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The Weavers: a tale of England and Egypt   By: (1862-1932)

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THE WEAVERS

By Gilbert Parker

CONTENTS

BOOK I I. AS THE SPIRIT MOVED II. THE GATES OF THE WORLD III. BANISHED IV. THE CALL

BOOK II V. THE WIDER WAY VI. "HAST THOU NEVER BILLED A MANY" VII. THE COMPACT VIII. FOR HIS SOUL'S SAKE AND THE LAND'S SAKE IX. THE LETTER, THE NIGHT, AND THE WOMAN X. THE FOUR WHO KNEW XI. AGAINST THE HOUR OF MIDNIGHT XII. THE JEHAD AND THE LIONS XIII. ACHMET THE ROPEMAKER STRIKES XIV. BEYOND THE PALE

BOOK III XV. SOOLSBY'S HAND UPON THE CURTAIN XVI. THE DEBT AND THE ACCOUNTING XVII. THE WOMAN OF THE CROSS ROADS XVIII. TIME, THE IDOL BREAKER XIX. SHARPER THAN A SWORD XX. EACH AFTER HIS OWN ORDER XXI. "THERE IS NOTHING HIDDEN WHICH SHALL NOT BE REVEALED" XXII. AS IN A GLASS DARKLY XXIII. THE TENTS OF CUSHAN XXIV. THE QUESTIONER XXV. THE VOICE THROUGH THE DOOR XXVI. "I OWE YOU NOTHING" XXVII. THE AWAKENING

BOOK IV XXVIII. NAHOUM TURNS THE SCREW XXIX. THE RECOIL XXX. LACEY MOVES XXXI. THE STRUGGLE IN THE DESERT XXXII. FORTY STRIPES SAVE ONE XXXIII. THE DARK INDENTURE XXXIV. NAHOUM DROPS THE MASK

BOOK V XXXV. THE FLIGHT OF THE WOUNDED XXXVI. "IS IT ALWAYS SO IN LIFE?" XXXVII. THE FLYING SHUTTLE XXXVIII. JASPER KIMBER SPEAKS XXXIX. FAITH JOURNEYS TO LONDON

BOOK VI XL. HYLDA SEEKS NAHOUM XLI. IN THE LAND OF SHINAR XLII. THE LOOM OF DESTINY

INTRODUCTION

When I turn over the hundreds of pages of this book, I have a feeling that I am looking upon something for which I have no particular responsibility, though it has a strange contour of familiarity. It is as though one looks upon a scene in which one had lived and moved, with the friendly yet half distant feeling that it once was one's own possession but is so no longer. I should think the feeling to be much like that of the old man whose sons, gone to distant places, have created their own plantations of life and have themselves become the masters of possessions. Also I suppose that when I read the story through again from the first page to the last, I shall recreate the feeling in which I lived when I wrote it, and it will become a part of my own identity again. That distance between himself and his work, however, which immediately begins to grow as soon as a book leaves the author's hands for those of the public, is a thing which, I suppose, must come to one who produces a work of the imagination. It is no doubt due to the fact that every piece of art which has individuality and real likeness to the scenes and character it is intended to depict is done in a kind of trance. The author, in effect, self hypnotises himself, has created an atmosphere which is separate and apart from that of his daily surroundings, and by virtue of his imagination becomes absorbed in that atmosphere. When the book is finished and it goes forth, when the imagination is relaxed and the concentration of mind is withdrawn, the atmosphere disappears, and then. One experiences what I feel when I take up 'The Weavers' and, in a sense, wonder how it was done, such as it is.

The frontispiece of the English edition represents a scene in the House of Commons, and this brings to my mind a warning which was given me similar to that on my entering new fields outside the one in which I first made a reputation in fiction. When, in a certain year, I determined that I would enter the House of Commons I had many friends who, in effect, wailed and gnashed their teeth. They said that it would be the death of my imaginative faculties; that I should never write anything any more; that all the qualities which make literature living and compelling would disappear. I thought this was all wrong then, and I know it is all wrong now... Continue reading book >>


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