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A JOURNEY THROUGH CANADA'S FORGOTTEN, NEGLECTED AND SUPPRESSED WRITING
Wives who wish their husbands to fall asleep at a reasonable hour should not allow them to take this title to bed; it is one of the 'to be read at a sitting' variety, and liable to bring about marital crisis.Started in bed, moved to an armchair and ended up on the living room couch. I fell asleep several times. All in all it was very disappointing. I'm ashamed to say I paid for it.
– Bruce Graeme, jacket copy for The House in Brook Street
"What'll you do now? Go back to England, I suppose?"George isn't what you'd call a man of action, which may explain why he's never responded to G-Gal Norma Jean Travers' flirtations. A week after V-J Day she tries one last time, sitting on the corner of his desk, "one nylon leg crossed over the other," before giving up and seeing George off on the train that will take him to New York, the Queen Mary and, eventually, dear old London.
"I suppose."
"The Place Piguelle!" I said."That's a hell of a place to meet anybody."After that particular ambush, George forgets to retrieve the gun that was knocked from his hand.
"I know," she said, "but we've got go to a house near there. I'll explain when I meet you."
"All right," I said. "I'll take your word for it. See you at eight."
I once read in a book that one of the chief requirements of a novel was that it should have Dramatic Unity. Well, I suppose that in a piece of fiction you can organize things so that the action is smooth-flowing and that the bits and pieces all fuse together in a nice, complete whole.
My trouble is that I've got to set the facts down just as they happened (and anyway I'm a policeman, not a writer). So I've got to ruin the Dramatic Unity of the story by skipping three weeks or so. Why? Well, simply because the whole case came to a complete standstill.
It was so obvious that the only excuse which I can make for not seeing it before is that I had a lot of things on my mind.Trivia: The House in Brook Street follows Jane Layhew's Rx for Murder as the second novel read in five months to feature "nigger in the woodpile", an expression I swear I'd never before encountered.
"We is pullin' out ob dis bay in two minutes, sah." He was looking at me curiously.Object and Access: A compact 224 pages in rose-coloured boards. The cover illustration is uncredited. Excited by the opening scenes of Cocking's Die With Me, Lady, in 2012 I purchased my copy for £35 from a bookseller in Winterton, Lincolnshire. The pages were uncut.
I looked around. Miraculously, my bags were packed and ready.
"That's fine," I said, "thanks a lot." I gave him five dollars and his shining black face split in a huge grin.
"I – oh, doctor, please. You've got to help me."Words of a woman who by all appearances has always had it together to a woman whose life is in chaos. It's an interesting part of the novel in that there is a subtle implication that Charlotte does indeed perform abortions, but is trying to be cautious. The first mystery here is just how Violet, a girl from Ashley, Oregon, ended up in her Southern California office. Charlotte is trying to get at the answer when Lewis phones and Violet bolts.
"I'm sorry I can't, not in the way you mean."
The girl let out a cry of despair. "I thought – I thought being you was a woman like me – being you –"
"I'm sorry," Charlotte said again.
"What can I do? What can I do with this – this thing growing inside of me, growing and growing, and me with no money and no job and no husband. Oh, God, I wish I was dead!" She struck her thighs with both fists. "I'll kill myself!"
"You can't, Violet. Stop now and be sensible."
The Pittsburgh Press, 24 October 1921 Illustration by James Montgomery Flagg |
Publishers Weekly, 28 May 1921 |
A worthy dog fight. Pale Peter's bulldog was concerned, being the aggrieved party to the dispute; and the other dog, the aggressor, was Billy the Beast from the Cant-hook cutting, a surly lumber-jack, who, being at the same time drunk, savage and hungry, had seized upon the bulldog's bone, in expectation of gnawing it himself. It was a fight to be remembered, too: the growls of man and beast, the dusty, yelping scramble in the street, the howls of the spectators, the blood and snapping, and the indecent issue, wherein Billy the Beast from the Cant-hook cutting sent the bulldog yelping to cover with a broken rib, and himself, staggering out of sight, with lacerated hands, gnawed at the bone as he went.And so, Fairmeadow adopts Swamp's End as the home base from which he ventures out preaching to lumber camps.
When the joyous excitement had somewhat subsided, John Fairmeadow, now returned from the Big Rapids trail, laid off his pack.
"Boys," said he, "I'm looking for the worst town this side of hell. Have I got there?"
"You're what?" Gingerbread Jenkins ejaculated.
"I'm looking," John Fairmeadow drawled, "for the worst town this side of hell. Is this it?"
"Swamp's End, my friend," said Gingerbread Jenkins, gravely, " is your station."
"Keep back, boys!" an old Irishman yelled, catching up a peavy-pole. Give the Pilot a show! Keep out o' this or I'll brain ye!"Here it is again in The Measure of a Man:
The Sky Pilot caught the Frenchman about the waist – flung him against a door – caught him again on the rebound – put him head foremost in a barrel of water – and absent-mindedly held him there until the old Irishman asked, softly, "Say, Pilot, ye ain't goin' t' drown him, are ye?"
"Keep back, boys!" an old Irishman screamed, catching up a peavy-pole. "Give the parson a show! Keep out o' this or I'll brain ye!"It's not all fisticuffs, mind. I admit to being moved by the death of young consumptive prostitute Liz:
Fairmeadow caught his big opponent about the waist – flung him against the door (the preacher was wisely no man for half measures) – caught him on the rebound – put him head fore-most in a barrel of water and absent-mindedly held him there until the old Irishman asked, softly, "Say, parson, ye ain't goin' t' drown him, are ye?"
"Am I dyin'. Pilot?" she asked.
"Yes, my girl," he answered.
"Dyin' – now?"
Higgins said again that she was dying; and little Liz was dreadfully frightened then – and began to sob for her mother with all her heart.
– Higgins: A Man's Christian
"Am I dyin', parson?" little Liz asked.Gets me every time.
"Yes, my girl."
"Dyin'?"
" Yes, my girl."
"Now?" little Liz exclaimed. "Dyin' – now?"
" Mother!" little Liz moaned. "Oh, mother!"
– The Measure of a Man
Dim, stifling lodging-houses, ill-lit cellar drinking-places, thieves' resorts, wet saloon-bars, back alleys, garbage pails, slop-shops, pawn-brokers' wickets, the shadowy arches of the Bridge, deserted stable yards, a multitude of wrecked men, dirt, rags, blasphemy, darkness: John Fairmeadow's world had been a fantastic and ghastly confusion of these things. The world was without love: it was besotted. Faces vanished: ragged forms shuffled out of sight for the last time.Fairmeadow has been thrown out of aptly-named Solomon's Cellar – as low as you can go – and looks about to die when he is saved by Jerry McAulay's Water Street Mission.
Doctor Luke has often been mistaken for Doctor Wilfred Grenfell of the Deep Sea Mission. That should not be. No incident in this book is a transcript from Doctor Grenfell's long and heroic service.Duncan had written those words seven months earlier. With the author dead and buried, and the Christmas season approaching, publisher Revell abandoned the script:
Boys' Life, December 1916 |
The Dusty Bookcase:A Journey Through Canada'sForgotten, Neglected, and Suppressed Writing