Booth Tarkington

Booth Tarkington

Summary

Portrait of Booth Tarkington Booth Tarkington The Red Book Magazine, Volume 38… (1922)

But what could a romantic poet do with Renfrew and Muriel, children of today? Is there romance in “The Last Toddle,” “The Last Fox Trot,” or in “The Last Cat Flop” or in “The Last Chicken Dip,” or in whatever next month's jiggling may be called? Neither were Muriel and Renfrew, as they danced their last dance together, romantic to the actual eye; the movements required of them buffooned all dignity: their appearance was that of a pair of low-comedians, so perfectly have the “new young people” destroyed the romantic graces.
Source: Wikisource

Portrait of Booth Tarkington Booth Tarkington The Red Book Magazine, Volume 38… (1922)

THERE are times when a house across the street can be as mysterious as a sealed cavern; when that familiar facade opposite, ordinarily so frank and cordial, becomes inscrutable. The neighbors know that something important is going on inside—a policeman may have entered the front door; and eyes like searchlights sweep every inch of the imperturbable front, only to discover that even the windows have become opaque. Thus, for that whole day and the next, the house of the Eliots withheld everything from the plaintive gaze of young Renfrew Mears.
Source: Wikisource

Portrait of Booth Tarkington Booth Tarkington The Red Book Magazine, Volume 38… (1922)

At this, Renfrew seemed to be a little startled. “The 'Victorian standards,'” he repeated. “What—what does that mean exactly, Gus? I mean Keith. What's it about?”
“Good gracious! Haven't you ever heard the phrase before?”
“Well, yes, I believe I have. I've heard it once or twice lately, in fact; and that's why I wanted to know what it's about.”
“'Victorian' is simply a word we use to describe the lowest commonplaces of art and literature, you see. We use it because art and literature and so-called morals reached their lowest phase under Queen Victoria.”
Source: Wikisource

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