Other editions of book In the Quarter

This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

One evening in May, 1888, the Café des Écoles was even more crowded and more noisy than usual. The marble-topped tables were wet with beer and the din was appalling. Someone shouted to make himself heard. ``Any more news from the Salon?'' ``Yes,'' said Elliott, ``Thaxton's in with a number three. Rhodes is out and takes it hard. Clifford's out too, and takes it -- '' A voice began to chant: Je n'sais comment faire, Comment concillier Ma maitresse et mon père, Le Code et Bullier. ``Drop it! Oh, drop it!'' growled Rhodes, and sent a handful of billiard chalk at the singer. Mr Clifford returned a volley of the Café spoons, and continued: Mais c'que je trouve de plus bête, C'est qu' i' faut financer Avec ma belle galette, J'aimerai mieux m'amuser. Several other voices took up the refrain, lamenting the difficulty of reconciling their filial duties with balls at Bullier's, and protesting that they would rather amuse themselves than consider financial questions. Rhodes sipped his curaçoa sulkily. ``The longer I live in the Latin Quarter,'' he said to his neighbor, ``the less certain I feel about a place of future punishment. It would be so tame after this.'' Then, reverting to his grievance, he added, ``The slaughter this year at the Salon is awful.'' Reginald Gethryn stirred nervously but did not speak. ``Have a game, Rex?'' called Clifford, waving a cue.

Robert William Chambers (May 26, 1865 – December 16, 1933) was an American artist and fiction writer, best known for his book of short stories entitled The King in Yellow, published in 1895. In the Quarter 1894. His first novel is a tale of doomed love set in the Latin Quarter of Paris, suggestive of La Bohème or the 2001 Moulin Rouge film. As a first novel it is pretty well done, although characteristically melodramatic in spots.

One evening in May, 1888, the Café des Écoles was even more crowded and more noisy than usual. The marble-topped tables were wet with beer and the din was appalling. Someone shouted to make himself heard. "Any more news from the Salon?" "Yes," said Elliott, "Thaxton's in with a number three. Rhodes is out and takes it hard. Clifford's out too, and takes it — " A voice began to chant: Je n'sais comment faire, Comment concillier Ma maitresse et mon père, Le Code et Bullier. "Drop it! Oh, drop it!" growled Rhodes, and sent a handful of billiard chalk at the singer.

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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.