Charwomans Daughter
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Author | : James Stephens |
Publisher | : DigiCat |
Total Pages | : 126 |
Release | : 2022-11-22 |
Genre | : Fiction |
ISBN | : |
This is a coming-of-age novel, set in Dublin, and tells the story of Mary Makebelieve. Mary Makebelieve lives with her mother, who is a charwoman, in a one-room tenement flat. While her mother goes out to work every day, Mary wanders the city, observing. This city comes alive in Mary's eyes painting a picture of both domestic and urban life. As she turns 16, she becomes aware of her body changing into a woman's and she is also becoming aware of men. She admires and fears a police officer who takes an interest in her.
Author | : James Stephens |
Publisher | : |
Total Pages | : 246 |
Release | : 1912 |
Genre | : Fiction |
ISBN | : |
Author | : James Stephens |
Publisher | : Wildside Press LLC |
Total Pages | : 126 |
Release | : 2008-04-01 |
Genre | : Fiction |
ISBN | : 1434466140 |
James Stephens (1882-1950) was an Irish novelist and poet. Stephens wrote many retellings of Irish fairy tales. "The Charwoman's Daughter" originally appeared in 1912.
Author | : James Stephens |
Publisher | : Envins Press |
Total Pages | : 232 |
Release | : 2007-09 |
Genre | : Fiction |
ISBN | : 1406781096 |
MARY MAKEBELIEVE lived with her mother in a small room at the very top of a big, dingy house in a Dublin back street. As long as she could remember she had lived in that top back room. She knew every crack in the ceiling, and they were numerous and of of mildew on strange shapes. Every spot the ancient wall-paper was familiar. She had, indeed, watched the growth of most from a greyish shade to a dark stain, from a spot to a great blob, and the holes in the skirting of the walls, out of which at night time the cockroaches came rattling, she knew also. There was but one window in the room, and when she wished to look out of it she had to push the window up, because the grime of many years had so encrusted the glass that it was of no more than the demi-semi-transparency of thin horn. When she did look there was nothing to see but a bulky array of chimney-pots crowning a next-door house, and these continually hurled jays of soot against her window therefore, she did not care to look out often, for each time that she did so she was forced to wash herself, and as water had to be carried from the very bottom of the five -story house up hundreds and hundreds of stairs to her room, she disliked having to use too much water. Her mother seldom washed at all. She held that washing was very unhealthy and took the natural gloss off the face, and that, moreover, soap either tightened the skin or made it wrinkle. Her own face was very tight in some places and very loose in others, and Mary Makebelieve often thought that the tight places were spots which her mother used to wash when she was young, and the loose parts were those which had never been washed at all. She thought that she would prefer to be either loose all over her face or tight all over it, and, therefore, when she washed she did it thoroughly, and when she abstained she allowed of no compromise. Her mothers face was the colour of old, old ivory. Her nose was like a great strong beak, and on it the skin was stretched very tightly, so that her nose shone dully when the candle was lit. Her eyes were big and as black as pools of ink and as bright as the eyes of a bird. Her hair also was black, it was as smooth as the finest silk, and when unloosened it hung straightly down, shining about her ivory face. Her lips were thin and scarcely coloured at all, and her hands were sharp, quick hands, all seeming knuckle when she closed them and all fingers when they were opened again. Mary Makebelieve loved her mother very dearly, and her mother returned her affection with an overwhelming passion that sometimes surged into physically painful caresses. When her mother hugged her for any length of time she soon wept, rocking herself and her daughter to and fro, and her clutch became then so frantic that poor Mary Makebelieve found it difficult to draw her breath but she would not for the world have disturbed the career of her mothers love. Indeed, she found some pleasure in the fierceness of those caresses, and welcomed the pain far more than she reprobated it. Her mother went out early every morning to work, and seldom returned home until late at night. She was a charwoman, and her work was to scrub out rooms and wash down staircases. She also did cooking when she was asked, and needlework when she got any to do...
Author | : Edward John Moreton Drax Plunkett Baron Dunsany |
Publisher | : |
Total Pages | : 362 |
Release | : 1926 |
Genre | : English fiction |
ISBN | : |
An old woman who spends her days scrubbing the floors might be an unlikely damsel in distress, but Lord Dunsany proves once again his mastery of the fantastical. The Charwoman's Shadow is a beautiful tale of a sorcerer's apprentice who discovers his master's nefarious usage of stolen shadows, and vows to save the charwoman from her slavery.
Author | : |
Publisher | : BRILL |
Total Pages | : 180 |
Release | : 2022-05-20 |
Genre | : Literary Criticism |
ISBN | : 9004484957 |
Twentieth-century Irish fiction powerfully reflects the intensely political nature of the Irish experience for the last hundred years, and earlier. The essays in Troubled Histories, Troubled Fictions: Twentieth Century Anglo-Irish Prose focus upon the various ways in which the work of authors otherwise as diverse as James Joyce, James Stephens, Elizabeth Bowen, Molly Keane, Eimar O'Duffy, Jennifer Johnston, William Trevor, Julia O'Faolain, and a number of recent women writers, synchronizes with items that are, or were, high on the agenda of Irish politics. Discussion ranges from the political and ideological use to which Joyce puts etymology, sex, and early Irish history, the symbolical importance of the Big House, and the politics of sexuality in the immediate post-independence period, to representations of the recent Troubles.
Author | : Algernon Blackwood |
Publisher | : Books for Libraries |
Total Pages | : 572 |
Release | : 1912 |
Genre | : Fiction |
ISBN | : |
Author | : Joseph Mary Plunkett |
Publisher | : |
Total Pages | : 748 |
Release | : 1913 |
Genre | : English literature |
ISBN | : |
Author | : Lord Dunsany |
Publisher | : Open Road Media |
Total Pages | : 217 |
Release | : 2022-01-01 |
Genre | : Fiction |
ISBN | : 1504073002 |
A novel of duty and destiny from the pioneering fantasy author, the “inventor of a new mythology and weaver of surprising folklore” (H. P. Lovecraft). In Spain, Gonsalvo, the Lord of the Tower, is in a bind. His daughter is nearing her fifteenth year and should marry soon, yet she has no dowry. To cure the ills of his impoverished family, Gonsalvo turns to his son, Ramon Alonzo. He tells Ramon Alonzo the story of his grandfather, who is owed a favor by a magician. Now that the family is in dire need of money, Gonsalvo sends Ramon Alonzo to the forests beyond Aragona to meet the sorcerer and learn the secrets of the Black Art, in particular, the act of transmuting base metals into gold. Ramon Alonzo does as he is told. But he is warned by the magician’s charwoman that the wizard’s fees are too high to pay. After gifting her with immortality, the magician took her shadow, making her an outcast among the villagers. Heeding her words yet unwilling to give up on his mission, Ramon Alonzo will have to decide just what he is willing to sacrifice—for money, for his family, and for love . . . “Dunsany’s best stories remain unique: nobody else has ever been able to capture his visions.” —Ursula K. Le Guin, Los Angeles Times Book Review “Perhaps the strongest single influence in the development of fantasy fiction in the present century.” —L. Sprague de Camp “Lord Dunsany is the great grandfather of us all.” —Jane Yolen, winner of the National Book Award, Nebula Award, and World Fantasy Award
Author | : Michael Pierse |
Publisher | : Cambridge University Press |
Total Pages | : 483 |
Release | : 2017-11-16 |
Genre | : Literary Criticism |
ISBN | : 1108547567 |
A History of Irish Working-Class Writing provides a wide-ranging and authoritative chronicle of the writing of Irish working-class experience. Ground-breaking in scholarship and comprehensive in scope, it is a major intervention in Irish Studies scholarship, charting representations of Irish working-class life from eighteenth-century rhymes and songs to the novels, plays and poetry of working-class experience in contemporary Ireland. There are few narrative accounts of Irish radicalism, and even fewer that engage 'history from below'. This book provides original insights in these relatively untilled fields. Exploring workers' experiences in various literary forms, from early to late capitalism, the twenty-two chapters make this book an authoritative and substantial contribution to Irish studies and English literary studies generally.