Other editions of book Star-Dust: A Story of an American Girl

When Lilly Becker eked out with one hand that most indomitable of pianoforte selections, Rubinstein's "Melody in F," her young mind had a habit of transcending itself into some such illusory realm as this: Springtime seen lacily through a phantasmagoria of song. A very floral sward. Fountains that tossed up coloratura bubbles of sheerest aria and a sort of Greek frieze of youth attitudinized toward herself. This frieze was almost invariably composed of Estelle Foote, a successful rival in a class candidacy for the sponge-and-basin monitorship; Sydney Prothero, infallible of spitball aim; Miss Lare with her spectacles very low on her nose and a powdering of chalk dust down her black alpaca; Flora Kemble with infinitely fewer friendship bangles on her silver link bracelet; Roy Kemble, kissing her yellow, rather than yanking her brown, braids.

Many of Fannie Hurst's stories are about working-class girls and guys struggling to survive in the big, crushing city. Between 1910 and the mid-1930s, Fannie Hurst was the most popular writer in America. Twenty-nine films were based on her novels and short stories. Star-Dust shows the relationship of a mother and her daughter as the central theme. Star-Dust was adapted to a movie which Hurst was displeased with.

When Lilly Becker eked out with one hand that most indomitable of pianoforte selections, Rubinstein's "Melody in F," her young mind had a habit of transcending itself into some such illusory realm as this: Springtime seen lacily through a phantasmagoria of song. A very floral sward. Fountains that tossed up coloratura bubbles of sheerest aria and a sort of Greek frieze of youth attitudinized toward herself. This frieze was almost invariably composed of Estelle Foote, a successful rival in a class candidacy for the sponge-and-basin monitorship; Sydney Prothero, infallible of spitball aim; Miss Lare with her spectacles very low on her nose and a powdering of chalk dust down her black alpaca; Flora Kemble with infinitely fewer friendship bangles on her silver link bracelet; Roy Kemble, kissing her yellow, rather than yanking her brown, braids. And then suddenly, apropos of nothing except the sweet ache of Lilly's little soul, the second movement would freeze itself into a proscenium arch of music, herself, like a stalagmite, its slim center. At this point, "Melody in F" veils itself in a mist of arpeggios, and Mrs. Becker, who invariably, during the after-school practice hour, sat upstairs with Mrs. Kemble in her sunny second-story back, would call down through the purposely opened floor register. "Lilly, not so fast on that part."

"[...] With her worried eyes Mrs. Schum would smile and invariably hand out a thick slice, thinly buttered. "More butter, mamma said." "That's plenty, dearie; too much isn't good for little girls' complexions." "More but-ter!" "Here, then." Scalloping the air with it before little Harry's meek eyes: "You can't have any. You don't pay board. We do!" "My Mamma-Annie she paid board once. Uh-huh! my Mamma-Annie [...]."

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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.