Through streets in which the village quiet of the summer night was undisturbed save by the spattering tinkle of the lawn sprinklers in the front yards, and the low voices of the out-door people taking the air and the moonlight on the porches, Griswold fared homeward, the blood pounding in his veins and the fine wine of life mounting headily to his brain.
After all the dubious stumblings he had come to the end of the road, to find awaiting him the great accusation and the great reward. By the unanswerable logic of results, in its effect upon others and upon himself, his deed had proved itself a crime. Right or wrong in the highest of the ethical fields, the accepted social order had proved itself strong enough to make its own laws and to prescribe the far-reaching penalties for their infraction. Under these laws he stood convicted. Never again, save through the gate of atonement, could he be reinstated as a soldier in the ranks of the conventionally righteous. True, the devotion of a loving woman, aided by a train of circumstances strikingly fortuitous and little short of miraculous, had averted the final price-paying in penal retribution. But the fact remained. He was a felon.
Into this gaping wound which might otherwise have slain him had been poured the wine and oil of a great love; a love so clean and pure in its own well-springs that it could perceive no wrong in its object; could measure no act of loyal devotion by any standard save that of its own greatness. This love asked nothing but what he chose to give. It would accept him either as he was, or as he ought to be. The place he should elect to occupy would be its place; his standards its standards.
Just here the reasoning angel opened a door and thrust him out upon the edge of a precipice and left him to look down into the abyss of the betrayers—the pit of those whose gift and curse it is to be the pace-setters. In a flash of revealment it was shown him that with the great love had come a great responsibility. Where he should lead, Margery would follow, unshrinkingly, unquestioningly; never asking whether the path led up or down; asking only that his path might be hers. Instantly he was face to face with a fanged choice which threatened to tear his heart out and trample upon it; and again he recorded his decision, confirming it with an oath. The price was too great; the upward path too steep; the self-denial it entailed too sacrificial.
"We have but one life to live, and we'll live it together, Margery, girl, for better or for worse," was his apostrophic declaration, made while he was turning into Shawnee Street a few doors from his lodgings; and a minute later he was opening the Widow Holcomb's gate.
The house was dark and apparently deserted as to its street-fronting half when he let himself in at the gate and ran quickly up the steps. The front door was open, and he remembered afterward that he had wondered how the careful widow had come to leave it so, and why the hall lamp was not lighted. From the turn at the stair-head he felt his way to the door of his study. Like the one below, it was wide open; but some one had drawn the window shades and the interior of the room was as dark as a cavern.
Once, in the novel-writing, following the lead of many worthy predecessors, Griswold had made much of the "sixth" sense; the subtle and indefinable prescience which warns its possessor of invisible danger. No such warning was vouchsafed him when he leaned across the end of the writing-table, turned on the gas, and held a lighted match over the chimney of the working-lamp. It was while he was still bending over the table, with both hands occupied, that he looked aside. In his own pivot-chair, covering him with the mate to the weapon he had smashed and thrown away, sat the man who had opened the two doors and drawn the window shades and otherwise prepared the trap.
"You bought a couple o' these little playthings, Mr. Griswold," said the man, quietly. "Keep your hands right where they are, and tell me in which pocket you've got the other one."
Griswold laughed, and there was a sudden snapping of invisible bonds. He dismissed instantly the thought that Charlotte Farnham had taken him at his word; and if she had not, there was nothing to fear.
"I threw the other one away a little while ago," he said. "Reach your free hand over and feel my pockets."
Broffin acted upon the suggestion promptly.
"You ain't got it on you, anyway," he conceded; and when Griswold had dropped into the chair at the table's end: "I reckon you know what I'm here for."
"I know that you are holding that gun of mine at an exceedingly uncomfortable angle—for me," was the cool rejoinder. "I've always had a squeamish horror of being shot in the stomach."
The detective's grin was appreciative.
"You've got a good cold nerve, anyway," he commented. "I've been puttin' it up that when the time came, you'd throw a fit o' some sort—what? Since you're clothed in your right mind, we'll get down to business. First, I'll ask you to hand over the key to that safety-deposit box you've got in Mr. Grierson's bank."
Griswold took his bunch of keys from his pocket, slipped the one that was asked for from the ring, and gave it to his captor.
"Of course, I'm surrendering it under protest," he said. "You haven't yet told me who you are, or what you are holding me up for."
Broffin waved the formalities aside with a pistol-pointed gesture. "We can skip all that. I've got you dead to rights, after so long a time, and I'm goin' to take you back to New Orleans with me. The only question is: do you go easy, or hard?"
"I don't go either way until you show your authority."
"I don't need any authority. You're the parlor-anarchist that held up the president of the Bayou State Security Bank last spring and made a get-away with a hundred thousand—what?"
"All right; you say so—prove it." Griswold had taken a cigar from the open box on the writing-table and was calmly lighting it. There was nothing to be nervous about. "I'm waiting," he went on, placidly, when the cigar was going. "If you are an officer, you probably have a warrant, or a requisition, or something of that sort. Show it up."
"I don't need any papers to take you," was the barked-out retort. Broffin had more than once found himself confronting similar dead walls, and he knew the worth of a bold play.
"Oh, yes, you do. You accuse me of a crime: did you see me commit the crime?"
"No."
"Well, somebody did, I suppose. Bring on your witnesses. If anybody can identify me as the man you are after, I'll go with you—without the requisition. That's fair, isn't it?"
"I know you're the man, and you know it, too, damned well!" snapped Broffin, angered into bandying words with his obstinate capture.
"That is neither here nor there; I am not affirming or denying. It is for you to prove your case, if you can. And, listen, Mr. Broffin: perhaps it will save your time and mine if I add that I happen to know that you can't prove your case."
"Why can't I?"
"Just because you can't," Griswold went on, argumentatively. "I know the facts of this robbery you speak of; a great many people know them. The newspaper accounts said at the time that there were three persons who could certainly identify the robber: the president, the paying teller, and a young woman. It so happens that all three of these people are at present in Wahaska. At different times you have appealed to each of them, and in each instance you have been turned down. Isn't that true?"
Broffin glanced up, scowling.
"It's true enough that you—you and the little black-eyed girl between you—have hoodooed the whole bunch!" he rasped. "But when I get you into court, you'll find out that there are others."
Griswold smiled good-naturedly. "That is a bold, bad bluff, Mr. Broffin, and nobody knows it any better than you do," he countered. "You haven't a leg to stand on. This is America, and you can't arrest me without a warrant. And if you could, what would you do with me without the support of at least one of your three witnesses? Nothing—nothing at all."
Broffin laid the pistol on the table, and put the key of the safety-box beside it. Then he sat in grim silence for a full minute, toying idly with a pair of handcuffs which he had taken from his pocket.
"By the eternal grapples!" he said, at length, half to himself, "I've a good mind to do it anyway—and take the chances."
As quick as a flash Griswold thrust out his hands.
"Put them on!" he snapped. "There are a hundred lawyers in New Orleans who wouldn't ask for anything better than the chance to defend me—at your expense!"
Broffin dropped the manacles into his pocket and sat back in the swing-chair. "You win," he said shortly; and the battle was over.
For a little time no word was spoken. Griswold smoked on placidly, seemingly forgetful of the detective's presence. Yet he was the one who was the first to break the straitened silence.
"You are a game fighter, Mr. Broffin," he said, "and I'm enough of a scrapper myself to be sorry for you. Try one of these smokes—you'll find them fairly good—and excuse me for a few minutes. I want to write a letter which, if you are going down-town, perhaps you'll be good enough to mail for me."
He pushed the open box of cigars across to the detective, and dragged the lounging-chair around to the other side of the table. There was stationery at hand, and he wrote rapidly for a few minutes, covering three pages of the manuscript sheets before he stopped. When the letter was enclosed, addressed, and stamped, he tossed it across to Broffin, face up. The detective saw the address, "Miss Margery Grierson," and, putting the letter into his pocket, got up to go.
"Just one minute more, if you please," said Griswold, and, relighting the cigar which had been suffered to go out, he went into the adjoining bedroom. When he came back, he had put on a light top-coat and a soft hat, and was carrying a small hand-bag.
"I'm your man, Mr. Broffin," he said quietly. "I'll go with you—and plead guilty as charged."
Wahaska, the village-conscious, had its nine-days' wonder displayed for it in inch-type head-lines when the Daily Wahaskan, rehearsing the story of the New Orleans bank robbery, told of the voluntary surrender of the robber, and of his deportation to the southern city to stand trial for his offence.
Some few there were who took exceptions to Editor Randolph's editorial in the same issue, commenting on the surrender, and pleading for a suspension of judgment on the ground that much might still be hoped for from a man who had retraced a broad step in the downward path by voluntarily accepting the penalty. Those who objected to the editorial were of the perverse minority. The intimation was made that the plea had been inspired—a hint basing itself upon the fact that Miss Grierson had been seen visiting the office of the Wahaskan after the departure of the detective, Matthew Broffin, with his prisoner.
The sensational incident, however, had been forgotten long before a certain evening, three weeks later, when the Grierson carriage conveyed the convalescent president of the Bayou State Security from the Grierson mansion to the southbound train. Andrew Galbraith was not alone in the carriage, and possibly there were those in the sleeping-car who mistook the dark-eyed and strikingly beautiful young woman, who took leave of him only after he was comfortably settled in his section, for his daughter. But the whispered words of leave-taking were rather those of a confidante than a kinswoman.
"I'll arrange the Raymer matter as you suggest," she said, "and if I had even a speaking acquaintance with God, I'd pray for you the longest day I live, Uncle Andrew. And about the trial: I'm going to leave it all with you; I've g-got to leave it with you! Just remember that I shall bleed little drops of blood for every day the judge gives him, and that the only way he can be helped is by a short sentence. He wouldn't take a pardon: he—he wants to pay, you know. Good-night, and good-by!" And she put her strong young arms around Andrew Galbraith's neck and kissed him, thereby convincing the family party in Lower Seven that she was not only the old man's daughter, but a very affectionate one, at that.
The little-changing seasons of central Louisiana had measured two complete rounds on the yearly dial of Time's unremitting and unhasting clock when the best hired carriage that Baton Rouge could afford drew up before the entrance to the State's Prison and waited. Precisely on the stroke of twelve, a man for whom the prison rules had lately been relaxed sufficiently to allow his hair to grow, came out, looked about him as one dazed, and assaulted the closed door of the carriage as if he meant to tear it from its hinges.
"Oh, boy, boy!" came from the one who had waited; and then the carriage door yielded, opened, closed with a crash, and the negro driver clucked to his horses.
They were half-way to the railroad station, and she was trying to persuade him that there would be months and years in which to make up for the loveless blank, before sane speech found its opportunity. And even then there were interruptions.
"I knew you'd be here; no, they didn't tell me, but I knew it—I would have staked my life on it, Margery, girl," he said, in the first lucid interval.
"And you—you've paid the Price, haven't you, Kenneth? but, oh, boy, dear! I've paid it, too! Don't you believe me?"
There was another interruption, and because the carriage windows were open, the negro driver grinned and confided a remark to his horses. Then the transgressor began again.
"Where are you taking me, Margery?—not that it makes any manner of difference."
"We are going by train to New Orleans, and this—this—very—evening we are to be married, in Mr. Galbraith's house. And Uncle Andrew is going to give the bride away. It's all arranged."
"And after?"
"Afterward, we are going away—I don't know where. I just told dear old Saint Andrew to buy the tickets to anywhere he thought would be nice, and we'd go. I don't care where it is—do you? And when we get there, I'll buy you a pen and some ink and paper, and you'll go on writing the book, just as if nothing had happened. Say you will, boy, dear; please say you will! And then I'll know that—the price—wasn't—too great."
He was looking out of the carriage window when he answered her, across to the levee and beyond it to the farther shore of the great river, and his eyes were the eyes of a man who has seen of the travail of his soul and is satisfied.
"I shall never write that book, little girl. That story, and all the mistakes that were going to the making of it, lie on the other side of—the Price. But one day, please God, there shall be another and a worthier one."
"Yes—please God," she said; and the dark eyes were shining softly.
TITLES SELECTED FROM
GROSSET & DUNLAP'S LIST
May be had wherever books are sold.Ask for Grosset & Dunlap's list.
HIS HOUR. By Elinor Glyn. Illustrated.
A beautiful blonde Englishwoman visits Russia, and is violently made love to by a young Russian aristocrat. A most unique situation complicates the romance.
THE GAMBLERS. By Charles Klein and Arthur Hornblow. Illustrated by C. E. Chambers.
A big, vital treatment of a present day situation wherein men play for big financial stakes and women flourish on the profits—or repudiate the methods.
CHEERFUL AMERICANS. By Charles Battell Loomis. Illustrated by Florence Scovel Shinn and others.
A good, wholesome, laughable presentation of some Americans at home and abroad, on their vacations, and during their hours of relaxation.
THE WOMAN OF THE WORLD. By Ella Wheeler Wilcox.
Clever, original presentations of present day social problems and the best solutions of them. A book every girl and woman should possess.
THE LIGHT THAT LURES. By Percy Brebner. Illustrated. Handsomely colored wrapper.
A young Southerner who loved Lafayette, goes to France to aid him during the days of terror, and is lured in a certain direction by the lovely eyes of a Frenchwoman.
THE RAMRODDERS. By Holman Day. Frontispiece by Harold Matthews Brett.
A clever, timely story that will make politicians think and will make women realize the part that politics play—even in their romances.
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The Master's Violin
By MYRTLE REED
Drawing of the book 'The Master's Violin'
A Love Story with a musical atmosphere. A picturesque, old German virtuoso is the reverent possessor of a genuine Cremona. He consents to take as his pupil a handsome youth who proves to have an aptitude for technique, but not the soul of the artist. The youth has led the happy, careless life of a modern, well-to-do young American, and he cannot, with his meagre past, express the love, the longing, the passion and the tragedies of life and its happy phases as can the master who has lived life in all its fulness. But a girl comes into his existence, a beautiful bit of human driftwood that his aunt had taken into her heart and home; and through his passionate love for her, he learns the lessons that life has to give—and his soul awakens.
Founded on a fact well known among artists, but not often recognized or discussed.
If you have not read "Lavender and Old Lace" by the same author, you have a double pleasure in store—for these two books show Myrtle Reed in her most delightful, fascinating vein—indeed they may be considered as masterpieces of compelling interest.
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The Prodigal Judge
By VAUGHAN KESTER
This great novel—probably the most popular book in this country to-day—is as human as a story from the pen of that great master of "immortal laughter and immortal tears," Charles Dickens.
The Prodigal Judge is a shabby outcast, a tavern hanger-on, a genial wayfarer who tarries longest where the inn is most hospitable, yet with that suavity, that distinctive politeness and that saving grace of humor peculiar to the American man. He has his own code of morals—very exalted ones—but honors them in the breach rather than in the observance.
Clinging to the Judge closer than a brother, is Solomon Mahaffy—fallible and failing like the rest of us, but with a sublime capacity for friendship; and closer still, perhaps, clings little Hannibal, a boy about whose parentage nothing is known until the end of the story. Hannibal is charmed into tolerance of the Judge's picturesque vices, while Miss Betty, lovely and capricious, is charmed into placing all her affairs, both material and sentimental, in the hands of this delightful old vagabond.
The Judge will be a fixed star in the firmament of fictional characters as surely as David Harum or Col. Sellers. He is a source of infinite delight, while this story of Mr. Kester's is one of the finest examples of American literary craftmanship.
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TITLES SELECTED FROM
GROSSET & DUNLAP'S LIST
May be had wherever books are sold.Ask for Grosset & Dunlap's list
THE SIEGE OF THE SEVEN SUITORS. By Meredith Nicholson. Illustrated by C. Coles Phillips and Reginald Birch.
Seven suitors vie with each other for the love of a beautiful girl, and she subjects them to a test that is full of mystery, magic and sheer amusement.
THE MAGNET. By Henry C. Rowland. Illustrated by Clarence F. Underwood.
The story of a remarkable courtship involving three pretty girls on a yacht, a poet-lover in pursuit, and a mix-up in the names of the girls.
THE TURN OF THE ROAD. By Eugenia Brooks Frothingham.
A beautiful young opera singer chooses professional success instead of love, but comes to a place in life where the call of the heart is stronger than worldly success.
SCOTTIE AND HIS LADY. By Margaret Morse. Illustrated by Harold M. Brett.
A young girl whose affections have been blighted is presented with a Scotch Collie to divert her mind, and the roving adventures of her pet lead the young mistress into another romance.
SHEILA VEDDER. By Amelia E. Barr. Frontispiece by Harrison Fisher.
A very beautiful romance of the Shetland Islands, with a handsome, strong willed hero and a lovely girl of Gaelic blood as heroine. A sequel to "Jan Vedder's Wife."
JOHN WARD, PREACHER. By Margaret Deland.
The first big success of this much loved American novelist. It is a powerful portrayal of a young clergyman's attempt to win his beautiful wife to his own narrow creed.
THE TRAIL OF NINETY-EIGHT. By Robert W. Service Illustrated by Maynard Dixon.
One of the best stories of "Vagabondia" ever written, and one of the most accurate and picturesque of the stampede of gold seekers to the Yukon. The love story embedded in the narrative is strikingly original.
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TITLES SELECTED FROM
GROSSET & DUNLAP'S LIST
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THE SECOND WIFE. By Thompson Buchanan. Illustrated by W. W. Fawcett. Harrison Fisher wrapper printed in four colors and gold.
An intensely interesting story of a marital complication in a wealthy New York family involving the happiness of a beautiful young girl.
TESS OF THE STORM COUNTRY. By Grace Miller White Illustrated by Howard Chandler Christy.
An amazingly vivid picture of low class life in a New York college town, with a heroine beautiful and noble, who makes a great sacrifice for love.
FROM THE VALLEY OF THE MISSING. By Grace Miller White.
Frontispiece and wrapper in colors by Penrhyn Stanlaws.
Another story of "the storm country." Two beautiful children are kidnapped from a wealthy home and appear many years after showing the effects of a deep, malicious scheme behind their disappearance.
THE LIGHTED MATCH. By Charles Neville Buck. Illustrated by R. F. Schabelitz.
A lovely princess travels incognito through the States and falls in love with an American man. There are ties that bind her to someone in her own home, and the great plot revolves round her efforts to work her way out.
MAUD BAXTER. By C. C. Hotchkiss. Illustrated by Will Grefe.
A romance both daring and delightful, involving an American girl and a young man who had been impressed into English service during the Revolution.
THE HIGHWAYMAN. By Guy Rawlence. Illustrated by Will Grefe.
A French beauty of mysterious antecedents wins the love of an Englishman of title. Developments of a startling character and a clever untangling of affairs hold the reader's interest.
THE PURPLE STOCKINGS. By Edward Salisbury Field Illustrated in colors; marginal illustrations.
A young New York business man, his pretty sweetheart, his sentimental stenographer, and his fashionable sister are all mixed up in a misunderstanding that surpasses anything in the way of comedy in years. A story with a laugh on every page.
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TITLES SELECTED FROM
GROSSET & DUNLAP'S LIST
May be had wherever books are sold.Ask for Grosset & Dunlap's list.
THE SILENT CALL. By Edwin Milton Royle. Illustrated with scenes from the play.
The hero of this story is the Squaw Man's son. He has been taken to England, but spurns conventional life for the sake of the untamed West and a girl's pretty face.
JOHN MARCH, SOUTHERNER. By George W. Cable.
A story of the pretty women and spirited men of the South. As fragrant in sentiment as a sprig of magnolia, and as full of mystery and racial troubles as any romance of "after the war" days.
MR. JUSTICE RAFFLES. By E. W. Hornung.
This engaging rascal is found helping a young cricket player out of the toils of a money shark. Novel in plot, thrilling and amusing.
FORTY MINUTES LATE. By F. Hopkinson Smith. Illustrated by S. M. Chase.
Delightfully human stories of every day happenings; of a lecturer's laughable experience because he's late, a young woman's excursion into the stock market, etc.
OLD LADY NUMBER 31. By Louise Forsslund.
A heart-warming story of American rural life, telling of the adventures of an old couple in an old folk's home, their sunny philosophical acceptance of misfortune and ultimate prosperity.
THE HUSBAND'S STORY. By David Graham Phillips.
A story that has given all Europe as well as all America much food for thought. A young couple begin life in humble circumstances and rise in worldly matters until the husband is enormously rich—the wife in the most aristocratic European society—but at the price of their happiness.
THE TRAIL OF NINETY-EIGHT. By Robert W. Service Illustrated by Maynard Dixon.
One of the best stories of "Vagabondia" ever written, and one of the most accurate and picturesque descriptions of the stampede of gold seekers to the Yukon. The love story embedded in the narrative is strikingly original.
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A FEW OF
GROSSET & DUNLAP'S
Great Books at Little Prices
WHEN A MAN MARRIES. By Mary Roberts Rinehart. Illustrated by Harrison Fisher and Mayo Bunker.
A young artist, whose wife had recently divorced him, finds that a visit is due from his Aunt Selina, an elderly lady having ideas about things quite apart from the Bohemian set in which her nephew is a shining light. The way in which matters are temporarily adjusted forms the motif of the story.
A farcical extravaganza, dramatized under the title of "Seven Days".
THE FASHIONABLE ADVENTURES OF JOSHUA CRAIG. By David Graham Phillips. Illustrated.
A young westerner, uncouth and unconventional, appears in political and social life in Washington. He attains power in politics, and a young woman of the exclusive set becomes his wife, undertaking his education in social amenities.
"DOC." GORDON. By Mary E. Wilkins-Freeman. Illustrated by Frank T. Merrill.
Against the familiar background of American town life, the author portrays a group of people strangely involved in a mystery. "Doc." Gordon, the one physician of the place, Dr. Elliot, his assistant, a beautiful woman and her altogether charming daughter are all involved in the plot. A novel of great interest.
HOLY ORDERS. By Marie Corelli.
A dramatic story, in which is pictured a clergyman in touch with society people, stage favorites, simple village folk, powerful financiers and others, each presenting vital problems to this man "in holy orders"—problems that we are now struggling with in America.
KATRINE. By Elinor Macartney Lane. With frontispiece.
Katrine, the heroine of this story, is a lovely Irish girl, of lowly birth, but gifted with a beautiful voice.
The narrative is based on the facts of an actual singer's career, and the viewpoint throughout is a most exalted one.
THE FORTUNES OF FIFI. By Molly Elliot Seawell. Illustrated by T. de Thulstrup.
A story of life in France at the time of the first Napoleon. Fifi, a glad, mad little actress of eighteen, is the star performer in a third rate Parisian theatre. A story as dainty as a Watteau painting.
SHE THAT HESITATES. By Harris Dickson. Illustrated by C. W. Relyea.
The scene of this dashing romance shifts from Dresden to St. Petersburg in the reign of Peter the Great, and then to New Orleans.
The hero is a French Soldier of Fortune, and the princess, who hesitates—but you must read the story to know how she that hesitates may be lost and yet saved.
Grosset & Dunlap, 526 West 26th St., New York
B. M. Bower's Novels
Thrilling Western Romances
Large 12 mos. Handsomely bound in cloth. Illustrated
CHIP, OF THE FLYING U
A breezy wholesome tale, wherein the love affairs of Chip and Della Whitman are charmingly and humorously told. Chip's jealousy of Dr. Cecil Grantham, who turns out to be a big, blue eyed young woman is very amusing. A clever, realistic story of the American Cow-puncher.
THE HAPPY FAMILY
A lively and amusing story, dealing with the adventures of eighteen jovial, big hearted Montana cowboys. Foremost amongst them, we find Ananias Green, known as Andy, whose imaginative powers cause many lively and exciting adventures.
HER PRAIRIE KNIGHT
A realistic story of the plains, describing a gay party of Easterners who exchange a cottage at Newport for the rough homeliness of a Montana ranch-house. The merry-hearted cowboys, the fascinating Beatrice, and the effusive Sir Redmond, become living, breathing personalities.
THE RANGE DWELLERS
Here are everyday, genuine cowboys, just as they really exist. Spirited action, a range feud between two families, and a Romeo and Juliet courtship make this a bright, jolly, entertaining story, without a dull page.
THE LURE OF DIM TRAILS
A vivid portrayal of the experience of an Eastern author, among the cowboys of the West, in search of "local color" for a new novel. "Bud" Thurston learns many a lesson while following "the lure of the dim trails" but the hardest, and probably the most welcome, is that of love.
THE LONESOME TRAIL
"Weary" Davidson leaves the ranch for Portland, where conventional city life palls on him. A little branch of sage brush, pungent with the atmosphere of the prairie, and the recollection of a pair of large brown eyes soon compel his return. A wholesome love story.
THE LONG SHADOW
A vigorous Western story, sparkling with the free, outdoor, life of a mountain ranch. Its scenes shift rapidly and its actors play the game of life fearlessly and like men. It is a fine love story from start to finish.
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THE NOVELS OF
WINSTON CHURCHILL
Skillful in plot, dramatic in episode, powerful and original in climax.
MR. CREWE'S CAREER. Illus. by A. I. Keller and Kinneys.
A New England state is under the political domination of a railway and Mr. Crewe, a millionaire, seizes the moment when the cause of the people against corporation greed is being espoused by an ardent young attorney, to further his own interest in a political way, by taking up this cause.
The daughter of the railway president, with the sunny humor and shrewd common sense of the New England girl, plays no small part in the situation as well as in the life of the young attorney who stands so unflinchingly for clean politics.
THE CROSSING. Illus. by S. Adamson and L. Baylis.
Describing the battle of Fort Moultrie and the British fleet in the harbor of Charleston, the blazing of the Kentucky wilderness, the expedition of Clark and his handful of dauntless followers in Illinois, the beginning of civilization along the Ohio and Mississippi, and the treasonable schemes builded against Washington and the Federal Government.
CONISTON. Illustrated by Florence Scovel Shinn.
A deft blending of love and politics distinguishes this book. The author has taken for his hero a New Englander, a crude man of the tannery, who rose to political prominence by his own powers, and then surrendered all for the love of a woman.
It is a sermon on civic righteousness, and a love story of a deep motive.
THE CELEBRITY. An Episode.
An inimitable bit of comedy describing an interchange of personalities between a celebrated author and a bicycle salesman of the most blatant type. The story is adorned with some character sketches more living than pen work. It is the purest, keenest fun—no such piece of humor has appeared for years: it is American to the core.
THE CRISIS. Illus. by Howard Chandler Christy.
A book that presents the great crisis in our national life with splendid power and with a sympathy, a sincerity, and a patriotism that are inspiring. The several scenes in the book in which Abraham Lincoln figures must be read in their entirety for they give a picture of that great, magnetic, lovable man, which has been drawn with evident affection and exceptional success.
Grosset & Dunlap, 526 West 26th St., New York
THE NOVELS OF
GEORGE BARR McCUTCHEON
GRAUSTARK.
A story of love behind a throne, telling how a young American met a lovely girl and followed her to a new and strange country. A thrilling, dashing narrative.
BEVERLY OF GRAUSTARK.
Beverly is a bewitching American girl who has gone to that stirring little principality—Graustark—to visit her friend the princess, and there has a romantic affair of her own.
BREWSTER'S MILLIONS.
A young man is required to spend one million dollars in one year in order to inherit seven. How he does it forms the basis of a lively story.
CASTLE CRANEYCROW.
The story revolves round the abduction of a young American woman, her imprisonment in an old castle and the adventures created through her rescue.
COWARDICE COURT.
An amusing social feud in the Adirondacks in which an English girl is tempted into being a traitor by a romantic young American, forms the plot.
THE DAUGHTER OF ANDERSON CROW.
The story centers about the adopted daughter of the town marshal in a western village. Her parentage is shrouded in mystery, and the story concerns the secret that deviously works to the surface.
THE MAN FROM BRODNEY'S.
The hero meets a princess in a far-away island among fanatically hostile Musselmen. Romantic love making amid amusing situations and exciting adventures.
NEDRA.
A young couple elope from Chicago to go to London traveling as brother and sister. They are shipwrecked and a strange mix-up occurs on account of it.
THE SHERRODS.
The scene is the Middle West and centers around a man who leads a double life. A most enthralling novel.
TRUXTON KING.
A handsome good natured young fellow ranges on the earth looking for romantic adventures and is finally enmeshed in most complicated intrigues in Graustark.
Grosset & Dunlap, 526 West 26th St., New York
LOUIS TRACY'S
CAPTIVATING AND EXHILARATING ROMANCES
May be had wherever books are sold.Ask for Grosset & Dunlap's list.
CYNTHIA'S CHAUFFEUR. Illustrated by Howard Chandler Christy.
A pretty American girl in London is touring in a car with a chauffeur whose identity puzzles her. An amusing mystery.
THE STOWAWAY GIRL. Illustrated by Nesbitt Benson.
A shipwreck, a lovely girl stowaway, a rascally captain, a fascinating officer, and thrilling adventures in South Seas.
THE CAPTAIN OF THE KANSAS.
Love and the salt sea, a helpless ship whirled into the hands of cannibals, desperate fighting and a tender romance.
THE MESSAGE. Illustrated by Joseph Cummings Chase.
A bit of parchment found in the figurehead of an old vessel tells of a buried treasure. A thrilling mystery develops.
THE PILLAR OF LIGHT.
The pillar thus designated was a lighthouse, and the author tells with exciting detail the terrible dilemma of its cut-off inhabitants.
THE WHEEL O'FORTUNE. With illustrations by James Montgomery Flagg.
The story deals with the finding of a papyrus containing the particulars of some of the treasures of the Queen of Sheba.
A SON OF THE IMMORTALS. Illustrated by Howard Chandler Christy.
A young American is proclaimed king of a little Balkan Kingdom, and a pretty Parisian art student is the power behind the throne.
THE WINGS OF THE MORNING.
A sort of Robinson Crusoe redivivus with modern settings and a very pretty love story added. The hero and heroine, are the only survivors of a wreck, and have many thrilling adventures on their desert island.
Ask for complete free list of G. & D. Popular Copyrighted Fiction
Grosset & Dunlap, 526 West 26th St., New York
THE NOVELS OF
STEWART EDWARD WHITE
THE RULES OF THE GAME. Illustrated by Lajaren A. Hiller
The romance of the son of "The Riverman." The young college hero goes into the lumber camp, is antagonized by "graft" and comes into the romance of his life.
ARIZONA NIGHTS. Illus. and cover inlay by N. C. Wyeth.
A series of spirited tales emphasizing some phases of the life of the ranch, plains and desert. A masterpiece.
THE BLAZED TRAIL. With illustrations by Thomas Fogarty.
A wholesome story with gleams of humor, telling of a young man who blazed his way to fortune through the heart of the Michigan pines.
THE CLAIM JUMPERS. A Romance.
The tenderfoot manager of a mine in a lonesome gulch of the Black Hills has a hard time of it, but "wins out" in more ways than one.
CONJUROR'S HOUSE. Illustrated Theatrical Edition. Dramatized under the title of "The Call of the North."
"Conjuror's House" is a Hudson Bay trading post where the head factor is the absolute lord. A young fellow risked his life and won a bride on this forbidden land.
THE MAGIC FOREST. A Modern Fairy Tale. Illustrated.
The sympathetic way in which the children of the wild and their life is treated could only belong to one who is in love with the forest and open air. Based on fact.
THE RIVERMAN. Illus. by N. C. Wyeth and C. Underwood
The story of a man's fight against a river and of a struggle between honesty and grit on the one side, and dishonesty and shrewdness on the other.
THE SILENT PLACES. Illustrations by Philip R. Goodwin.
The wonders of the northern forests, the heights of feminine devotion, and masculine power, the intelligence of the Caucasian and the instinct of the Indian, are all finely drawn in this story.
THE WESTERNERS.
A story of the Black Hills that is justly placed among the best American novels. It portrays the life of the new West as no other book has done in recent years.
THE MYSTERY. In collaboration with Samuel Hopkins Adams With illustrations by Will Crawford.
The disappearance of three successive crews from the stout ship "Laughing Lass" in mid-Pacific, is a mystery weird and inscrutable. In the solution, there is a story of the most exciting voyage that man ever undertook.
Grosset & Dunlap, 526 West 26th St., New York
Transcriber's notes:
Page 337: missing closing quote fixed ("... or a silent mixer of trouble medicine."")
Page 434: opening quote moved to before long dash at start of paragraph (""—And, though it is stolen money ...")
To reflect the character of this book all other instances of hyphenation and spelling have been retained.