McTeague: A Story of San Francisco
by Frank Norris
- Language
- EN
- Format
- EPUB
- Size
- 608 KB
Description
Set in San Francisco at the turn of the twentieth century, Frank Norris's novel depicts the downfall of a working-class couple amidst urban and economic struggles. The story focuses on McTeague, a dentist, and his wife, as their marriage deteriorates amid financial hardship, greed, and obsession with wealth. Their hardships culminate in betrayal, poverty, and mounting tension, highlighting themes of materialism and moral decline prevalent in American society of that era. The narrative traces the consequences of their choices, leading to a tragic climax set against the desolate landscape of Death Valley, where past grievances and stolen gold intertwine.
Published in 1899, the work is considered part of American literary realism, portraying characters shaped by their social environment and personal flaws. Norris examines the destructive nature of greed and jealousy, employing a detailed depiction of characters' lives and the societal context of late 19th-century California. The novel combines elements of character study and social critique within a narrative grounded in realism and naturalism.
Published in 1899, the work is considered part of American literary realism, portraying characters shaped by their social environment and personal flaws. Norris examines the destructive nature of greed and jealousy, employing a detailed depiction of characters' lives and the societal context of late 19th-century California. The novel combines elements of character study and social critique within a narrative grounded in realism and naturalism.
From the opening pages
It was Sunday, and, according to his custom on that day, McTeague took his dinner at two in the afternoon at the car conductors' coffee-joint on Polk Street. He had a thick gray soup; heavy, underdone meat, very hot, on a cold plate; two kinds of vegetables; and a sort of suet pudding, full of strong butter and sugar. On his way back to his office, one block above, he stopped at Joe Frenna's saloon and bought a pitcher of steam beer. It was his habit to leave the pitcher there on his way to dinner. Once in his office, or, as he called it on his signboard, “Dental Parlors,” he took off his coat and shoes, unbuttoned his vest, and, having crammed his little stove full of coke, lay back in his operating chair at the bay window, reading the paper, drinking his beer, and smoking his huge porcelain pipe while his food digested; crop-full, stupid, and warm. By and by, gorged with steam beer, and overcome by the heat of the room, the cheap tobacco, and the effects of his heavy meal, he dropped off to sleep. Late in the afternoon his canary bird, in its gilt cage just over his head, began to sing. He woke slowly, finished the rest of his beer—very flat and stale by this time—and taking down his concertina from the bookcase, where in week days it kept the company of seven volumes of “Allen's Practical Dentist,” played upon it some half-dozen very mournful airs. McTeague looked forward to these Sunday afternoons as a period of relaxation and enjoyment. He invariably spent them in the same fashion. These were his only pleasures—to eat, to smoke, to sleep, and to play upon his concertina. The six lugubrious airs that he knew, always carried him back to the time when he was a car-boy at the Big Dipper Mine in Placer County, ten years before. He remembered the years he had spent there trundling the heavy cars of ore in and out of the tunnel under the direction of his father. For thirteen days of each fortnight his father was a steady, hard-working shift-boss of the mine. Every other Sunday he became an irresponsible animal, a beast, a brute, crazy with alcohol. McTeague remembered his mother, too, who, with the help of the Chinaman, cooked for forty miners. She was an overworked drudge, fiery and…
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