Literature audiobooks page 20
Elnora Comstock is a sixteen year old girl who lives on the edge of the famous Limberlost swamp in Indiana. Her widowed mother is a cold and bitter woman who deprives Elnora of all that a young girl's heart desires. The mother lives in a fog of depression caused by Elnora's father's tragic death on the night Elnora was born. She ekes out a living from a small poultry business, but refuses to exploit the resources of the forest land around her like the rest of their neighbors. Elnora is a brilliant student, but financial problems hinder her from continuing her education. She begins to catch moths from the swamp to sell to collectors and slowly resumes her studies. How Elnora and her mo...
Just a few days after the wedding, various incidents lead Valeria to suspect her husband is hiding a dark secret in his past and she discovers that he has been using a false name. He refuses to discuss it leading them to curtail their honeymoon and return to London where Valeria learns that he was on trial for his first wife's murder by arsenic. He was tried in a Scottish court and the verdict was 'Not Proven' rather than 'not guilty' implying his guilt but without enough proof for a jury to convict him.
Valeria sets out to save their...
Warni...
George Sand (the pen name of Amantine-Lucile-Aurore Dupin 1804-1876) is famous for flaunting the conventions of behavour expected of women of her standing in France at the time and for her numerous romantic liaisons including her long standing affair with Frédéric Chopin. The Devil’s Pool (published in 1846 as La Mare au Diable) is one of several short pastoral novels drawn from her childhood experiences in the rural French region of Berri. It tells the story of a young widower, Germain, who, at the insistence of his father-in-law, sets out to remarry so that he will have someone to help raise his three young children.
Summary written by the reader.
Consumers of biography are familiar with the division between memoirs of the living or recently dead written by those who “knew” the subject more or less intimately, and the more objective or scholarly accounts produced by later generations.
In the case of Wilde, as presented to us by Frank Harris, we are in a way doubly estranged from the subject. We meet with Oscar the charismatic talker, whose tone of voice can never be reproduced – even if a more scrupulous biographer had set down his words accurately – and we are perhaps already aware of him as Wilde the self-destructive celebrity who uneasily fills the place of the premier gay icon and martyr in our contemporary view.