Achmed Abdullah

Achmed Abdullah

Summary

Portrait of Achmed Abdullah Achmed Abdullah The Swinging Caravan — Victory (1925)

The Turkoman was silent. He was conscious of recurring rage, rage of jealousy, and not of outraged Islamic ethics this time, as he looked at Demidoff, standing there motionless before him, tall and young and good-looking. Then his double rage, of jealousy and wounded ethics, mated with a third: rage of race against race. For a moment he crystallized in his heart all the contempt and hate that Slav and Tartar have felt for each other ever since the latter rode their shaggy Mongol ponies out of Central Asia and up to the Kremlin walls, sweeping over the steppes with torch and scimitar.
Source: Wikisource

Portrait of Achmed Abdullah Achmed Abdullah The Swinging Caravan — Victory (1925)

Impressions, finally, of race whispering temptingly to race across the chasm of inherited distrust, whispering often with the soft lips of women; and, most clearly etched in my brain, the impression of Suzanne de Cassagnac's golden-red, unlikely hair shimmering in a bobbed whorl, of her narrow feet, her white hands, as she tripped across the stage of the Apollon Music Hall which, typically, sardonically, was flanked on the right by a gray, jerry-built barrack of Russian infantry, and on the the left by the little pink and orchid mosque of Bala-i-Hawa, dedicated to Bokhara's patron saint.
Source: Wikisource

Portrait of Achmed Abdullah Achmed Abdullah The Swinging Caravan — Victory (1925)

Came applause, like far thunder, steadily bloating, jerking, thumping and droning in hectic beats, then growing into a solid phalanx of sound as Russian vied with Tartar and Turkoman, the former clapping white-gloved hands, the latter rattling crooked daggers in silver scabbards with a vicious, steely crackle.
"She is superb!" whispered Prince Alexander Semionovitch Demidoff, captain in the Black Hussars, to his friend Jerome Townsend, attached to His Brittanic Majesty's consular service.
Source: Wikisource

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