Other editions of book African Camp Fires

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There are many interesting hotels scattered about the world, with a few of which I am acquainted and with a great many of which I am not. Of course all hotels are interesting, from one point of view or another. In fact, the surest way to fix an audience's attention is to introduce your hero, or to display your opening chorus in the lobby or along the façade of a hotel. The life, the movement and colour, the drifting individualities, the pretence, the bluff, the self-consciousness, the independence, the ennui, the darting or lounging servants, the very fact that of those before your eyes seven out of ten are drawn from distant and scattered places, are sufficient in themselves to invest the smallest hostelry with glamour. It is not of this general interest that I would now speak. Nor is it my intention at present to glance at the hotels wherein "quaintness" is specialized, whether intentionally or no. There are thousands of them; and all of them well worth the discriminating traveller's attention. Concerning some of them—as the old inns at Dives-sur-Mer and at Mont St. Michel—whole books have been written. These depend for their charm on a mingled gift of the unusual and the picturesque. There are, as I have said, thousands of them; and of their cataloguing, should one embark on so wide a sea, there could be no end. And, again, I must for convenience exclude the altogether charming places, like the Tour d'Argent of Paris, Simpson's of the Strand,[1] and a dozen others that will spring to every traveller's memory, where the personality of the host, or of a chef, or even a waiter, is at once a magnet for the attraction of visitors and a reward for their coming. These, too, are many. In the interest to which I would draw attention, the hotel as a building or as an institution has little part. It is indeed a façade, a mise en scènebefore which play the actors that attract our attention and applause. The set may be as modernly elaborate as Peacock Alley of the Waldorf or the templed lobby of the St. Francis; or it may present the severe and Elizabethan simplicity of the stone-paved veranda of the Norfolk at Nairobi—the matter is quite inessential to the spectator. His appreciation is only slightly and indirectly influenced by these things. Sunk in his arm-chair—of velvet or of canvas—he puffs hard and silently at his cigar, watching and listening as the pageant and the conversation eddy by.

“Do not attempt to do a thing unless you are sure of yourself; but do not relinquish it simply because someone else is not sure of you.” Stewart Edward White was an early 20th century American author. From 1900 until 1922, he wrote fiction and non-fiction about adventure and travel. After 1922 he and his wife wrote many books on channeling and the spirit world. White's readers enjoy his salted in humor and stories about colorful characters such as canny Indian guides and "greenhorn" campers who carried too much gear. African Camp Fires is a first hand account of a foot safari in Africa. The book describes various hunts and kills. White tells of the often treacherous day-to-day experiences in the African bush. CONTENTS PART I. TO THE ISLAND OF WAR I. THE OPEN DOOR II. THE FAREWELL III. PORT SAID IV. SUEZ V. THE RED SEA VI. ADEN VII. THE INDIAN OCEAN VIII. MOMBASA PART II. THE SHIMBA HILLS IX. A TROPICAL JUNGLE X. THE SABLE XI. A MARCH ALONG THE COAST XII. THE FIRE PART III. NAIROBI XIII. UP FROM THE COAST XIV. A TOWN OF CONTRASTS XV. PEOPLE XVI. RECRUITING PART IV. A LION HUNT ON KAPITI XVII. AN OSTRICH FARM AT MACHAKOS XVIII. THE FIRST LIONESS XIX. THE DOGS XX. BONDONI XXI. RIDING THE PLAINS XXII. THE SECOND LIONESS XXIII. THE BIG LION XXIV. THE FIFTEEN LIONS PART V. THE TSAVO RIVER XXV. VOI XXVI. THE FRINGE-EARED ORYX XXVII. ACROSS THE SERENGETTI XXVIII. DOWN THE RIVER XXIX. THE LESSER KUDU XXX. ADVENTURES BY THE WAY XXXI. THE LOST SAFARI XXXII. THE BABU PART VI. IN MASAILAND XXXIII. OVER THE LIKIPIA ESCARPMENT XXXIV. TO THE KEDONG XXXV. THE TRANSPORT RIDER XXXVI. ACROSS THE THIRST XXXVII. THE SOUTHERN GUASO NYERO XXXVIII. THE LOWER BENCHES XXXIX. NOTES ON THE MASAI XL. THROUGH THE ENCHANTED FOREST XLI. NAIOKOTUKU XLII. SCOUTING IN THE ELEPHANT FOREST XLIII. THE TOPI CAMP XLIV. THE UNKNOWN LAND XLV. THE ROAN XLVI. THE GREATER KUDU XLVII. THE MAGIC PORTALS CLOSE XLVIII. THE LAST TREK

This vintage book contains Stewart Edward White's 1913 collection of stories, “African Camp Fires”. The stories of this collection revolve around several intertwined topics: sub-Saharan Africa of 100 years ago, a traditional hunting safari, and one man's relationships with the tribesmen and women he encountered over a period of several months. This book is highly recommended for those with an interest in Africa, and constitutes a must-read for fans of White’s work. Stewart Edward White (1873–1946) was an American novelist and spiritualist. Other notable works by this author include: “The Long Rifle” (1930), “Folded Hills” (1932), and “Ranchero” (1933). Many vintage texts such as this are becoming increasingly rare and expensive, and it is with this in mind that we are republishing this volume now, in an affordable, modern, high-quality edition. It comes complete with a specially commissioned new biography of the author.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Stewart Edward White was an early 20th century American author. From 1900 until 1922, he wrote fiction and non-fiction about adventure and travel. After 1922 he and his wife wrote many books on channeling and the spirit world. White's readers enjoy his salted in humor and stories about colorful characters such as canny Indian guides and "greenhorn" campers who carried too much gear. African Camp Fires is a first hand account of a foot safari in Africa. The book describes various hunts and kills. White tells of the day-to-day experiences and difficulties of life in the African bush.

There are many interesting hotels scattered about the world, with a few of which I am acquainted and with a great many of which I am not. Of course all hotels are interesting, from one point of view or another. In fact, the surest way to fix an audience's attention is to introduce your hero, or to display your opening chorus in the lobby or along the façade of a hotel. The life, the movement and colour, the drifting individualities, the pretence, the bluff, the self-consciousness, the independence, the ennui, the darting or lounging servants, the very fact that of those before your eyes seven out of ten are drawn from distant and scattered places, are sufficient in themselves to invest the smallest hostelry with glamour. It is not of this general interest that I would now speak. Nor is it my intention at present to glance at the hotels wherein "quaintness" is specialized, whether intentionally or no. There are thousands of them; and all of them well worth the discriminating traveller's attention. Concerning some of them—as the old inns at Dives-sur-Mer and at Mont St. Michel—whole books have been written. These depend for their charm on a mingled gift of the unusual and the picturesque. There are, as I have said, thousands of them; and of their cataloguing, should one embark on so wide a sea, there could be no end. And, again, I must for convenience exclude the altogether charming places, like the Tour d'Argent of Paris, Simpson's of the Strand,[1] and a dozen others that will spring to every traveller's memory, where the personality of the host, or of a chef, or even a waiter, is at once a magnet for the attraction of visitors and a reward for their coming. These, too, are many. In the interest to which I would draw attention, the hotel as a building or as an institution has little part. It is indeed a façade, a mise en scènebefore which play the actors that attract our attention and applause. The set may be as modernly elaborate as Peacock Alley of the Waldorf or the templed lobby of the St. Francis; or it may present the severe and Elizabethan simplicity of the stone-paved veranda of the Norfolk at Nairobi—the matter is quite inessential to the spectator. His appreciation is only slightly and indirectly influenced by these things. Sunk in his arm-chair—of velvet or of canvas—he puffs hard and silently at his cigar, watching and listening as the pageant and the conversation eddy by.

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