Robert Welles Ritchie

Robert Welles Ritchie

'Nastasia (1924)

Summary

Portrait of Robert Welles Ritchie Robert Welles Ritchie,  'Nastasia (1924)

“ When the blear eye of morning looked through the windows, Hagan roused himself from his fitful doze at guard before the door and made shift to brew tea and toast muffins for himself and the flute-like snorer in the wing chair. Preparations finished, he awoke Popondrov without ceremony. The disheveled young man whimpered fretfully to be let alone; but Hagan was inexorable, even to the point of dragging the dandy to a bowl and dousing cold water over his head. ”
Source: Wikisource

Portrait of Robert Welles Ritchie Robert Welles Ritchie,  'Nastasia (1924)

“ Even though you were a born Londoner you never could find this street without a guide nor, finding it, recognize a crooked cobble lane between palsied walls as Green Arbor Walk. For there is no green; there is no arbor. Just the leprous fronts of ancient houses ranged in two close-set ranks like battered dominoes whereof the windows are the spots. Behind the street is a wilderness of railroad yards and coal dumps. Before Green Arbor Walk, over beyond a battery of chimneypots, is the Thames, oily-black, flowing with a sucking noise of the tides. ”
Source: Wikisource

Portrait of Robert Welles Ritchie Robert Welles Ritchie,  'Nastasia (1924)

“ The toad-like figure of Smirnoff, the red man, asprawl upon the floor, an automatic clutched in his fingers; his beard burned like living flame against the chalk white of his flabby cheeks. A negro maid with apron over head shivering in hysteria. Men clustered round the narrow space—those men whom Hagan had followed in from the dark.
But what held Hagan's eye was a cowering figure half fallen against the prop of a stage piece away from the strong light. Her little body was partly clad in a wolf skin.
”
Source: Wikisource

Get perspective with Kwize: daily news enlightened by great literature