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.
In order to fulfill her grandfather's last wish, Stella entered into a hasty marriage with an ordinary man she had never met before. However, even after becoming husband and wife on paper, they each led separate lives, barely crossing paths. A year later, Stella returned to Seamarsh City, hoping to finally meet her mysterious husband. To her astonishment, he sent her a text message, unexpectedly pleading for a divorce without ever having met her in person. Gritting her teeth, Stella replied, "So be it. Let’s get a divorce!" Following that, Stella made a bold move and joined the Prosperity Group, where she became a public relations officer that worked directly for the company’s CEO, Matthew. The handsome and enigmatic CEO was already bound in matrimony, and was known to be unwaveringly devoted to his wife in private. Unbeknownst to Stella, her mysterious husband was actually her boss, in his alternate identity! Determined to focus on her career, Stella deliberately kept her distance from the CEO, although she couldn't help but notice his deliberate attempts to get close to her. As time went on, her elusive husband had a change of heart. He suddenly refused to proceed with the divorce. When would his alternate identity be uncovered? Amidst a tumultuous blend of deception and profound love, what destiny awaited them?
It was supposed to be a marriage of convenience, but Carrie made the mistake of falling in love with Kristopher. When the time came that she needed him the most, her husband was in the company of another woman. Enough was enough. Carrie chose to divorce Kristopher and move on with her life. Only when she left did Kristopher realize how important she was to him. In the face of his ex-wife’s countless admirers, Kristopher offered her 20 million dollars and proposed a new deal. “Let’s get married again.”
"Never let anyone treat you like shit!" I learned that the hard way. For three years, I lived with my in-laws. They didn't treat me as their son-in-law but as a slave. I put up with everything because of my wife, Yolanda Lambert. She was the light of my life. Unfortunately, my whole world came crashing down the day I caught my wife cheating on me. I have never been so heartbroken. To have my revenge, I revealed my true identity. I was none other than Liam Hoffman—the heir of a family with trillions of dollars in assets! The Lamberts were utterly shocked after the big reveal. They realized what fools they had been for treating me like trash. My wife even knelt down and begged for my forgiveness. What do you think I did? Did I take her back or made her suffer? Find out!
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.
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!
After a painful breakup with her boyfriend of two years who coldly told her to her face that he couldn't keep dating her because she was too uptight--In a moment of anger and defiance, Anna decided to throw caution to the wind for one reckless night. She headed to the wildest club in Texas, determined to lose herself in the chaos. But fate had other plans. To her shock, she ran into her ex-boyfriend at the club. Desperate to save face, she made a split-second decision and approached a stranger, pretending he was her new boyfriend. What she never anticipated was the magnetic pull she would feel towards him or the fact that she'd end up going home with this mystery man. Soon enough, the real surprise hit her--this stranger wasn't just anyone; he was her new boss. What begins as a night of rebellion spirals into a whirlwind of forbidden attraction, societal pressure and hidden affairs. And now there are so many things at stake. Find out how this story unfolds.