Booth Tarkington

Booth Tarkington

Summary

Portrait of Booth Tarkington Booth Tarkington The Magnificent Ambersons

Eugene said. And as Isabel looked inquiring, he laughed, and she saw that she was the “only one person.” His implication was justified, moreover, and she knew it. She blushed charmingly.
“Which is it puts the lines on the faces?” Amberson asked. “Is it age or trouble? Of course we can’t decide that wisdom does it—we must be polite to Isabel.”
“I’ll tell you what puts the lines there,” Eugene said. “Age puts some, and trouble puts some, and work puts some, but the deepest are carved by lack of faith. The serenest brow is the one that believes the most.”
Source: Gutenberg

Portrait of Booth Tarkington Booth Tarkington The Magnificent Ambersons

People speaking casually of Lucy were apt to define her as “a little beauty,” a definition short of the mark. She was “a little beauty,” but an independent, masterful, sell-reliant little American, of whom her father’s earlier gipsyings and her own sturdiness had made a woman ever since she was fifteen. But though she was the mistress of her own ways and no slave to any lamp save that of her own conscience, she had a weakness: she had fallen in love with George Amberson Minafer at first sight, and no matter how she disciplined herself, she had never been able to climb out.
Source: Gutenberg

Portrait of Booth Tarkington Booth Tarkington The Magnificent Ambersons

On Sunday mornings Fanny went to church and George took long walks. He explored the new city, and found it hideous, especially in the early spring, before the leaves of the shade trees were out. Then the town was fagged with the long winter and blacked with the heavier smoke that had been held close to the earth by the smoke-fog it bred. Every-thing was damply streaked with the soot: the walls of the houses, inside and out, the gray curtains at the windows, the windows themselves, the dirty cement and unswept asphalt underfoot, the very sky overhead.
Source: Gutenberg

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