I. A. R. Wylie

I. A. R. Wylie

The Kiss (1923)

Summary

Portrait of I. A. R. Wylie I. A. R. Wylie,  The Kiss (1923)

“ Well, that last day he started out for the Campo Santo. If you know Santa Monica you know that to reach the Campo Santo is not the easy business it looks from the sea's edge. You start off along the Street of the Thousand Mills, with its rushing tor rent at your elbow, and in five minutes you are in a rabbit-warren of dark, unsalubrious passages and steep stairways which seem to be leading into the bowels of the mountain. It was early afternoon when Mr. Boldwyn left the Miranda, but in those treacherous, mysterious byways it was dusk when it was not night. ”
Source: Wikisource

Portrait of I. A. R. Wylie I. A. R. Wylie,  The Kiss (1923)

“ He turned involuntarily to the little undersized guardia regia in the shabby uniform, and the guardia regia looked back placidly.
“Soldi, soldi, signor!"
“Good God!” said Mr. Boldwyn.
The children were the worst. They buzzed about us, barefooted and grimy, their rags fluttering in festoons behind them and their voices rising to a shrill, nerve-racking chant. Their leader was like a monkey, with a monkey's eyes of wicked innocence. One brown leg was withered and twisted, but he danced agilely in front of Mr. Boldwyn, his dirty paw extended.
”
Source: Wikisource

Portrait of I. A. R. Wylie I. A. R. Wylie,  The Kiss (1923)

“ Boldwyn was old “Wa-ater-colorès.” That one-eyed artist with his unsold masterpieces had taken up a place at the end of the breakwater so that it was impossible to come ashore without arousing the cry of: “Wa-ater-colorès—ver' chip—ver' chip—signor!” which never lost its accents of unalterable faith. And then there was the little boy with the crutch who hopped after Mr. Boldwyn along the dusty highroad like a wounded sparrow, chirping, “Soldi, soldi, signor!” ”
Source: Wikisource

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