Achmed Abdullah

Achmed Abdullah

Summary

Portrait of Achmed Abdullah Achmed Abdullah The Swinging Caravan — Slit-Eye (1925)

Killing? Why—living was what counted. For living was loving.
Little Gwendolyn Tza, golden-haired, almond-eyed, white-breasted, and pure—pure as the night wind—untouched, unspoiled—a virgin—here, in the palm of her hand, was his life, his future; and one night words suddenly rushed to his lips:
"Marry me! I can't wait no longer! I love you—Jesus—how I love you!"
"I love yer, too, Slit-Eye!"
Source: Wikisource

Portrait of Achmed Abdullah Achmed Abdullah The Swinging Caravan — Slit-Eye (1925)

He had known many women in Paris; a few in London. They had been proud to go about with Slit-Eye, the killer. He had loved them after his manner, not with emotion, but rather with a pathological desire which swung him one moment into an exaggerated, puling sentimentality, and the next moment down to the abyss of raving, sadistic brutality.
Source: Wikisource

Portrait of Achmed Abdullah Achmed Abdullah The Swinging Caravan — Slit-Eye (1925)

Perhaps the sheer, hushed terror of it had killed the capacity for fear in these people; and fear, the other man's fear, was as necessary for Slit-Eye's success as the curve and glisten of his dagger.
In Paris, in his quartier, he had worn round his bullet-shaped head an aura of traditional glory fully as authentic as that of a Cecil in England or a Malatesta in Italy. Women had kissed his thin, scarlet lips, because he had killed. Here, in New York, even killing was democratic and businesslike.
Source: Wikisource

Get perspective with Kwize: daily news enlightened by great literature