Guy Wetmore Carryl

Guy Wetmore Carryl

Summary

Portrait of Guy Wetmore Carryl Guy Wetmore Carryl The Transgression of Andrew Vane… (1904)

The contrast between her personality and that of Parisian women — of Mirabelle Tremonceau, for example — was the contrast between the clean, dull linen of a New England housekeeper and the dainty shams of an exhibition bedroom; between a physician’s hands and a manicure’s; between the keen, salt air of the North Shore and that of a tropical island. Her femininity impressed where that of others merely charmed. The majority of women are pink: Margery Palffy was a soft, clear cream.
Nevertheless, Andrew seemed to feel, rather than to see, a subtle alteration in her.
Source: Wikisource

Portrait of Guy Wetmore Carryl Guy Wetmore Carryl The Transgression of Andrew Vane… (1904)

She was very beautiful, very inconsequent, very gay; but the same light insouciance which in Margery distressed and humiliated him, because of the unsounded deeps which lay below, attracted and amused him in Mirabelle, by simple reason of its essential shallowness. She was altogether different from any woman he had ever known, but her novelty meant no more to him than a part of that charmingly sparkling and intoxicating wine of Paris of which he was learning to take deep draughts.
Source: Wikisource

Portrait of Guy Wetmore Carryl Guy Wetmore Carryl The Transgression of Andrew Vane… (1904)

But better than driving was the time passed, daily, in her apartment on the Avenue Henri Martin. It was on the fifth floor, running the whole width of the house, and with a broad balcony looking down upon the rows of trees below. A corner of this balcony was enclosed by gay awnings, and made garden-like by azaleas and potted palms. Mademoiselle Tremonceau had a great lounging chair, and a table for books and bon-bons, and Andrew sprawled at her feet, on red cushions, with his back against the balcony rail, his hands linked behind his head, and his long legs stretched out upon a Persian rug.
Source: Wikisource

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