To get away from city life periodically, New Yorker Roger Locke purchases an abandoned farm house in rural Connecticut, and with the assistance of his cousin Phillida and her beau Ethan Vere, he sets about fixing up the place. Immediately however, an unseen mysterious woman begins giving him warnings during nocturnal visits to leave the house at once. Soon he begins hearing strange ominous sounds emanating from the tiny lake at the back of the house coupled with a permeation of sickly odors. An evil presence then begins to visit him during the witching hours of the late night, challenging him to a battle of wits from which there can be only one victor. Is his mysterious female visitor there to help and encourage him to flee from the house, or is she working in tandem with The Thing From the Lake? A gripping, occasionally frightening tale, Ms. Ingram wastes no time in grabbing the reader into the story and manages to weave a tale that will leave the reader guessing at every turn of events. (Summary by Roger Melin)(from Librivox)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The guarded heights by Wadsworth Camp. This book is a reproduction of the original book published in 1921 and may have some imperfections such as marks or hand-written notes.

Harold Bindloss was a 20th century British novelist whose most famous works depict the frontier in the Northwest and Canada, making him a popular writer not only among the British but Americans who loved his Western stories

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

George Van Schaick wrote this popular book that continues to be widely read today despite its age.

The Prince repeated his statement: Man's greatest wisdom consists in getting along without women. He intended to go on but was interrupted. There was a slight stir of the heavy window curtains. Through their parting was seen below, as in a frame, the intense azure of the Mediterranean. A dull roar reached the dining-room. It seemed to come from the side of the house facing the Alps. It was a faint vibration, deadened by the walls, the curtains, and the carpets, distant, like the working of some underground monster; but there rose above the sound of revolving steel and the puffing of steam a clamor of human beings, a sudden burst of shouts and whistling.

When From "The Speaker, the Liberal Review," Vol. 2 [1900]: A NOVEL OF THE FUTURE OUR readers may recollect a recent humorous picture of the probable ultimate condition of the human species. Their brains had immensely outgrown their bodies, and they were sitting all head, like great eggs, on the edge of a pool, contemplating themselves therein and needing little other nourishment. It would be an interesting speculation whether fiction also will end in some one character serenely contemplating its own brains. A tendency in that direction is traceable in such of Miss Ellen Fowler’s novels as have achieved distinction. Any advance they show is towards uniformity of cleverness; there was less power of depicting variety of character in The Double Thread than in Concerning Isabel Carnaby. In the present novel there is a frank concentration of all Miss Fowler's abilities on one character. The novel with her is becoming a dramatic monologue, with this advantage over a monologue—that the authoress is able to employ herself and a chorus in describing the emotions of the protagonist. What is this one character in The Farringdons? Elizabeth Farringdon's Methodist education only serves to sharpen her Wit at the expense of Methodists, who, for that reason, not unnaturally perhaps, somewhat dislike her. By virtue of her wit and fluency she naturally gravitates to town society, where, in spite of a remark to the effect that artists and aristocrats are separate, she is thoroughly at home. For Elizabeth, though an artist, has not an artist’s cleverness: true artists do not so readily explain their feelings; she is at heart urban. Her comments on town society show an understanding of its psychological elements, its pluck, its lightheartedness, and that individualistic tendency which, prevented by convention from showing itself in ruder forms, finds issue in a straining after epigram and effect. She understands them because she, like Isabel Carnaby, is one of them. For the artistic qualities which Miss Fowler gives this latest heroine are unimportant and, if anything, depreciate from the interest of her character. They show her in so selfish a light that we feel she deserves all she does and does not get, and we are inclined to doubt the effectiveness of a conversion to religion which left the original character so unchanged. But this one character asserting itself through the medium of epigram hampers the authoress. Firstly, it affects her style. Epigram is nowhere excluded. Beneath the conventional ungrammaticisms of the cottage flashes the wit of Lady Silverhampton and the fine sensibility of the Slade School of Art. Sometimes it is ludicrous, as when the slighted Christopher on ins sick-bed talks in as neatly rounded periods as Tremaine in the fullness of his artistic health. Sometimes it is in positive bad taste as when, speaking of the death of Elizabeth’s aunt, it is said that "Miss Maria Farringdon went to sleep one night in a land whose stones are of iron and awoke next morning in a country whose pavements are of gold." We feel that nature is continually being looked at through town eyes with a view to effect: it may have the occasional charm of Watteau; it lacks the simple truth of Gainsborough....

In the absence of any preface by the author, the publishers desire to call special attention to this most exquisite little story. It breathes such a love of Nature in all her forms, inculcates such excellent principles, and is so full of beauty and simplicity, that it will delight not only children, but all readers of unsophisticated tastes. The author seems to teach the gentle creed which Coleridge has imbodied in those familiar lines, "He prayeth well who loveth well Both man, and bird, and beast."

OA reissue of Emma Wolf's 1892 novel, which boldly interrogates the implications of Jewish-Christian marriage and examines the role of the new woman within the traditions of the Jewish home. The novel's protagonist, Ruth Levice, is a young intellectual from an upper-class Jewish family.

Leroy Scott was an American writer of novels and screenplays. He was born in Fairmount, Indiana 11 May 1875. His father was a minister with the Religious Society of Friends. He graduated from Indiana University in 1897. 

The Brown Mouse is presented here in a high quality paperback edition. This popular classic work by Herbert Quick is in the English language, and may not include graphics or images from the original edition. If you enjoy the works of Herbert Quick then we highly recommend this publication for your book collection.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy. --This text refers to the Paperback edition. --This text refers to the Paperback edition.

The Little Gray Lady - 1909 is presented here in a high quality paperback edition. This popular classic work by Francis Hopkinson Smith is in the English language, and may not include graphics or images from the original edition. If you enjoy the works of Francis Hopkinson Smith then we highly recommend this publication for your book collection.