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This collection of short stories contains the following: A Feud; The Man Who Kept His Form; A Hedonist; Timber; Santa Lucia; Blackmail; The Broken Boot; Stroke of Lightning; Virtue; Conscience; Salta Pro Nobis; Philanthropy; A Long-Ago Affair; Acme; Late -- 299; Had A Horse.
About the author: John Galsworthy OM (1867-1933) was an English novelist and playwright. Notable works include The Forsyte Saga (1906-1921) and its sequels, A Modern Comedy and End of the Chapter. He won the Nobel Prize in Literature in 1932. Through his writings Galsworthy campaigned for a variety of causes, including prison reform, women's rights, and animal welfare, and also against censorship. During the First World War he worked in a hospital in France as an orderly, after being passed over for military service, and in 1917 turned down a knighthood. In 1921 he was elected as the first president of the PEN International literary club and was appointed to the Order of Merit in 1929.
Review of author: "Certain it is that who would write of John Galsworthy must understand a soul fairly steeped in beauty; a heart touched by the infinite pathos of human life. These two qualities appear, at times, consorted with the strength of a Zola, with the brilliancy and delicacy of a Meredith, and again with all the moral indignation of a Shelley. He feels as deeply as Swinburne, but he has the restraint of Pater, without a touch of Pater's disease of hopelessness, world weariness, and lack of faith in the progress and perfectibility of human society. If Galsworthy did not snatch at the beauty of the moment: were his spirit not constantly roused and startled " into sharp and eager observation" where "every moment some form grows perfect in hand or face; some tone on the hills or sea is choicer than the rest; some mood of passion or insight or intellectual excitement is irresistibly real and attractive," he would not be an impressionist. But he has, in addition to this, a spirit wholly divorced from the famous aesthetic eighties and the nerve wracked nineties of the last century. He has the twentieth century faith in the malleability of human life... His neither to teach nor preach, but merely to hold up the lantern whereby life may be seen as it is; cesspools and rich carved frontages, sightless hovels and garden gates, rich folk revelling and poor folk sleeping in hutches... But Galsworthy is enough of the old school to have in mind, from the first stroke, the beauty of the final picture. His very touch poetizes, etherializes." (Louise Collier Willcox The North American Review Vol. 202, No. 721 Dec. 1915, "John Galsworthy")
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