Bøger af George Washington Cable

George Washington Cable (October 12, 1844 - January 31, 1925) was an American novelist notable for the realism of his portrayals of Creole life in his native New Orleans, Louisiana. He has been called "the most important southern artist working in the late 19th century, as well as the first modern southern writer."[1] In his treatment of racism, mixed-race families and miscegenation, his fiction has been thought to anticipate that of William Faulkner. He also wrote articles critical of contemporary society. Due to hostility against him after two 1885 essays encouraging racial equality and opposing Jim Crow, Cable moved with his family to Northampton, Massachusetts. He lived there for the next thirty years, then moved to Florida.

A rather small young man sat by the window of a pretty seaside cottage trying to persuade himself that he was reading the newspaper. It was about half-past eight in the morning. Outside, the glory roses hung in the morning sunshine like little bowls of fire tipped up. The young man looked at the table, then at the clock, then at his own big silver watch. An expression of stiff endurance came on to his face. Then he rose and reflected on the oil-paintings that hung on the walls of the room, giving careful but hostile attention to "The Stag at Bay". He tried the lid of the piano, and found it locked. He caught sight of his own face in a little mirror, pulled his brown moustache, and an alert interest sprang into his eyes. He was not ill-favoured. He twisted his moustache. His figure was rather small, but alert and vigorous. As he turned from the mirror a look of self-commiseration mingled with his appreciation of his own physiognomy. In a state of self-suppression, he went through into the garden.

The old street, keeping its New England Sabbath afternoon so decently under its majestic elms, was as goodly an example of its sort as the late seventies of the century just gone could show. It lay along a north-and-south ridge, between a number of aged and unsmiling cottages, fronting on cinder sidewalks, and alternating irregularly with about as many larger homesteads that sat back in their well-shaded gardens with kindlier dignity and not so grim a self-assertion. Behind, on the west, these gardens dropped swiftly out of sight to a hidden brook, from the farther shore of which rose the great wooded hill whose shelter from the bitter northwest had invited the old Puritan founders to choose the spot for their farming village of one street, with a Byington and a Winslow for their first town officers. In front, eastward, the land declined gently for a half mile or so, covered, by modern prosperity, with a small, stanch town, and bordered by a pretty river winding among meadows of hay and grain. At the northern end, instead of this gentle decline, was a precipitous cliff side, close to whose brow a wooden bench, that ran half-way round a vast sidewalk tree, commanded a view of the valley embracing nearly three-quarters of the compass.

"Oh, Mr. Ravenel; we can't. We just can't! It's the strangest thing in the world, sir! Nobody wants it but lumbermen, and to let them, faw a few cents an acre, sweep ove' it like worms ove' a cotton field--we just can't do it! Mr. Ravenel, what is the reason such a land as this can't be settled up? We'll sell it to any real settlehs! But, good Lawd! sir, where air they? Son an' me ain't got no money to impote 'em, sir. The darkies don't know anything but cotton fahmin'--they won't come. Let me tell you, sir, we've made the most flattering offers to capitalists to start this and that. But they all want to wait till we've got a good gov'ment. An' now, here we've got it--in Clearwateh, at least--an' you can see that these two men ain't satisfied!"

It was in the Théatre St. Philippe (they had laid a temporary floor over the parquette seats) in the city we now call New Orleans, in the month of September, and in the year 1803. Under the twinkle of numberless candles, and in a perfumed air thrilled with the wailing ecstasy of violins, the little Creole capital's proudest and best were offering up the first cool night of the languidly departing summer to the divine Terpsichore. For summer there, bear in mind, is a loitering gossip, that only begins to talk of leaving when September rises to go. It was like hustling her out, it is true, to give a select bal masqué at such a very early--such an amusingly early date; but it was fitting that something should be done for the sick and the destitute; and why not this? Everybody knows the Lord loveth a cheerful giver.

Dr. Sevier is a novel by George Washington Cable. The book is set in New Orleans, Louisiana, in the late 1800s and follows the life of Dr. Sevier, a respected physician and member of the community. The story explores themes of race, class, and social status, as Dr. Sevier navigates his relationships with his patients and colleagues, as well as his own personal struggles. The novel also delves into the political and social climate of the time, including the aftermath of the Civil War and the Reconstruction Era. Through its vivid characters and richly detailed setting, Dr. Sevier offers a nuanced portrait of life in the American South during a time of great change and upheaval.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

Excerpt: ...they talked with the jeweller. He could himself "do the job," he said, "roughly but well enough." Anna smiled at the fanciful scheme. Yet--yes, its oddity was in its favor. So many such devices were succeeding, some of them to the vast advantage of the Southern cause. When Flora the next evening stole a passing glance at the ugly trinket in its place she was pleased to note how well it retained its soilure of clay. For she had that day used it to free the panel, behind which she had found a small recess so fitted to her want that she had only to replace panel and tool and await some chance in the closing hours of the show. Pleased she was, too, to observe that the old jewels lay in a careless heap. Now to conceal all interest and to divert all eyes, even grandmama's! Thus, however, night after night an odd fact eluded her: That Anna and her hero, always singly, and themselves careful to lure others away, glimpsed that disordered look of the gems and unmolested air of the knife with a content as purposeful as her own. Which fact meant, when came the final evening, that at last every sham jewel in the knife's sheath had exchanged places with a real one from the loose heap, while, nestling between two layers of the sheath's material, reposed, payable to bearer, a check on London for thousands of pounds sterling. Very proud was Anna of her lover's tremendous versatility and craftsmanship. XXXIX TIGHT PINCHFrom Camp Viller

Next morning he saw her again. He had left his very new law office, just around in Bienville Street, and had come but a few steps down Royal, when, at the next corner below, she turned into Royal, toward him, out of Conti, coming from Bourbon. The same nine-year-old negro boy was at her side, as spotless in broad white collar and blue jacket as on the morning before, and carrying the same droll air of consecration, awe, and responsibility. The young man envied him. Yesterday, for the first time, at that same corner, he had encountered this fair stranger and her urchin escort, abruptly, as they were making the same turn they now repeated, and all in a flash had wondered who might be this lovely apparition. Of such patrician beauty, such elegance of form and bearing, such witchery of simple attire, and such un-Italian yet Latin type, in this antique Creole, modernly Italianized quarter--who and what, so early in the day, down here among the shops, where so meagre a remnant of the old high life clung on in these balconied upper stories--who, what, whence, whither, and wherefore? In that flash of time she had passed, and the very liveliness of his interest, combined with the urchin's consecrated awe--not to mention his own mortifying remembrance of one or two other-day lapses from the austerities of the old street--restrained him from a backward glance until he could cross the way as if to enter the great, white, lately completed court-house. Then both she and her satellite had vanished.

John March, Southerner By George Washington Cable

A few steps from the St. Charles Hotel, in New Orleans, brings you to and across Canal street, the central avenue of the city, and to that corner where the flower-women sit at the inner and outer edges of the arcaded sidewalk, and make the air sweet with their fragrant merchandise. The crowd-and if it is near the time of the carnival it will be great-will follow Canal street.

Bayou Teche is the dividing line. On its left is the land of bayous, lakes, and swamps; on its right, the beautiful short-turfed prairies of Western Louisiana. The Vermilion River divides the vast prairie into the countries of Attakapas on the east and Opelousas on the west. On its west bank, at its head of navigation, lies the sorry little town of Vermilionville, near about which on the north and east the prairie rises and falls with a gentle swell, from whose crests one may, as from the top of a wave, somewhat overlook the surrounding regions.

1908. The book begins: It was in the Theater St. Philippe (they had laid a temporary floor over the parquette seats) in the city we now call New Orleans, in the month of September, and in the year 1803. Under the twinkle of numberless candles, and in a perfumed air thrilled with the wailing ecstasy of violins, the little Creole capital's proudest and best were offering up the first cool night of the languidly departing summer to the divine Terpsichore. For summer there, bear in mind, is a loitering gossip, that only begins to talk of leaving when September rises to go. It was like hustling her out, it is true, to give a select bal masque at such a very early-such an amusingly early date; but it was fitting that something should be done for the sick and destitute; and why not this? Everybody knows the Lord loveth a cheerful giver. See other titles by this author available from Kessinger Publishing.

Famous Adventures and Prison Escapes of the Civil War, With Photographs From the American Civil War (Illustrated)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Ce livre classique a été initialement publié il y a des décennies sous le titre "" Old Creole Days A Story of Creole Life . Il a maintenant été traduit par Writat en langue française pour leurs lecteurs francophones. Chez Writat, nous sommes passionnés par la préservation du patrimoine littéraire du passé. Nous avons traduit ce livre en français afin que les générations présentes et futures puissent le lire et le conserver.

Dieses klassische Buch wurde ursprünglich vor Jahrzehnten veröffentlicht als Old Creole Days A Story of Creole Life . Es wurde jetzt von Writat für seine deutschsprachigen Leser ins Deutsche übersetzt. Bei Writat liegt uns die Bewahrung des literarischen Erbes der Vergangenheit sehr am Herzen. Wir haben dieses Buch ins Deutsche übersetzt, damit es heutige und zukünftige Generationen lesen und bewahren können.

True stories are not often good art. The relations and experiences of real men and women rarely fall in such symmetrical order as to make an artistic whole. Until they have had such treatment as we give stone in the quarry or gems in the rough they seldom group themselves with that harmony of values and brilliant unity of interest that result when art comes in-not so much to transcend nature as to make nature transcend herself. Yet I have learned to believe that good stories happen oftener than once I thought they did. Within the last few years there have dropped into my hands by one accident or another a number of these natural crystals, whose charms, never the same in any two, are in each and all enough at least to warn off all tampering of the fictionist. Happily, moreover, without being necessary one to another, they yet have a coherent sequence, and follow one another like the days of a week. They are mine only by right of discovery. From various necessities of the case I am sometimes the story-teller, and sometimes, in the reader's interest, have to abridge; but I add no fact and trim naught of value away. Here are no unconfessed "restorations," not one. In time, place, circumstance, in every essential feature, I give them as I got them-strange stories that truly happened, all partly, some wholly, in Louisiana.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

George Washington Cable (October 12, 1844 - January 31, 1925) was an American novelist notable for the realism of his portrayals of Creole life in his native New Orleans, Louisiana. He has been called "the most important southern artist working in the late 19th century, as well as the first modern southern writer." In his treatment of racism, mixed-race families and miscegenation, his fiction has been thought to anticipate that of William Faulkner. He also wrote articles critical of contemporary society. Due to hostility against him after two 1885 essays encouraging racial equality and opposing Jim Crow, Cable moved with his family to Northampton, Massachusetts. He lived there for the next thirty years, then moved to Florida.

George Washington Cable (October 12, 1844 - January 31, 1925) was an American novelist notable for the realism of his portrayals of Creole life in his native New Orleans, Louisiana. He has been called "the most important southern artist working in the late 19th century, as well as the first modern southern writer." In his treatment of racism, mixed-race families and miscegenation, his fiction has been thought to anticipate that of William Faulkner. He also wrote articles critical of contemporary society. Due to hostility against him after two 1885 essays encouraging racial equality and opposing Jim Crow, Cable moved with his family to Northampton, Massachusetts. He lived there for the next thirty years, then moved to Florida.

George Washington Cable (1844-1925) was an American novelist notable for the realism of his portrayals of Creole life in his native Louisiana. His most important works are "Old Creole Days," "The Grandissimes," and "Madame Delphine."

A lifelong habit of story-telling has much to do with the production of these pages. All the more does it move me because it has always included, as perhaps it does in most story-tellers, a keen preference for true stories, stories of actual occurrence. A flower-garden trying to be beautiful is a charming instance of something which a storyteller can otherwise only dream of. For such a garden is itself a story, one which actually and naturally occurs, yet occurs under its master's guidance and control and with artistic effect.

Lovers of Louisiana, Today is a book written by George Washington Cable and published in 1918. The book is a collection of essays that explore the unique culture and history of Louisiana, as well as the state's natural beauty and its people. Cable was a prominent American writer who spent much of his life in Louisiana, and his deep knowledge and love for the state are evident in his writing.The book is divided into several sections, each focusing on a different aspect of Louisiana life. The first section explores the state's history, from its early days as a French colony to its role in the Civil War and beyond. Cable also writes about the state's unique Creole culture, which blends French, Spanish, African, and Native American influences.Another section of the book focuses on Louisiana's natural beauty, including its swamps, bayous, and wildlife. Cable describes the state's flora and fauna in vivid detail, highlighting the unique and fascinating creatures that call Louisiana home.Throughout the book, Cable also writes about the people of Louisiana, from the fishermen and farmers to the musicians and artists who make up the state's vibrant cultural scene. He celebrates the diversity and resilience of Louisiana's people, and their enduring connection to the land and water that sustain them.Overall, Lovers of Louisiana, Today is a rich and engaging portrait of a unique and fascinating state. Cable's love for Louisiana shines through on every page, making this book a must-read for anyone interested in the history, culture, and natural beauty of this remarkable place.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.