Other editions of book Manslaughter

Whenever she and Lydia had a scene Miss Bennett thought of the first scene she had witnessed in the Thorne household. She saw before her a vermillion carpet on a mottled marble stair between high, polished-marble walls. There was gilt in the railing, and tall lanky palms stood about in majolica pots. Up this stairway an angry man was carrying an angrier child. Miss Bennett could see that broad back in its heavy blue overcoat, and his neck, above which the hair was still black, crimsoning with fury and exertion. On one side of him she could see the thin arms and clutching hands of the little girl, and on the other the slender kicking legs, expressing passionate rebellion in every spasmodic motion. The clutching hands caught the tip of a palm in passing, and the china pot went rolling down the stairs and crashed to bits, startling the two immense great Dane puppies which had been the occasion of the whole trouble. The two figures, swaying and struggling, went on up; for though the man was strong, a writhing child of ten is no light burden; and the stairs, for all their grandeur, were steep, and the carpet so thick that the foot sank into it as into new-fallen snow. Just as they passed out of sight Miss Bennett saw the hands of the child, now clenched fists, begin to beat on the man’s arms, and she heard the clear, defiant young voice repeating, "I will keep them! I will!" The man’s "You won't" was not spoken, but was none the less understood. Miss Bennett knew that when the heads of the stairs was reached the blows would be returned with interest. Usually in the long struggle between these two indomitable wills Miss Bennett had been on Joe Thorne’s side, coarse, violent man though he was, for she was old-fashioned and believed that children ought to obey. But this night he had alienated her sympathy by being rude to her—for the first and last time. He had come home after one of his long absences to the hideous house in Fifth Avenue in which he took so much pride, and had found these two new pets of Lydia’s careening about the hall like young calves. He had turned on Miss Bennett.

Whenever she and Lydia had a scene Miss Bennett thought of the first scene she had witnessed in the Thorne household. She saw before her a vermillion carpet on a mottled marble stair between high, polished-marble walls. There was gilt in the railing, and tall lanky palms stood about in majolica pots. Up this stairway an angry man was carrying an angrier child. Miss Bennett could see that broad back in its heavy blue overcoat, and his neck, above which the hair was still black, crimsoning with fury and exertion. On one side of him she could see the thin arms and clutching hands of the little girl, and on the other the slender kicking legs, expressing passionate rebellion in every spasmodic motion. The clutching hands caught the tip of a palm in passing, and the china pot went rolling down the stairs and crashed to bits, startling the two immense great Dane puppies which had been the occasion of the whole trouble. The two figures, swaying and struggling, went on up; for though the man was strong, a writhing child of ten is no light burden; and the stairs, for all their grandeur, were steep, and the carpet so thick that the foot sank into it as into new-fallen snow. Just as they passed out of sight Miss Bennett saw the hands of the child, now clenched fists, begin to beat on the man's arms, and she heard the clear, defiant young voice repeating, "I will keep them! I will!" The man's "You won't" was not spoken, but was none the less understood. Miss Bennett knew that when the heads of the stairs was reached the blows would be returned with interest.

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High Quality FACSIMILE REPRODUCTION: Miller, Alice Duer :Manslaughter :Originally published by New York : Dodd, Mead in 1921. Book will be printed in black and white, with grayscale images. Book will be 6 inches wide by 9 inches tall and soft cover bound. Any foldouts will be scaled to page size. If the book is larger than 1000 pages, it will be printed and bound in two parts. Due to the age of the original titles, we cannot be held responsible for missing pages, faded, or cut off text.

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Alice Duer Miller (July 28, 1874 – August 22, 1942) was a writer from the U.S. whose poetry actively influenced political opinion. Her feminist verses made an impact on the suffrage issue, and her verse novel The White Cliffs encouraged U.S. entry into World War II. She also wrote novels and screenplays.She became known as a campaigner for women's suffrage and published a brilliant series of satirical poems in the New York Tribune. These were published subsequently as Are Women People?. These words became a catchphrase of the suffrage movement. It reads: "FATHER, what is a Legislature?/ A representative body elected by the people of the state./ Are women people?/ No, my son, criminals, lunatics and women are not people./ Do legislators legislate for nothing?/ Oh, no; they are paid a salary./ By whom?/ By the people./ Are women people?/ Of course, my son, just as much as men are."She followed this collection with Women Are People! (1917).As a novelist, she scored her first success with Come Out of the Kitchen in 1916. The story was made into a play and later the 1948 film Spring in Park Lane. She followed it with a series of other short novels, many of which were staged and (increasingly) made into films. Her novel in verse Forsaking All Others (1933) about a tragic love affair, and many consider her greatest work. In the 1920s and 1930s, many of her stories were used for motion pictures, such as Are Parents People? (1925), Roberta (1935), and Irene (1940), taking her to Hollywood. She also became involved in a number of motion picture screenplays, including Wife vs. Secretary (1936). Her name appears in the very first issue of The New Yorker as an advisory editor. (wikipedia.org)

This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

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