The Garden of Eden

Max Brand

જાન્યુ 1995 · Library of Alexandria · Ava (Googleના) દ્વારા નિરૂપણ કરેલું AI

આ ઑડિયોબુક વિશે

By careful tailoring the broad shoulders of Ben Connor were made to appear fashionably slender, and he disguised the depth of his chest by a stoop whose model slouched along Broadway somewhere between sunset and dawn. He wore, moreover, the first or second pair of spats that had ever stepped off the train at Lukin Junction, a glowing Scotch tweed, and a Panama hat of the color and weave of fine old linen. There was a skeleton at this Feast of Fashion, however, for only tight gloves could make the stubby fingers and broad palms of Connor presentable. At ninety-five in the shade gloves were out of the question, so he held a pair of yellow chamois in one hand and in the other an amber-headed cane. This was the end of the little spur-line, and while the train backed off down the track, staggering across the switch, Ben Connor looked after it, leaning upon his cane just forcibly enough to feel the flection of the wood. This was one of his attitudes of elegance, and when the train was out of sight, and only the puffs of white vapor rolled around the shoulder of the hill, he turned to look the town over, having already given Lukin Junction ample time to look over Ben Connor.

The little crowd was not through with its survey, but the eye of the imposing stranger abashed it. He had one of those long somber faces which Scotchmen call "dour." The complexion was sallow, heavy pouches of sleeplessness lay beneath his eyes, and there were ridges beside the corners of his mouth which came from an habitual compression of the lips. Looked at in profile he seemed to be smiling broadly so that the gravity of the full face was always surprising. It was this that made the townsfolk look down. After a moment, they glanced back at him hastily. Somewhere about the corners of his lips or his eyes there was a glint of interest, a touch of amusement—they could not tell which, but from that moment they were willing to forget the clothes and look at the man.

લેખક વિશે

Max Brand is the best-known pen name of Frederick Faust, who was born in Seattle, Washington in 1882, and orphaned early. Faust grew up in the rural San Joaquin Valley of California. At the University of California, Berkeley, he became a student rebel and a one-man literary movement, contributing to campus publications. He was denied his degree because of his unconventional conduct. He then traveled, ending up in New York City where he received simultaneous recognition as a serious poet and successful popular-prose writer. Later, he traveled further, making his home in New York, then in Florence, Italy, and finally Los Angeles. He much preferred Italy, where he lived from 1926 to 1938, and where much of his writing was done. Faust, who wrote under more than a dozen pseudonyms, was a prolific writer, not only of westerns, but also of hundreds of other novels and books, including the popular Dr. Kildare series. Faust's first novel The Untamed (1918) was a success and introduced a semimythical character, Whistlin' Dan Barry, who travels the West following the wild geese, accompanied by a black wolf. His characters, who often have a mythic quality, are memorable, and his books are always entertaining. Faust was also a screenwriter for several Hollywood studios, including MGM, Warner Brothers, and Columbia. Once the United States entered the Second World War, Faust abandoned his lucrative writing career and his work as a screenwriter to serve as a war correspondent with the infantry in Italy, despite his fifty-one years and a bad heart. Faust died in 1944, killed during a night attack on a hilltop village held by the German army. Even after his death, new books based on magazine serials, unpublished manuscripts, or restored versions continue to appear so that he has averaged a new book every four months for seventy-five years.