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The Collected Works of Ambrose Bierce, Volume 8 by Ambrose Bierce
The Collected Works of Ambrose Bierce, Volume 8 by Ambrose Bierce
It is deserving of remark and censure that American literature is become shockingly moral. There is not a doubt of it; our writers, if accused, would make explicit confession that morality is their only fault-morality in the strict and specific sense. Far be it from me to disparage and belittle this decent tendency to ignore the largest side of human nature, and liveliest element of literary interest. It has an eminence of its own; if it is not great art, it is at least great folly-a superior sort of folly to which none of the masters of letters has ever attained.
Not Shakspeare, nor Cervantes, nor Goethe, nor Molière, nor-no, not even Rabelais-ever achieved that shining pinnacle of propriety to which the latter-day American has aspired, by turning his back upon nature's broad and fruitful levels and his eyes upon the passionate altitudes where, throned upon congenial ice, Miss Nancy sits to censure letters, putting the Muses into petticoats and affixing a fig-leaf upon Truth. Ours are an age and country of expurgated editions, emasculated art, and social customs that look over the top of a fan.
Lo! prude-eyed Primdimity, mother of Gush,
Sex-conscious, invoking the difficult blush;
At vices that plague us and sins that beset
Sternly directing her private lorgnette,
Whose lenses, self-searching instinctive for sin,
Make image without of the fancies within.
Itself, if examined, would show us, alas!
A tiny transparency (French) on each glass.
Now, prudery in letters, if it would but have the goodness not to coexist with prudery in life, might be suffered with easy fortitude, inasmuch as one needs not read what one does not like; and between the license of the dear old bucks above mentioned, and the severities of Miss Nancy Howells, and Miss Nancy James, Jr., of t'other school, there is latitude for gratification of individual taste. But it occurs that a literature rather accurately reflects all the virtues and other vices of its period and country, and its tendencies are but the matchings of thought with action. Hence, we may reasonably expect to find-and indubitably shall find-certain well-marked correspondences between the literary faults which it pleases our writers to commit and the social crimes which it pleases the Adversary to see their readers commit. Within the current lustrum the prudery which had already, for some seasons, been achieving a vinegar-visaged and corkscrew-curled certain age in letters, has invaded the ball-room, and is infesting it in quantity. Supportable, because evitable, in letters, it is here, for the contrary reason, insufferable; for one must dance and enjoy one's self whether one like it or not. Pleasure, I take it, is a duty not to be shirked at the command of disinclination. Youth, following the bent of inherited instinct, and loyally conforming himself to the centuries, must shake a leg in the dance, and Age, from emulation and habit, and for denial of rheumatic incapacity, must occasionally twist his heel though he twist it off in the performance. Dance we must, and dance we shall; that is settled; the question of magnitude is, Shall we caper jocundly with the good grace of an easy conscience, or submit to shuffle half-heartedly with a sense of shame, wincing under the slow stroke of our own rebuking eye? To this momentous question let us now intelligently address our minds, sacredly pledged, as becomes lovers of truth, to its determination in the manner most agreeable to our desires; and if, in pursuance of this laudable design, we have the unhappiness to bother the bunions decorating the all-pervading feet of the good people whose deprecations are voiced in The Dance of Death and the clamatory literature of which that blessed volume was the honored parent, upon their own corns be it; they should not have obtruded these eminences
when youth and pleasure meet
To chase the glowing hours with flying feet.
What, therefore, whence, and likewise why, is dancing? From what flower of nature, fertilized by what pollen of circumstance or necessity, is it the fruit? Let us go to the root of the matter.
* * *
The Shadow On The Dial, and Other Essays by Ambrose Bierce
Ambrose Bierce was an American writer who is best known for his realism. Often compared to Poe for the dark, realistic nature of his short stories, Bierce drew upon his Civil War experience as a soldier to write on a wide variety of subjects, and stories like An Occurrence at Owl Creek Bridge are still widely read.
Ambrose Bierce was an American writer who is best known for his realism. Often compared to Poe for the dark, realistic nature of his short stories, Bierce drew upon his Civil War experience as a soldier to write on a wide variety of subjects, and stories like An Occurrence at Owl Creek Bridge are still widely read.
Though he is today best remembered for his acerbic satire, American writer Ambrose Bierce had a surprisingly broad range as a writer. Black Beetles in Amber is a collection of Bierce's poetry, which ranges from humorous verse to hauntingly tender lyrics.
Ambrose Gwinnett Bierce (1842-1914) was an American editorialist, journalist, short-story writer and satirist, today best known for his The Devil's Dictionary (1911). He wrote some of his books under the pseudonyms Dod Grile and J. Milton Sloluck. Bierce's lucid, unsentimental style has kept him popular when many of his contemporaries have been consigned to oblivion. His dark, sardonic views and vehemence as a critic earned him the nickname, "Bitter Bierce." Such was his reputation that it was said his judgment on any piece of prose or poetry could make or break a writer's career. His short stories are considered among the best of the 19th century, providing a popular following based on his roots. He wrote realistically of the terrible things he had seen in the war in such stories as An Occurrence at Owl Creek Bridge, Killed at Resaca, and Chickamauga. His works include: The Fiend's Delight (1873), Cobwebs from an Empty Skull (1874), Black Beetles in Amber (1892), Fantastic Fables (1899), Shapes of Clay (1903), A Son of the Gods, and A Horseman in the Sky (1907), Write It Right (1909) and A Cynic Looks at Life (1912).
Rumors said that Lucas married an unattractive woman with no background. In the three years they were together, he remained cold and distant to Belinda, who endured in silence. Her love for him forced her to sacrifice her self-worth and her dreams. When Lucas' true love reappeared, Belinda realized that their marriage was a sham from the start, a ploy to save another woman's life. She signed the divorce papers and left. Three years later, Belinda returned as a surgical prodigy and a maestro of the piano. Lost in regret, Lucas chased her in the rain and held her tightly. "You are mine, Belinda."
There was only one man in Raegan's heart, and it was Mitchel. In the second year of her marriage to him, she got pregnant. Raegan's joy knew no bounds. But before she could break the news to her husband, he served her divorce papers because he wanted to marry his first love. After an accident, Raegan lay in the pool of her own blood and called out to Mitchel for help. Unfortunately, he left with his first love in his arms. Raegan escaped death by the whiskers. Afterward, she decided to get her life back on track. Her name was everywhere years later. Mitchel became very uncomfortable. For some reason, he began to miss her. His heart ached when he saw her all smiles with another man. He crashed her wedding and fell to his knees while she was at the altar. With bloodshot eyes, he queried, "I thought you said your love for me is unbreakable? How come you are getting married to someone else? Come back to me!"
Hazel Queen had loved her husband with all her heart for three years. But the one thing she never saw coming was the cold, shocking truth: he wanted a divorce because his mistress was pregnant. Heartbroken and betrayed, Hazel decides to move on and returns to Queen Corp, where she steps into her true role as the powerful female president, worth hundreds of millions. This revelation shocks her ex-husband, Damon Price, who never knew that the woman he left behind was the mastermind behind the famous Queen Corp-the Heiress of the Queen family, who had supposedly died in a fire three years ago.
My world revolved around Jax Harding, my older brother's captivating rockstar friend. From sixteen, I adored him; at eighteen, I clung to his casual promise: "When you're 22, maybe I'll settle down." That offhand comment became my life's beacon, guiding every choice, meticulously planning my twenty-second birthday as our destiny. But on that pivotal day in a Lower East Side bar, clutching my gift, my dream exploded. I overheard Jax' s cold voice: "Can't believe Savvy's showing up. She' s still hung up on that stupid thing I said." Then the crushing plot: "We' re gonna tell Savvy I' m engaged to Chloe, maybe even hint she' s pregnant. That should scare her off." My gift, my future, slipped from my numb fingers. I fled into the cold New York rain, devastated by betrayal. Later, Jax introduced Chloe as his "fiancée" while his bandmates mocked my "adorable crush"-he did nothing. As an art installation fell, he saved Chloe, abandoning me to severe injury. In the hospital, he came for "damage control," then shockingly shoved me into a fountain, leaving me to bleed, calling me a "jealous psycho." How could the man I loved, who once saved me, become this cruel and publicly humiliate me? Why was my devotion seen as an annoyance to be brutally extinguished with lies and assault? Was I just a problem, my loyalty met with hatred? I would not be his victim. Injured and betrayed, I made an unshakeable vow: I was done. I blocked his number and everyone connected to him, severing ties. This was not an escape; this was my rebirth. Florence awaited, a new life on my terms, unburdened by broken promises.
Aria Wilson agrees to her step- sister offers to have a one night stand with an old man interchange for large amounts. It will be use for his brother's operation. What they don't know is the man she had sex with is turned out to be Jake Thomson! The most powerful man in Golden City, a multi-billionaire. Her step- sister Ayah, pretended that she is the one he was with that night so she is the on who gained wealth. Aria got pregnant and walked away but after five years she came back and her children...
"Always." That was the pact. Ava, Ethan, and Jax had their entire future mapped out: University of California, Westwood, together, a perfect, unbreakable trio. Then Chloe Evans arrived. Sweet, charming, and seemingly innocent, she systematically dismantled Ava's life-from subtly stealing credit for her work to "accidentally" wearing Ava' s prom dress and grandmother's heirloom necklace. Ethan and Jax, Ava's childhood best friends, not only stood by but actively defended Chloe, constantly dismissing Ava's pain and valid concerns. "Don't be so dramatic, Ava," became their infuriating mantra. The final betrayal came at a bonfire when Chloe feigned a "trip" and intentionally seared Ava's face with a burning marshmallow. Yet, still, Ethan and Jax rushed to Chloe's side, pleading, "It was an accident! Forgive her, for our sakes!" Ava's heart turned to ice. This wasn't merely a physical burn; it was the searing truth of their blindness, their utter betrayal. They chose Chloe, every single time. Their "always" was a bitter, self-serving lie. Lying in that hospital bed, the sting of the burn a stark reminder, Ava made her choice. She closed the UCW application, opened a new tab, and clicked "Submit" on Yale. This wasn't just a school; it was an escape. She was charting a new path, alone and finally free.
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