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This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. 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 the original work.
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.
But you turn, instead, into the quiet, narrow way which a lover of Creole antiquity, in fondness for a romantic past, is still prone to call the Rue Royale. You will pass a few restaurants, a few auction rooms, a few furniture warehouses, and will hardly realize that you have left behind you the activity and clatter of a city of merchants before you find yourself in a region of architectural decrepitude, where an ancient and foreign-seeming domestic life, in second stories, overhangs the ruins of a former commercial prosperity, and upon everything has settled down a long Sabbath of decay. The vehicles in the street are few in number, and are merely passing through; the stores are shrunken into shops; you see here and there, like a patch of bright mould, the stall of that significant fungus, the Chinaman. Many great doors are shut and clamped and grown gray with cobweb; many street windows are nailed up; half the balconies are begrimed and rust-eaten, and many of the humid arches and alleys which characterize the older Franco-Spanish piles of stuccoed brick betray a squalor almost oriental.
Yet beauty lingers here. To say nothing of the picturesque, sometimes you get sight of comfort, sometimes of opulence, through the unlatched wicket in some porte-cochère-red-painted brick pavement, foliage of dark palm or pale banana, marble or granite masonry and blooming parterres; or through a chink between some pair of heavy batten window-shutters, opened with an almost reptile wariness, your eye gets a glimpse of lace and brocade upholstery, silver and bronze, and much similar rich antiquity.
The faces of the inmates are in keeping; of the passengers in the street a sad proportion are dingy and shabby; but just when these are putting you off your guard, there will pass you a woman-more likely two or three-of patrician beauty.
Now, if you will go far enough down this old street, you will see, as you approach its intersection with--. Names in that region elude one like ghosts.
However, as you begin to find the way a trifle more open, you will not fail to notice on the right-hand side, about midway of the square, a small, low, brick house of a story and a half, set out upon the sidewalk, as weather-beaten and mute as an aged beggar fallen asleep. Its corrugated roof of dull red tiles, sloping down toward you with an inward curve, is overgrown with weeds, and in the fall of the year is gay with the yellow plumes of the golden-rod. You can almost touch with your cane the low edge of the broad, overhanging eaves. The batten shutters at door and window, with hinges like those of a postern, are shut with a grip that makes one's knuckles and nails feel lacerated. Save in the brick-work itself there is not a cranny. You would say the house has the lock-jaw. There are two doors, and to each a single chipped and battered marble step. Continuing on down the sidewalk, on a line with the house, is a garden masked from view by a high, close board-fence. You may see the tops of its fruit-trees-pomegranate, peach, banana, fig, pear, and particularly one large orange, close by the fence, that must be very old.
The residents over the narrow way, who live in a three-story house, originally of much pretension, but from whose front door hard times have removed almost all vestiges of paint, will tell you:
"Yass, de 'ouse is in'abit; 'tis live in."
And this is likely to be all the information you get-not that they would not tell, but they cannot grasp the idea that you wish to know-until, possibly, just as you are turning to depart, your informant, in a single word and with the most evident non-appreciation of its value, drops the simple key to the whole matter:
"Dey's quadroons."
He may then be aroused to mention the better appearance of the place in former years, when the houses of this region generally stood farther apart, and that garden comprised the whole square.
Here dwelt, sixty years ago and more, one Delphine Carraze; or, as she was commonly designated by the few who knew her, Madame Delphine. That she owned her home, and that it had been given her by the then deceased companion of her days of beauty, were facts so generally admitted as to be, even as far back as that sixty years ago, no longer a subject of gossip. She was never pointed out by the denizens of the quarter as a character, nor her house as a "feature." It would have passed all Creole powers of guessing to divine what you could find worthy of inquiry concerning a retired quadroon woman; and not the least puzzled of all would have been the timid and restive Madame Delphine herself.
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This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. 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 the original work.
Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
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.
George Washington Cable 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."
Set in sultry New Orleans during the Civil War, Kincaid's Battery tells the story of a Confederate army artillery unit, Hilary Kincaid's Battery—or “the ladies' men," as they are more teasingly known. The men's various romances with the women of the Big Easy, among other adventures, examine themes of hope, peace, and the nature of war.
The whispers said that out of bitter jealousy, Hadley shoved Eric's beloved down the stairs, robbing the unborn child of life. To avenge, Eric forced Hadley abroad and completely cut her off. Years later, she reemerged, and they felt like strangers. When they met again, she was the nightclub's star, with men ready to pay fortunes just to glimpse her elusive performance. Unable to contain himself, Eric blocked her path, asking, "Is this truly how you earn a living now? Why not come back to me?" Hadley's lips curved faintly. "If you’re eager to see me, you’d better join the queue, darling."
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.
"I've warned you from the beginning. Don't marry him, but you won't listen." She stood close to me and smiled with concern. "You are not a woman worthy of a man as handsome, rich, smart, and virile as Blaze." My whole body trembled at her words. "Have you no shame?" I asked in a quivering voice. "Take a good look at yourself, Heather." She looked at me in the mirror. "You can't even look at your ugly face. Do you think Blaze can endure a lifetime of looking at that face?" Heather Bailey had a surprise from her husband that night: a divorce agreement. After a year of marriage and facing ups and downs, she couldn't believe Blaze intended to divorce her. But she was devastated when she saw him gazing lovingly at another woman because that person was closest to her. Shortly after she put her signature on their divorce papers, shock waves caught her up. Her flower shop was severely burnt, beyond repair. Her father's company collapsed, and her parents blamed her. She struggled to rebuild her life from the ground up and became more successful than ever. Having many customers who came from influential families, she started her action against Blaze. She won the very thing he wanted. But that was just the beginning.
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."
Corinne devoted three years of her life to her boyfriend, only for it to all go to waste. He saw her as nothing more than a country bumpkin and left her at the altar to be with his true love. After getting jilted, Corinne reclaimed her identity as the granddaughter of the town’s richest man, inherited a billion-dollar fortune, and ultimately rose to the top. But her success attracted the envy of others, and people constantly tried to bring her down. As she dealt with these troublemakers one by one, Mr. Hopkins, notorious for his ruthlessness, stood by and cheered her on. “Way to go, honey!”
Natalie used to think she could melt Connor’s icy heart, but she was sorely mistaken. When at last she decided to leave, she discovered that she was pregnant. Even so, she chose to quietly leave his world, prompting Connor to mobilize all of his resources and expand his business to a global scale—all in a bid to find her. But there was no trace of Natalie. Connor slowly spiraled into madness, turning the city upside down and leaving chaos in his wake. Natalie finally surfaced years later, with wealth and power of her own, only to find herself entangled with Connor once again.