  1st World Publishing – 21 iul 2013 9361 lei  43-57 zile
  CreateSpace Independent Publishing Platform – 9412 lei  43-57 zile
  Delhi Open Books – 30 iun 2020 9619 lei  43-57 zile
  Bottom of the Hill Publishing – 31 dec 2014 10193 lei  43-57 zile
  Adhyaya Books – 2 mai 2022 10898 lei  43-57 zile
  Alpha Editions – 20 oct 2020 11041 lei  43-57 zile
  Urban Romantics – 9 sep 2012 12118 lei  38-44 zile
  Simon & Brown – 28 feb 2011 12765 lei  38-44 zile
  LIGHTNING SOURCE INC – 26 mai 2018 18066 lei  17-23 zile
  TREDITION CLASSICS – 31 oct 2012 21426 lei  43-57 zile
Hardback (15) 4682 lei  22-36 zile +3101 lei  5-11 zile
  Pan Macmillan – 5 oct 2016 4682 lei  22-36 zile +3101 lei  5-11 zile
  Flame Tree Publishing – 14 ian 2020 5129 lei  22-36 zile +1196 lei  5-11 zile
  EVERYMAN – 25 sep 1991 8311 lei  25-31 zile +3551 lei  5-11 zile
  Everyman's Library – 31 oct 1991 15039 lei  22-36 zile
  12th Media Services – 16 mar 2018 10568 lei  43-57 zile
  Chump Change – 31 mai 1914 11552 lei  43-57 zile
  Public Park Publishing – 15 ian 2020 12385 lei  43-57 zile
  Alpha Editions – 18 oct 2020 14063 lei  43-57 zile
  – 17068 lei  43-57 zile
  SMK Books – 2 apr 2018 17353 lei  43-57 zile
  Bibliotech Press – 11 iul 2023 18498 lei  43-57 zile
  1st World Publishing – 21 iul 2013 18521 lei  43-57 zile
  Mjp Publishers – 31 mai 2023 18764 lei  43-57 zile
  Simon & Brown – 14 noi 2018 19757 lei  38-44 zile
  TREDITION CLASSICS – 30 noi 2012 28609 lei  43-57 zile

Preț: 9412 lei

Nou

Puncte Express: 141
Preț estimativ în valută:
1801€ • 1878$ • 14100£

Carte tipărită la comandă

Livrare economică 06-20 ianuarie 25

 Adaugă în coș

Wish list
Gift list
Am citit!
Adaugă în listă
Preluare comenzi: 021 569.72.76

Specificații

ISBN-13: 9781522882107
ISBN-10: 1522882103
Pagini: 300
Dimensiuni: 152 x 229 x 16 mm
Greutate: 0.4 kg
Editura: CreateSpace Independent Publishing Platform

Notă biografică

James Augustine Aloysius Joyce (2 February 1882 - 13 January 1941) was an Irish novelist, short story writer, and poet. He contributed to the modernist avant-garde and is regarded as one of the most influential and important authors of the 20th century. Joyce is best known for Ulysses (1922), a landmark work in which the episodes of Homer's Odyssey are paralleled in a variety of literary styles, most famously stream of consciousness. Other well-known works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939). His other writings include three books of poetry, a play, his published letters and occasional journalism. Joyce was born in 41 Brighton Square, Rathgar, Dublin, into a middle-class family. A brilliant student, he briefly attended the Christian Brothers-run O'Connell School before excelling at the Jesuit schools Clongowes and Belvedere, despite the chaotic family life imposed by his father's alcoholism and unpredictable finances. He went on to attend University College Dublin. In 1904, in his early twenties, Joyce emigrated to continental Europe with his partner (and later wife) Nora Barnacle. They lived in Trieste, Paris, and Zurich. Although most of his adult life was spent abroad, Joyce's fictional universe centres on Dublin, and is populated largely by characters who closely resemble family members, enemies and friends from his time there. Ulysses in particular is set with precision in the streets and alleyways of the city. Shortly after the publication of Ulysses, he elucidated this preoccupation somewhat, saying, "For myself, I always write about Dublin, because if I can get to the heart of Dublin I can get to the heart of all the cities of the world. In the particular is contained the universal."

Descriere

Descriere de la o altă ediție sau format:
'I regret to see that my book has turned out un fiasco solenne'James Joyce's disillusion with the publication of Dubliners in 1914 was the result of ten years battling with publishers, resisting their demands to remove swear words, real place names and much else, including two entire stories. Although only 24 when he signed his first publishing contract for the book, Joyce already knew its worth: to alter it in any way would 'retard the course of civilisation in Ireland'.Joyce's aim was to tell the truth - to create a work of art that would reflect life in Ireland at the turn of the last century and by rejecting euphemism, reveal to the Irish the unromantic reality the recognition of which would lead to the spiritual liberation of the country. Each of the fifteen stories offers a glimpse of the lives of ordinary Dubliners - a death, an encounter, an opportunity not taken, a memory rekindled - and collectively they paint a portrait of a nation. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Textul de pe ultima copertă

Although James Joyce began these stories of Dublin life in 1904, when he was 22, and had completed them by the end of 1907, they remained unpublished until 1914 victims of Edwardian squeamishness. Their vivid, tightly focused observations of the life of Dublin's poorer classes, their unconventional themes, coarse language, and mention of actual people and places made publishers of the day reluctant to undertake sponsorship.
Today, however, the stories are admired for their intense and masterly dissection of "dear dirty Dublin," and for the economy and grace with which Joyce invested this youthful fiction. From "The Sisters," the first story, illuminating a young boy's initial encounter with death, through the final piece, "The Dead," considered a masterpiece of the form, these tales represent, as Joyce himself explained, a chapter in the moral history of Ireland that would give the Irish "one good look at themselves." But in the end the stories are not just about the Irish; they represent moments of revelation common to all people.
Now readers can enjoy all 15 stories in this inexpensive collection, which also functions as an excellent, accessible introduction to the work of one of the 20th century's most influential writers. "Dubliners" is reprinted here, complete and unabridged, from a standard edition."

Cuprins

Dubliners Introduction
Notes on Introduction
Note on Text
The Sisters
An Encounter
Araby
Eveline
After the Race
Two Gallants
The Boarding House
A Little Cloud
Counterparts
Clay
A Painful Case
Ivy Day in the Committee Room
A Mother
Grace
The Dead

Appendix I
Appendix II
Appendix III
Notes

Caracteristici

Perfect companion to Alma Classics edition of Ulysses

Recenzii

“In Dubliners, Joyce’s first attempt to register in language and fictive form the protean complexities of the ‘reality of experience,’ he learns the paradoxical lesson that only through the most rigorous economy, only by concentrating on the minutest of particulars, can he have any hope of engaging with the immensity of the world.”–from the Introduction

“Joyce renews our apprehension of reality, strengthens our sympathy with our fellow creatures, and leaves us in awe before the mystery of created things.” –Atlantic Monthly

“It is in the prose of Dubliners that we first hear the authentic rhythms of Joyce the poet…Dubliners is, in a very real sense, the foundation of Joyce’s art. In shaping its stories, he developed that mastery of naturalistic detail and symbolic design which is the hallmark of his mature fiction.” –Robert Scholes and A. Walton Litz, authors of Dubliners: Text and Criticism

With an Introduction by John Kelly


From the Hardcover edition.

Extras

THE SISTERS


There was no hope for him this time: it was the third stroke. Night after night I had passed the house (it was vacation time) and studied the lighted square of window: and night after night I had found it lighted in the same way, faintly and evenly. If he was dead, I thought, I would see the reflection of candles on the darkened blind for I knew that two candles must be set at the head of a corpse. He had often said to me: "I am not long for this world," and I had thought his words idle. Now I knew they were true. Every night as I gazed up at the window I said softly to myself the word paralysis. It had always sounded strangely in my ears, like the word gnomon in the Euclid and the word simony in the Catechism. But now it sounded to me like the name of some maleficent and sinful being. It filled me with fear, and yet I longed to be nearer to it and to look upon its deadly work.

Old Cotter was sitting at the fire, smoking, when I came downstairs to supper. While my aunt was ladling out my stirabout he said, as if returning to some former remark of his: "No, I wouldn't say he was exactly . . . but there was something queer . . . there was something uncanny about him. I'll tell you my opinion. . . ." He began to puff at his pipe, no doubt arranging his opinion in his mind. Tiresome old fool! When we knew him first he used to be rather interesting, talking of faints and worms; but I soon grew tired of him and his endless stories about the distillery.

"I have my own theory about it," he said. "I think it was one of those . . . peculiar cases. . . . But it's hard to say. . . ." He began to puff again at his pipe without giving us his theory. My uncle saw me staring and said to me: "Well, so your old friend is gone, you'll be sorry to hear."

"Who?" said I.

"Father Flynn."

"Is he dead?"

"Mr. Cotter here has just told us. He was passing by the house."

I knew that I was under observation so I continued eating as if the news had not interested me. My uncle explained to old Cotter.

"The youngster and he were great friends. The old chap taught him a great deal, mind you; and they say he had a great wish for him."

"God have mercy on his soul," said my aunt piously.

Old Cotter looked at me for a while. I felt that his little beady black eyes were examining me but I would not satisfy him by looking up from my plate. He returned to his pipe and finally spat rudely into the grate.

"I wouldn't like children of mine," he said, "to have too much to say to a man like that."

"How do you mean, Mr. Cotter?" asked my aunt.

"What I mean is," said old Cotter, "it's bad for children. My idea is: let a young lad run about and play with young lads of his own age and not be . . . Am I right, Jack?"

"That's my principle, too," said my uncle. "Let him learn to box his corner. That's what I'm always saying to that Rosicrucian there: take exercise. Why, when I was a nipper every morning of my life I had a cold bath, winter and summer. And that's what stands to me now. Education is all very fine and large. . . . Mr. Cotter
might take a pick of that leg of mutton," he added to my aunt.

"No, no, not for me," said old Cotter.

My aunt brought the dish from the safe and put it on the table. "But why do you think it's not good for children, Mr. Cotter?" she asked.

"It's bad for children," said old Cotter, "because their minds are so impressionable. When children see things like that, you know, it has an effect..."

I crammed my mouth with stirabout for fear I might give utterance to my anger. Tiresome old red-nosed imbecile!

It was late when I fell asleep. Though I was angry with old Cotter for alluding to me as a child, I puzzled my head to extract meaning from his unfinished sentences. In the dark of my room I imagined that I saw again the heavy grey face of the paralytic. I drew the blankets over my head and tried to think of Christmas. But the grey face still followed me. It murmured; and I understood that it desired to confess something. I felt my soul receding into some pleasant and vicious region; and there again I found it waiting for me. It began to confess to me in a murmuring voice and I wondered why it smiled continually and why the lips were so moist with spittle. But then I remembered that it had died of paralysis and I felt that I too was smiling feebly as if to absolve the simoniac of his sin.

The next morning after breakfast I went down to look at the little house in Great Britain Street. It was an unassuming shop, registered under the vague name of Drapery. The drapery consisted mainly of children's bootees and umbrellas; and on ordinary days a notice used to hang in the window, saying: Umbrellas Re-covered. No notice was visible now for the shutters were up. A crape bouquet was tied to the door-knocker with ribbon. Two poor women and a telegram boy were reading the card pinned on the crape. I also approached and read:


July 1st, 1895
The Rev. James Flynn (formerly of S. Catherine's Church,
Meath Street), aged sixty-five years.
R. I. P.


The reading of the card persuaded me that he was dead and I was disturbed to find myself at check. Had he not been dead I would have gone into the little dark room behind the shop to find him sitting in his arm-chair by the fire, nearly smothered in his great-coat. Perhaps my aunt would have given me a packet of High Toast for him and this present would have roused him from his stupefied doze. It was always I who emptied the packet into his black snuff-box for his hands trembled too much to allow him to do this without spilling half the snuff about the floor. Even as he raised his large trembling hand to his nose little clouds of smoke dribbled through his fingers over the front of his coat. It may have been these constant showers of snuff which gave his ancient priestly garments their green faded look for the red handkerchief, blackened, as it always was, with the snuff-stains of a week, with which he tried to brush away the fallen grains, was quite inefficacious.

I wished to go in and look at him but I had not the courage to knock. I walked away slowly along the sunny side of the street, reading all the theatrical advertisements in the shop-windows as I went. I found it strange that neither I nor the day seemed in a mourning mood and I felt even annoyed at discovering in myself a sensation of freedom as if I had been freed from something by his death. I wondered at this for, as my uncle had said the night before, he had taught me a great deal. He had studied in the Irish college in Rome and he had taught me to pronounce Latin properly. He had told me stories about the catacombs and about Napoleon Bonaparte, and he had explained to me the meaning of the different ceremonies of the Mass and of the different vestments worn by the priest. Sometimes he had amused himself by putting difficult questions to me, asking me what one should do in certain circumstances or whether such and such sins were mortal or venial or only imperfections. His questions showed me how complex and mysterious were certain institutions of the Church which I had always regarded as the simplest acts. The duties of the priest towards the Eucharist and towards the secrecy of the confessional seemed so grave to me that I wondered how anybody had ever found in himself the courage to undertake them; and I was not surprised when he told me that the fathers of the Church had written books as thick as the Post Office Directory and as closely printed as the law notices in the newspaper, elucidating all these intricate questions. Often when I thought of this I could make no answer or only a very foolish and halting one upon which he used to smile and nod his head twice or thrice. Sometimes he used to put me through the responses of the Mass which he had made me learn by heart; and, as I pattered, he used to smile pensively and nod his head, now and then pushing huge pinches of snuff up each nostril alternately. When he smiled he used to uncover his big discoloured teeth and let his tongue lie upon his lower lip--a habit which had made me feel uneasy in the beginning of our acquaintance before I knew him well.
As I walked along in the sun I remembered old Cotter's words and tried to remember what had happened afterwards in the dream. I remembered that I had noticed long velvet curtains and a swinging lamp of antique fashion. I felt that I had been very far away, in some land where the customs were strange--in Persia, I thought. . . . But I could not remember the end of the dream.

In the evening my aunt took me with her to visit the house of mourning. It was after sunset; but the window-panes of the houses that looked to the west reflected the tawny gold of a great bank of clouds. Nannie received us in the hall; and, as it would have been unseemly to have shouted at her, my aunt shook hands with her for all. The old woman pointed upwards interrogatively and, on my aunt's nodding, proceeded to toil up the narrow staircase before us, her bowed head being scarcely above the level of the banister-rail. At the first landing she stopped and beckoned us forward encouragingly towards the open door of the dead-room. My aunt went in and the old woman, seeing that I hesitated to enter, began to beckon to me again repeatedly with her hand.

I went in on tiptoe. The room through the lace end of the blind was suffused with dusky golden light amid which the candles looked like pale thin flames. He had been coffined. Nannie gave the lead and we three knelt down at the foot of the bed. I pretended to pray but I could not gather my thoughts because the old woman's mutterings distracted me. I noticed how clumsily her skirt was hooked at the back and how the heels of her cloth boots were trodden down all to one side. The fancy came to me that the old priest was smiling as he lay there in his coffin.

But no. When we rose and went up to the head of the bed I saw that he was not smiling. There he lay, solemn and copious, vested as for the altar, his large hands loosely retaining a chalice. His face was very truculent, grey and massive, with black cavernous nostrils and circled by a scanty white fur. There was a heavy odour in the room--the flowers.

We crossed ourselves and came away. In the little room downstairs we found Eliza seated in his arm-chair in state. I groped my way towards my usual chair in the corner while Nannie went to the sideboard and brought out a decanter of sherry and some wine-glasses. She set these on the table and invited us to take a little glass of wine. Then, at her sister's bidding, she filled out the sherry into the glasses and passed them to us. She pressed me to take some cream crackers also but I declined because I thought I would make too much noise eating them. She seemed to be somewhat disappointed at my refusal and went over quietly to the sofa where she sat down behind her sister. No one spoke: we all gazed at the empty fireplace.

My aunt waited until Eliza sighed and then said: "Ah, well, he's gone to a better world."

Eliza sighed again and bowed her head in assent. My aunt fingered the stem of her wine-glass before sipping a little. "Did he . . . peacefully?" she asked.

"Oh, quite peacefully, ma'am," said Eliza. "You couldn't tell when the breath went out of him. He had a beautiful death, God be praised."

"And everything . . . ?"

"Father O'Rourke was in with him a Tuesday and anointed him and prepared him and all."

"He knew then?"

"He was quite resigned."

"He looks quite resigned," said my aunt.

"That's what the woman we had in to wash him said. She said he just looked as if he was asleep, he looked that peaceful and resigned. No one would think he'd make such a beautiful corpse."

"Yes, indeed," said my aunt.

She sipped a little more from her glass and said:

"Well, Miss Flynn, at any rate it must be a great comfort for you to know that you did all you could for him. You were both very kind to him, I must say."
Eliza smoothed her dress over her knees.

"Ah, poor James!" she said. "God knows we done all we could, as poor as we are--we wouldn't see him want anything while he was in it."

Nannie had leaned her head against the sofa-pillow and seemed about to fall asleep.

"There's poor Nannie," said Eliza, looking at her, "she's wore out. All the work we had, she and me, getting in the woman to wash him and then laying him out and then the coffin and then arranging about the Mass in the chapel. Only for Father O'Rourke I don't know what we'd done at all. It was him brought us all them flowers and them two candlesticks out of the chapel and wrote out the notice for the Freeman's General and took charge of all the papers for the cemetery and poor James's insurance."

"Wasn't that gooda of him?" said my aunt.

Eliza closed her eyes and shook her head slowly. "Ah, there's no friends like the old friends," she said, "when all is said and done, no friends that a body can trust."

"Indeed, that's true," said my aunt. "And I'm sure now that he's gone to his eternal reward he won't forget you and all your kindness to him."

"Ah, poor James!" said Eliza. "He was no great trouble to us. You wouldn't hear him in the house any more than now. Still, I know he's gone and all to that. . . ."

"It's when it's all over that you'll miss him," said my aunt.

"I know that," said Eliza. "I won't be bringing him in his cup of beef-tea any more, nor you, ma'am, sending him his snuff. Ah, poor James!"

She stopped, as if she were communing with the past, and then said shrewdly:

"Mind you, I noticed there was something queer coming over him latterly. Whenever I'd bring in his soup to him there I'd find him with his breviary fallen to the floor, lying back in the chair and his mouth open."


From the Paperback edition.

Premii