: Arnold Bennett
: Hilda Lessways
: Dead Dodo Presents Arnold Bennett
: 9781508026266
: 1
: CHF 0.70
:
: Erzählende Literatur
: English
: 426
: DRM
: PC/MAC/eReader/Tablet
: ePUB
Dodo Collections brings you another classic from Arnold Bennett, ''Hilda Lessways'.

 

In the second volume of the trilogy, events in Clayhanger are retold from the perspective of Hilda Lessways, who is embarking upon a relationship with George Cannon, a charismatic entrepreneur, whose success has taken him from the Five Towns to Brighton. A disastrous bigamous marriage and pregnancy result. Finally, however, she is reconciled with Edwin Clayhanger and one of Bennett's most lively heroines must face up to her conflicting emotions, and the reality of her hopes and tragedies.

 

Enoch Arnold Bennett (always known as Arnold Bennett) was one of the most remarkable literary figures of his time, a product of the English Potteries that he made famous as the Five Towns. Yet he could hardly wait to escape his home town, and he did so by the sheer force of his ambition to succeed as an author. In his time he turned his hand to every kind of writing, but he will be remembered for such novels as The Old Wives' Tale, the Clayhanger trilogy (Clayhanger, Hilda Lessways, and These Twain), and The Card. He also wrote such intriguing self-improvement books as Literary Taste, How To Live on 24 Hours a Day, The Human Machine, etc.

 

After a local education Bennett finished his education at the University of London and for a time was editor of Woman magazine. After 1900 he devoted himself entirely to writing; dramatic criticism was one of his foremost interests. Bennett is best known, however, for his novels, several of which were written during his residence in France.

 

Bennett's infancy was spent in genteel poverty, which gave way to prosperity as his father succeeded as a solicitor. From this provincial background he became a novelist.

 

His enduring fame is as a Chronicler of the Potteries towns, the setting and inspiration of some of his most famous and enduring literary work and the place where he grew up.

CHAPTER II. THE END OF THE SCENE


I.

The linen money-bag and the account-book, proper to the last Wednesday in the month, lay on the green damask cloth of the round table where Hilda and her mother took their meals. A paralytic stroke had not been drastic enough to mar Mr. Skellorn’s most precious reputation for probity and reliability. His statement of receipts and expenditure, together with the corresponding cash, had been due at two o’clock, and despite the paralytic stroke it was less than a quarter of an hour late. On one side of the bag and the book were ranged the older women,—Mrs. Lessways, thin and vivacious, and Mrs. Grant, large and solemn; and on the other side, as it were in opposition, the young, dark, slim girl with her rather wiry black hair, and her straight, prominent eyebrows, and her extraordinary expression of uncompromising aloofness.

“She’s just enjoying it, that’s what she’s doing!” said Hilda to herself, of Mrs. Grant.

And the fact was that Mrs. Grant, quite unconsciously, did appear to be savouring the catastrophe with pleasure. Although paralytic strokes were more prevalent at that period than now, they constituted even then a striking dramatic event. Moreover, they were considered as direct visitations of God. Also there was something mysteriously and agreeably impressive in the word ‘paralytic,’ which people would repeat for the pleasure of repeating it. Mrs. Grant, over whose mighty breast flowed a black mantle suited to the occasion, used the word again and again as she narrated afresh for Hilda the history of the stroke.

“Yes,” she said, “they came and fetched me out of my bed at three o’clock this morning; and would you believe me, though he couldn’t hardly speak, the money and this here book was all waiting in his desk, and he would have me come with it! And him sixty-seven! He always was like that. And I do believe if he’d been paralysed on both sides instead of only all down his right side, and speechless too, he’d ha’ made me