Showing results for "Story Street" in Classics

Herman Melville’s tale of corporate discontent, Bartleby, the Scrivener, tells the story of a quiet, hardworking legal copyist who works in an office in the Wall Street area of New York City. The business where he works handles the official financial paperwork of wealthy men. One day, Bartleby’s employer requests he proofread one of the documents he has copied. Bartleby declines the assignment with the inscrutable “I would prefer not,” the first of what will become many refusals.

Originally published pseudonymously in 1893, Maggie: A Girl of the Streets follows the tragic tale of Maggie and her life in the harsh streets and tenements of the New York City Bowery district. Initially rejected by publishers for being viewed as too brutal and accurate in its descriptions of poverty and female sexuality, Stephen Crane published the work at his own expense. In Maggie's struggle to find love, acceptance, and economic security, Crane creates a portrait which mirrors the struggle of all the women of America at the end of the 19th century.

Have you ever heard the story of the old Street Lamp? It's really not very amusing, but you might listen to it for once. - It was such an honest lamp, which had done its duty for many, many years and which was now going to be discarded. It was the last evening it hung on its post and gave light to the street beneath it. The Lamp felt like an old ballet dancer who is performing for the last time and who knows that tomorrow she will be in a cold garret.

Here are short stories by the incomparable Virginia Woolf, including the story that was the original basis for the novel Mrs. Dalloway.

First published in 1893, Maggie: A Girl of the Streets is the first published fiction work of American author Stephen Crane. A harrowing depiction of a pretty young girl's life in the slums of turn-of-the-century New York City and her eventual decline into prostitution, Crane's novel is a starkly realistic examination of poverty and the challenges brought about by the rapid industrialization the United States underwent in the late 1800s.

With the same vigor he brought to examining man's relationship with nature (and himself) in Moby Dick, Herman Melville turns inward in this deeply textured novella of an unknowable soul, his effect on those who encounter him, and how little we really understand about our fellow creatures. Melville's deft touch in dialogue and description evoke a Wall Street of another age, but lay bare ageless and difficult truths about being. To hear this timeless tale, and to return to it, is to be enriched and prodded at the same time.

In Manhattan, an elderly lawyer's business is growing. Having two scriveners in his employ, the lawyer advertises for a third to meet demand. Enter Bartleby, a glum albeit quality scrivener. However, the lawyer quickly discovers that something is off with his new employee. When asked to perform any duties outside of writing, Bartleby responds with a canned "I would prefer not to." Soon Bartleby is living at the office and performing less and less at work.

This classic story of a New York lawyer and his oddly rebellious clerk is as relevant today as when it was first published in 1853. Herman Melville brings us into a small Wall Street law office and introduces us to the lawyer and his quirky staff, the quirkiest of whom is poor, quiet Bartleby, whose increasing refusals to participate in office procedures lead to increasingly bewildering and tragic consequences.

William Collins Books and Decca Records are proud to present ARGO Classics, a historic catalogue of classic fiction read by some of the world’s most renowned voices. Originally released as vinyl records, these expertly remastered stories are now available to download for the first time. This...

Almost always when we think of Ghost Stories, we first think of those written by the Victorians. When you consider the depth of literary talent available over the extraordinary length of Queen Victoria’s reign, allied to the fascination with their all things spiritual on ‘the other side’, then perhaps it’s simply right place, right time. Whatever the reasons given or proffered the reality and known facts are that if you want a really good ghost story to bring that edge of chill, that foreboding of dread, then look no further than ‘The Victorian Ghost Story’ for your listening pleasure.

From The King in Yellow, by Robert W. Chambers, and set in the Latin Quarter of Paris, artist Jack Trent lives with his model Sylvia. The story takes place during the Seige of Paris in 1870, ending with the Germans shelling the Latin Quarter, and Trent arriving home to see a child scrawling "Here fell the first shell".

From The King in Yellow, this tale narrated by Mark Alexander begins: "The street is not fashionable, neither is it shabby. It is a pariah among streets - a street without a Quarter. It is generally understood to lie outside the pale of the aristocratic Avenue de l'Observatoire. The students of the Montparnasse Quarter consider it swell and will have none of it. The Latin Quarter, from the Luxembourg, its northern frontier, sneers at its respectability and regards with disfavour the correctly costumed students who haunt it. Few strangers go into it."

Un avvocato, il suo studio, i suoi due impiegati, un giovanissimo fattorino, e infine l'arrivo di un terzo impiegato, pallido, scialbo in modo singolare: Bartleby. Bartleby si presenta come un impiegato modello, il primo ad arrivare e l'ultimo ad andare via (apparentemente), ligio al dovere, praticamente alieno ad ogni sorta di distrazione; copia gli atti legali. Sembra non fare altro. Sembra non volere fare altro. Sembra non amare fare altro. Forse non sa fare altro? Bartleby è "un'eterna sentinella nel suo angolo".

This short story from The King in Yellow, by Robert W. Chambers, skilfully narrated by Mark Turetsky, concerns an artist, Severn, who lives alone in the Latin Quarter of Paris who befriends a stray cat. Not an ordinary cat, but a pampered cat with a mysterious and lovely owner.