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The Second-Story Man   By: (1878-1968)

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Upton Sinclair, renowned for his groundbreaking novel "The Jungle," delves into the world of crime and manipulation in his thrilling literary work, "The Second-Story Man." Set in 1920s Chicago, Sinclair brings readers into a complex web of deception and moral ambiguity that keeps them on the edge of their seats from start to finish.

The story revolves around the enigmatic character of Alfred Camberly, an expert second-story man - a thief who specializes in breaking into upper-story properties. Sinclair skillfully crafts Camberly's character, taking readers on a journey through his troubled past and demonstrating the lingering effects of a traumatic childhood. As the plot unfolds, we witness Camberly's transformation from a hardened criminal into a conflicted man trapped in a cycle of crime.

One of the most captivating aspects of this novel is Sinclair's masterful portrayal of Chicago during the Prohibition era. Through vivid descriptions and meticulous attention to detail, he paints a vivid picture of the dark underbelly of the city, rife with corruption, speakeasies, and the ever-present threat of violence. His evocative prose transports readers to the smoky alleys and secretive hideouts, creating an immersive experience that feels both authentic and mesmerizing.

Sinclair's exploration of ethics and morality is another highlight of "The Second-Story Man." As we get to know Camberly, we are confronted with the complexities of his criminal activities and his genuine desire for redemption. The novel presents ethical dilemmas that force readers to question their own values and judgments, blurring the line between right and wrong. It is this moral ambiguity that adds depth and complexity to the narrative, elevating the story beyond a mere crime thriller.

Moreover, Sinclair's character development is truly commendable. Each character, no matter how minor, is imbued with a distinct voice and purpose. From Camberly's tormented love interest to the cunning police detective pursuing him, every individual plays a significant role that contributes to the intricate tapestry of the narrative. This attention to detail gives readers a deep understanding of each character's motivations, making them three-dimensional and relatable.

While "The Second-Story Man" is undeniably gripping and thought-provoking, there are moments when the pacing feels uneven. The story occasionally veers into tangents that, while interesting, can disrupt the overall flow. However, this minor flaw does not detract from the overall enjoyment or impact of the novel.

In conclusion, Upton Sinclair's "The Second-Story Man" is a captivating crime novel that delves into the darker corners of human nature. With its compelling characters, atmospheric setting, and thought-provoking themes, this book is a must-read for anyone who appreciates a well-crafted, morally complex tale. Sinclair reminds us that sometimes, the line between hero and villain is not as clear-cut as we might think, leaving readers pondering the thin veneer that separates their own personal choices from those of the captivating figures in his novel.

First Page:

This etext was produced by Charles Franks and the Online Distributed Proofreading team.

THE SECOND STORY MAN

by UPTON SINCLAIR

CHARACTERS

JIM FARADAY: the second story man. HARVEY AUSTIN: a lawyer. HELEN AUSTIN: his wife.

SCENE: Library of the Austin home.

Time: 2 A.M.

[The scene shows a luxuriously furnished room. In the centre is a table with a lamp. To the right is the entrance into the front hall, the front door of the house being visible. In the corner is a cabinet of curios. In the rear is a large window opening on the street. Open fire place. There are two entrances at the left. There are book shelves, several easy chairs, etc., in the room.]

[At rise: The stage is empty, and the room is darkened except for the fire in the grate. Sounds of breaking wood are heard at the window.]

JIM. [A roughly dressed young fellow with a patch over one eye, enters through window, stands gazing about nervously, looks into the hall, etc., then flashes a dark lantern.] This looks pretty good.

[Goes to mantel, takes silver cup and puts it into bag which he carries; then exit left.]

AUSTIN. [Enters at front door without much noise. Hangs up coat and hat, and then stands in entrance. He is a smooth faced young man in evening dress.] All gone to bed, hey?

[Takes out cigarette case and is about to light one, when a crash is heard off left, as of a vase falling... Continue reading book >>




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