After a quarter of a century these, brief and searching tales of Arthur Morrison’s still keep the breath of life in them — modest but precious salvages from the high washings and roarings of the eighteen-nineties. The decade — the last of the Victorian age, as of the century — was so fecund that some Englishman has spread out its record to the proportions of a book.
After a quarter of a century these, brief and searching tales of Arthur Morrison's still keep the breath of life in them - modest but precious salvages from the high washings and roarings of the eighteen-nineties. The decade - the last of the Victorian age, as of the century - was so fecund that some Englishman has spread out its record to the proportions of a book. It was a time of youngsters, of literary rebellions, of adventures in new forms.
No great three-decker sailed out of it, but what a host there was of smaller craft, rakish and impudent - the first "Jungle Book," the "Dolly Dialogues," "The Second Mrs. Tanqueray," the first plays and criticisms of George Bernard Shaw, "Sherlock Holmes," the matriculation pieces of H.G. Wells, Jerome K. Jerome, Hewlett, "Dodo" Benson, Hichens and so on, and all the best of Gissing and Wilde. Think of the novelties of one year only, 1894: "The Green Carnation," "Salomé," "The Prisoner of Zenda," the "Dolly Dialogues," Gissing's "In the Year of Jubilee," the first "Jungle Book," "Arms and the Man," "Round the Red Lamp," and, not least, these "Tales of Mean Streets."
In the whole lot there was no book or play, save it be Wilde's "Salomé," that caused more gabble than the one here printed again, nor was any destined to hold its public longer. "The Prisoner of Zenda," chewed to bits on the stage, is now almost as dead as Baal; not even the stock companies in the oil towns set any store by it. So with "The Green Carnation," "Round the Red Lamp," the "Dolly Dialogues," and even "Arms and the Man," and, I am almost tempted to add, the "Jungle Book." But "Tales of Mean Streets" is still on its legs. People read it, talk about it, ask for it in the bookstores; periodically it gets out of print. Well, here it is once more, and perhaps a new generation is ready for it, or the older generation - so young and full of fine enthusiasm in 1894! - will want to read it again.
The causes of its success are so plain that they scarcely need pointing out. It was not only a sound and discreet piece of writing, with people in it who were fully alive; there was also a sort of news in it, and even a touch of the truculent. What the news uncovered was something near and yet scarcely known or even suspected: the amazing life of the London East End, the sewer of England and of Christendom. Morrison, in brief, brought on a whole new company of comedians and set them to playing novel pieces, tragedy and farce. He made them, in his light tales, more real than any solemn Blue Book or polemic had ever made them, and by a great deal; he not only created plausible characters, but lighted up the whole dark scene behind them. People took joy in the book as fiction, and pondered it as a fact. It got a kind of double fame, as a work of art and as social document - a very dubious and dangerous kind of fame in most cases, for the document usually swallows the work of art. But here the document has faded, and what remains is the book.
At the start, as I say, there was a sort of challenge in it as well as news: it was, in a sense, a flouting of Victorian complacency, a headlong leap into the unmentionable. Since Dickens' time there had been no such plowing up of sour soils. Other men of the decade, true enough, issued challenges too, but that was surely not its dominant note. On the contrary, it was rather romantic, ameliorative, sweet-singing; its high god was Kipling, the sentimental optimist. The Empire was flourishing; the British public was in good humor; life seemed a lovely thing. In the midst of all this the voice of Morrison had a raucous touch of it. He was amusing and interesting, but he was also somewhat disquieting, and even alarming. If this London of his really existed - and inquiry soon showed that it did - then there was a rift somewhere in the lute, and a wart on the graceful body politic.
Now all such considerations are forgotten, and there remains only the book of excellent tales. It has been imitated almost as much as "Plain Tales From the Hills," and to much better effect. The note seems likely to be a permanent one in our fiction. Now and then it appears to die out, but not for long. A year ago I thought it was doing so - and then came the "Limehouse Nights" of Thomas Burke, and James Stephens' "Hunger." Both go back to "Tales of Mean Streets" as plainly as vers libre goes back to Mother Goose.
H.L. Mencken.
Baltimore, 1918.
Warning! Mature Contents! ***Excerpt*** "You belong to me, Sheila. I alone am capable of making you feel this way. Your moans and body belong to me. Your soul and your body are all mine!" *** Alpha Killian Reid, the most dreaded Alpha in all of the North, wealthy, powerful and widely feared in the supernatural world, was the envy of all other packs. He was thought to have it all... power, fame, wealth and favour from the moon goddess, little was it known to his rivals that he has been under a curse, which has been kept a secret for so many years, and only the one with the gift of the moon goddess can lift the curse. Sheila, the daughter of Alpha Lucius who was an arch enemy to Killian, had grown up with so much hatred, detest and maltreatment from her father. She was the fated mate to Alpha Killian. He refused to reject her, yet he loathed her and treated her poorly, because he was in love with another woman, Thea. But one of these two women was the cure to his curse, while the other was an enemy within. How would he find out? Let's find out in this heart racing piece, filled with suspense, steamy romance and betrayal.
Rumors claimed that Fernanda, newly back with her family, was nothing more than a violent country bumpkin. Fernanda just flashed a casual, dismissive grin in response. Another rumor suggested that the usually rational Cristian had lost all sense, madly in love with Fernanda. This frustrated her. She could tolerate gossip about herself, but slander against her beloved crossed the line! Gradually, as Fernanda's multiple identities as a celebrated designer, a savvy gamer, an acclaimed painter, and a successful business magnate came to light, everyone realized they were the ones who had been fooled.
Melanie married Ashton out of gratitude, but she quickly found herself entangled in a web of relentless challenges. Despite these struggles, she stayed true to her commitment to the marriage. In the hospital room, Ashton indifferently attempted to draw her blood, disregarding her discomfort. This callous act was a harsh revelation for Melanie, awakening her to the grim reality of their relationship. Resolved to prioritize her own welfare, she decided to sever ties. With newfound resolve, Melanie filed for divorce. In the process, she unveiled her concealed identities, leaving everyone in shock. Throughout these turbulent times, Melanie realized that Derek, Ashton’s uncle, had been discreetly protecting her all along.
For as long as Emily can remember, she has wanted to overcome her shyness and explore her sexuality. Still, everything changes when she receives an invitation to visit one of the town's most prestigious BDSM clubs, DESIRE'S DEN. On the day she chose to peruse the club, she noticed three men, all dressed in suits, standing on the upper level, near the railing. Despite her limited vision, she persisted in fixating on them. Their towering statues belied the toned bodies concealed by their sharply tailored suits-or so she could tell. The hair of two of them was short and dark, and the third had light brown-possibly blond-hair that reached the shoulders. The dark, crimson background incised their figures, exuding an air of mystery and strength. They stood in stark contrast to the unfiltered, primal energy that pulsed through the club. Shocked by the desires these men aroused in her, she was disappointed to learn that they were masters seeking a slave to divide and conquer. She couldn't afford the fee, and she also realized that they were outside her league. Emily hurriedly left the club, feeling disappointed and depressed, unaware that she had also caught the group's attention. A world of wicked pleasure, three handsome men. Over the years, they have lived a life of decadence, their lavish lair serving as a stage for their most sinister desires. But despite the unending parade of willing subjects, one woman sticks out. A mysterious stranger with white porcelain skin and a killer body, a slave, a name with no address, the first lady to attract their eye and they will go to any length to obtain her no matter the consequences.
June Rivera was divorced by her husband after three years of marriage because he wanted to be with her sister who was pregnant for him. Kicked to the curb with a divorce and rejected by her parents,she struggles to make ends meet and get a job until she saves Luis Ambrose from an accident - the only child of Rafael Ambrose, a widowed man and the CEO of Ambrose Corporation. When little Luis asks to have her as a nanny, and Rafael's mother pressures him to get married, they draw a contract. To be Luis's nanny and his fake wife for one year in exchange for 50 million dollars!
Rosalynn's marriage to Brian wasn't what she envisioned it to be. Her husband, Brian, barely came home. He avoided her like a plague. Worse still, he was always in the news for dating numerous celebrities. Rosalynn persevered until she couldn't take it anymore. She upped and left after filing for a divorce. Everything changed days later. Brian took interest in a designer that worked for his company anonymously. From her profile, he could tell that she was brilliant and dazzling. He pulled the stops to find out her true identity. Little did he know that he was going to receive the greatest shocker of his life. Brian bit his finger with regret when he recalled his past actions and the woman he foolishly let go.