Summary

Portrait of Arnold Bennett Arnold Bennett The City of Pleasure: A Fantasia on Modern Themes

Carpentaria was certainly astonished at the nature and tone of her remark. She seemed to wish to run away. Then he gathered himself together, with an immense show of force, as a man will when confronted by a woman who is helpless before him, but of whom he is afraid.
“I don’t want to come in,” he said.
“Why?” she demanded.
“You know why,” he said.
“Indeed I don’t,” she asserted; and she laughed—a curt laugh.
“You promised me you wouldn’t see Ilam again at present,” said Carpentaria stoutly.
Juliette tossed ever so little her charming head, with its admirable coiffure.
Source: Gutenberg

Portrait of Arnold Bennett Arnold Bennett The City of Pleasure: A Fantasia on Modern Themes

Among them were two portraits, in living flame, of the twin gods of the City of Pleasure, and under each headpiece was the name of its subject: “Ilam,” “Carpentaria.” The cheers of the immense multitude greeted their ears. Then there was another sound, but it came from above instead of from below. Ilam shrank as if afraid.
“You needn’t be frightened,” said Carpentaria. “It isn’t the trumpet of the Day of Judgment, it’s only the beginning of a thunderstorm. It’s just come in nice time to soak everybody through on their way home.”
Source: Gutenberg

Portrait of Arnold Bennett Arnold Bennett The City of Pleasure: A Fantasia on Modern Themes

In the first week of September over a million people paid fifty thousand pounds at the turnstiles to enjoy the charms of the City. And a water-famine in most other parts of London did not impair their pleasure, for Ilam and Carpentaria had sunk their own Artesian wells, and they had sunk them deep enough. Consequently, the glorious lawns of the Oriental Gardens and the turf of the cricket field kept a vivid green through that solitary summer.
Source: Gutenberg

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