Harold Macgrath

Harold MacGrath (September 4, 1871 - October 30, 1932) was a bestselling American novelist, short story writer, and screenwriter. Also known occasionally as Harold McGrath, he was born in Syracuse, New York. As a young man, he worked as a reporter and columnist on the Syracuse Herald newspaper until the late 1890s when he published his first novel, a romance titled Arms and the Woman. According to the New York Times, his next book, The Puppet Crown, was the No.7 bestselling book in the United States for all of 1901. From that point on, MacGrath never looked back, writing novels for the mass market about love, adventure, mystery, spies, and the like at an average rate of more than one a year. He would have three more of his books that were among the top ten bestselling books of the year. At the same time, he penned a number of short stories for major American magazines such as The Saturday Evening Post, Ladies Home Journal, and Red Book magazine. Several of MacGrath's novels were serialized in these magazines and contributing to them was something he would continue to do until his death in 1932

Harold MacGrath (September 4, 1871 - October 30, 1932) was a bestselling American novelist, short story writer, and screenwriter. Also known occasionally as Harold McGrath, he was born in Syracuse, New York. As a young man, he worked as a reporter and columnist on the Syracuse Herald newspaper until the late 1890s when he published his first novel, a romance titled Arms and the Woman. According to the New York Times, his next book, The Puppet Crown, was the No.7 bestselling book in the United States for all of 1901. From that point on, MacGrath never looked back, writing novels for the mass market about love, adventure, mystery, spies, and the like at an average rate of more than one a year. He would have three more of his books that were among the top ten bestselling books of the year. At the same time, he penned a number of short stories for major American magazines such as The Saturday Evening Post, Ladies Home Journal, and Red Book magazine. Several of MacGrath's novels were serialized in these magazines and contributing to them was something he would continue to do until his death in 1932.

The story is reminiscent of Stevenson's "Prince Otto" in a certain airy persiflage and genial cynicism and in the comic opera quality of the little Continental kingdom that is the scene of its remarkable plot; it strongly suggests Anthony Hope's "The Prisoner of Zenda" in the kidnaping of certain important characters and in the portraiture of the youthful hero who is an American. But these resemblances do not detract from its originality; for original it is in plot, in characters, and in style. Something there is of the same power of revealing the loneliness the heartache and the unsatisfied longings of royalty that throbs in Daudet's "Kings in Exile." The whole plot turns on the misery of a King who has sold his birthright for a crown that is only a symbol of his own impotency. He is a puppet in the hands of a confederation of great powers who permit him to rule because he is an idealist and a dreamer, and, they know, will finally allow the kingdom to fall into their hands as a protectorate.

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Lost treasure, buried by early admirers of Napoleon Bonaparte, is at the center of this incredible adventure.

A gay romance of Washington today, carried off with admirable dash and spirit, and with just enough tragedy to give point to the comic touch. The hero masquerades as a coachman, takes service in his lady's livery, becomes involved in a diplomatic intrigue, and altogether has the liveliest kind of a time.

The king sat in his private garden in the shade of a potted orange tree, the leaves of which were splashed with brilliant yellow. It was high noon of one of those last warm sighs of passing summer which now and then lovingly steal in between the chill breaths of September. The velvet hush of the mid-day hour had fallen. There was an endless horizon of turquoise blue, a zenith pellucid as glass. The trees stood motionless; not a shadow stirred, save that which was cast by the tremulous wings of a black and purple butterfly, which, near to his Majesty, fell, rose and sank again. From a drove of wild bees, swimming hither and thither in quest of the final sweets of the year, came a low murmurous hum, such as a man sometimes fancies he hears while standing alone in the vast auditorium of a cathedral. The king, from where he sat, could see the ivy-clad towers of the archbishop's palace, where, in and about the narrow windows, gray and white doves fluttered and plumed themselves. The garden sloped gently downward till it merged into a beautiful lake called the Werter See, which, stretching out several miles to the west, in the heart of the thick-wooded hills, trembled like a thin sheet of silver.

The Master is inordinately fond of young fools. That is why they are permitted to rush in where angels fear to tread-and survive their daring This supreme protection, this unwritten warranty to disregard all laws, occult or apparent, divine or earthly, may be attributed to the fact that none but young fools dream gloriously. For such of us as pretend to be wise-and we are but fools in a lesser degree-we know that humanity moves onward only by the impellant of fine dreams. Sometimes these dreams are simple and tender; sometimes they are magnificent. With what airs we human atoms invest ourselves What ridiculous fancies of our importance We believe we have destinies, when we have only destinations: that we are something immortal, when each of us is in truth only the repository of a dream. The dream flowers and is harvested, and we are left by the wayside, having served our singular purpose in the scheme of progress: as the orange is tossed aside when sucked of its ruddy juice. We middle-aged fools and we old fools can no longer dream.

Fog. A London fog, solid, substantial, yellow as an old dog's tooth or a jaundiced eye. You could not look through it, nor yet gaze up and down it, nor over it; and you only thought you saw it. The eye became impotent, untrustworthy; all senses lay fallow except that of touch; the skin alone conveyed to you with promptness and no incertitude that this thing had substance. You could feel it; you could open and shut your hands and sense it on your palms, and it penetrated your clothes and beaded your spectacles and rings and bracelets and shoe-buckles. It was nightmare, bereft of its pillows, grown somnambulistic; and London became the antechamber to Hades, lackeyed by idle dreams and peopled by mistakes. There is something about this species of fog unlike any other in the world. It sticks. You will find certain English cousins of yours, as far away from London as Hong-Kong, who are still wrapt up snugly in it. Happy he afflicted with strabismus, for only he can see his nose before his face.

Out of the unromantic night, out of the somber blurring January fog, came a voice lifted in song, a soprano, rich, full and round, young, yet matured, sweet and mysterious as a night-bird's, haunting and elusive as the murmur of the sea in a shell: a lilt from La Fille de Madame Angot, a light opera long since forgotten in New York. Hillard, genuinely astonished, lowered his pipe and listened. To sit dreaming by an open window, even in this unlovely first month of the year, in that grim unhandsome city which boasts of its riches and still accepts with smug content its rows upon rows of ugly architecture, to sit dreaming, then, of red-tiled roofs, of cloud-caressed hills, of terraced vineyards, of cypresses in their dark aloofness, is not out of the natural order of things; but that into this idle and pleasant dream there should enter so divine a voice, living, feeling, pulsing, this was not ordinary at all. And Hillard was glad that the room was in darkness. He rose eagerly and peered out. But he saw no one. Across the street the arc-lamp burned dimly, like an opal in the matrix, while of architectural outlines not one remained, the fog having kindly obliterated them.

A blurring rain fell upon Paris that day; a rain so fine and cold that it penetrated the soles of men's shoes and their hearts alike, a dispiriting drizzle through which the pale, acrid smoke of innumerable wood fires faltered upward from the clustering chimney-pots, only to be rent into fragments and beaten down upon the glistening tiles of the mansard roofs. The wide asphalts reflected the horses and carriages and trains and pedestrians in forms grotesque, zigzagging, flitting, amusing, like a shadow-play upon a wrinkled, wind-blown curtain. The sixteenth of June. To Fitzgerald there was something electric in the date, a tingle of that ecstasy which frequently comes into the blood of a man to whom the romance of a great battle is more than its history or its effect upon the destinies of human beings. Many years before, this date had marked the end to a certain hundred days, the eclipse of a sun more dazzling than Rome, in the heyday of her august Caesars, had ever known: Waterloo. A little corporal of artillery; from a cocked hat to a crown, from Corsica to St. Helena: Napoleon.

A man enveloped in a handsome grey cloak groped through a dark alley which led into the fashionable district of the Rue de B thisy. From time to time he paused, with a hand to his ear, as if listening. Satisfied that the alley was deserted save for his own presence, he would proceed, hugging the walls. The cobbles were icy, and scarce a moment passed in which he did not have to struggle to maintain his balance. The door of a low tavern opened suddenly, sending a golden shaft of light across the glistening pavement and casting a brilliant patch on the opposite wall. With the light came sounds of laughter and quarreling and ringing glasses. The man laid his hand on his sword, swore softly, and stepped back out of the blinding glare. The flash of light revealed a mask which left visible only the lower half of his face. Men wearing masks were frequently subjected to embarrassing questions; and this man was determined that no one should question him to-night. He waited, hiding in the shadow. Half a dozen guardsmen and musketeers reeled out. The host reviled them for a pack of rogues. They cursed him, laughing, and went on, to be swallowed up in the darkness beyond. The tavern door closed, and once more the alley was hued with melting greys and purples. The man in the cloak examined the strings of his mask, tilted his hat still farther down over his eyes, and tested the looseness of his sword. "The drunken fools " he muttered, continuing. "Well for them they came not this way."

"A London fog, solid, substantial, yellow as an old dog's tooth or a jaundiced eye. You could not look through it, nor yet gaze up and down it, nor over it; and you only thought you saw it. The eye became impotent, untrustworthy; all senses lay fallow except that of touch; the skin alone conveyed to you with promptness and no incertitude that this thing had substance. You could feel it; you could open and shut your hands and sense it on your palms, and it penetrated your clothes and beaded your spectacles and rings and bracelets and shoe-buckles. It was nightmare, bereft of its pillows, grown somnambulistic; and London became the antechamber to Hades, lackeyed by idle dreams and peopled by mistakes"

This collection of literature attempts to compile many of the classic works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.

This collection of literature attempts to compile many of the classic works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.