Alice Duer Miller

Alice Duer Miller

Summary

Portrait of Alice Duer Miller Alice Duer Miller The Palace of His Fathers (1923)

He waved his left hand high in a circle—the snow-covered sierras. He moved his right hand flat to the ground—the green vega stretching far away. He vibrated his hanging fingers—the Darro flowing down from the icy mountains—the fruits, the orchards, the flowers, the cathedral, the Alhambra ——
“I presume every man likes his own home town,” said Burke, with a smile at anyone who preferred anything to New York.
“Ah, Nueva York!” cried Lopez, growing more Spanish as his mind turned to Spain. He drew his shoulders up in horror. “See, sir, it is this way—I cannot live without beauty.”
Source: Wikisource

Portrait of Alice Duer Miller Alice Duer Miller The Palace of His Fathers (1923)

It was Margaret's belief, founded on a short experience, that Spanish women had more character in their faces than any other women in the world. The countess was nearly seventy, and could never have been beautiful; but there was power in her face, fine and yet brows, its deeply indented chin, its black eyes and strong white hair; her figure in its black shawl, not at all slim, but a straight line from heels to head.
Across the court the musicians were now putting their instruments back into the cases, and yet Shelton had not moved.
Source: Wikisource

Portrait of Alice Duer Miller Alice Duer Miller The Palace of His Fathers (1923)

They always gave him a wretched sense of inferiority. Even his much-loved Margaret gave it to him. She would say, “I simply can't live in a room with black walnut,” in a tone that made him feel guiltily conscious that he could have been just as happy in that as in any other. He felt inferior now, as he listened to Lopez explaining how the ugliness of New York depressed his spirits—the crowd, the absence of flowers, the music—ah, the music was good—he should miss the music.
“Miss?” Shelton caught the meaning of that word.
Source: Wikisource

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