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When Spenser Tait took his seat at the breakfast table, he cast a look around, according to custom, to see that all was as orderly as he could wish. The neatest and most methodical of men, he was positively old maidish in his love of regularity and tidiness. His valet, Dormer,—with him for over fifteen years,—had been trained by such long service into the particular ways of his master, and was almost as exacting as Tait himself in the matter of domestic details. No woman was permitted to penetrate into those chambers in Earls Street, St. James'; but had one been able to do so, she could have found no fault with them, either on the score of taste or of cleanliness. The shell of this hermit crab was eloquent of the idiosyncrasies of its tenant. The main characteristic of the breakfast room was one of severe simplicity. The carpet of green drappled brown, the curtains to match, and the furniture of oak, polished and dark. On the white cloth of the table an appetizing breakfast was set out in silver and china, and a vase of flowers showed that the little gentleman was not unmindful of the requirements of an artistic temperament. Even the Times, carefully cut and warmed, was neatly folded by the silver ringed napkin, and Dormer, standing stiff and lean by his master's chair, was calmly satisfied that no fault could be found with his work. For the past fifteen years, save on occasions of foreign travel, the same etiquette had been observed, the same actions performed, for, like the laws of the Medes and Persians, the habits of Tait were fixed and determined. He was a pleasant creature of thirty-four years, small in stature, clean-shaven and brown-locked. His plump little body was clothed in a well-brushed smoking suit of maroon-colored cloth, his neat feet encased in slippers of red morocco, and he scanned the room through a gold-mounted pince nez. Neat and firm as he was, women did not care for him in the least, and he returned the compliment by heartily disliking the female sex. Yet with men he was a great favorite, and the members of his club liked to hear the sententious speeches of this little man, delivered with point and deliberation in the smoking room from eleven till midnight. When the clock struck twelve he invariably went to bed, and no persuasion or temptation could induce him to break this excellent rule.
The provocative, audacious, brilliant six-volume autobiographical novel that has unquestionably been the main event of contemporary European literature. It has earned favorable comparisons to its obvious literary forebears "A la recherche du temps perdu" and "Mein Kampf" but has been celebrated as the rare magnum opus that is intensely, addictively readable.
A survey of the contents and authenticity of “The Secret Doctrine, Volume III,” as published in 1897.
Among the staple foods most welcomed on southern tables—and on tables around the world—rice is without question the most versatile. As Michael W. Twitty observes, depending on regional tastes, rice may be enjoyed at breakfast, lunch, and dinner; as main dish, side dish, and snack; in dishes savory and sweet. Filling and delicious, rice comes in numerous botanical varieties and offers a vast range of scents, tastes, and textures depending on how it is cooked. In some dishes, it is crunchingly crispy; in others, soothingly smooth; in still others, somewhere right in between. Commingled or paired with other foods, rice is indispensable to the foodways of the South. As Twitty's fifty-one recipes deliciously demonstrate, rice stars in Creole, Acadian, soul food, Low Country, and Gulf Coast kitchens, as well as in the kitchens of cooks from around the world who are now at home in the South. Exploring rice's culinary history and African diasporic identity, Twitty shows how to make the southern classics as well as international dishes—everything from Savannah Rice Waffles to Ghanaian Crab Stew. As Twitty gratefully sums up, "Rice connects me to every other person, southern and global, who is nourished by rice's traditions and customs."
Traces the life and career of the legendary director, discussing the making of "Citizen Kane," his contributions to such films as "The Magnificent Ambersons" and "The Lady from Shanghai," and his efforts in radio comedy, spectacular theater, and newspaper politics.