Stephen McKenna

Biographical details

Portrait of Stephen McKenna Stephen McKenna The confessions of a well-meaning woman (1922)

There was no one in sight. I walked cautiously to the river, expecting every moment to step over the edge... No sound of voices. I called: "Brackenbury!", "Arthur!", "Culroyd!". There was no answer. Do you know that quite unreasoning fear that sometimes overtakes one when one is in the dark and knows that one is not alone? And the river—like a looking-glass in a twilit room... I have a horror of any great expanse of water at night; it is so silent and merciless. "Culroyd! Brackenbury! Spenworth!," I called again—this time at the top of my voice.
Source: Gutenberg

Portrait of Stephen McKenna Stephen McKenna To-morrow and to-morrow ... a novel (1924)

Had the association of one human being with another, in his national and international grouping, grown so complex that no one could control it? Had the world become like the Roman Empire in its last days, when—for no reason that a statesman of the day or an historian of later days could enunciate—the mighty machine ceased to revolve? If the aim of government was to secure the life and liberty of the governed and to lead them towards prosperity and happiness, government had palpably failed in victorious England and France, in defeated Germany, in revolutionary Russia.
Source: Gutenberg

Portrait of Stephen McKenna Stephen McKenna Lady Lilith

Jack looked at her and decided that even a formal protest would only feed her vanity. He stared abstractedly at her as though she were a horse led out for his inspection. Suddenly she smiled, and, as her face lit up with vitality and mischief, the haggard expression vanished and left her beautiful. Perhaps the smile had come in answer to an unsuspected light of admiration in his own eyes; perhaps she was a better actress than he thought and could transform herself at will; no one could gain her reputation as a coquette without earning it and working for it.
Source: Gutenberg

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