Chapter 5 of The best short stories of 1920, and is here in full — 507 sentences across 102 reading sections, with audio for every sentence and word.
A keeper or guardian of historical records and memories.
Chapter V
Chapter 5 of The best short stories of 1920, and is here in full — 507 sentences across 102 reading sections, with audio for every sentence and word.
"Don't touch me," she whispered. "What am I going to do?" "Joe?" "Why do you tremble so?" she asked in her colorless voice, without resonance. "Why didn't you come?"
Chapter 5 of The best short stories of 1920, and is here in full — 507 sentences across 102 reading sections, with audio for every sentence and word.
Reading 1/101 · 5 reading units · Lines 1–5
These definitions explain words found in the current reading and keep every example grounded in its original sentence.
Oxford-style entry order: headword, part of speech, US IPA, concise definition, contextual example, and audio.
past form of “ask” — make a request or demand for something to somebody
From this reading “"Why do you tremble so?" she asked in her colorless voice, without resonance.”
lacking in variety and interest
From this reading “"Why do you tremble so?" she asked in her colorless voice, without resonance.”
the act of departing
From this reading “"What am I going to do?"”
The reinforcement or prolongation of sound or magical energy by reflection.
From this reading “"Why do you tremble so?" she asked in her colorless voice, without resonance.”
make physical contact with, come in contact with
From this reading “"Don't touch me," she whispered.”
move or jerk quickly and involuntarily up and down or sideways
From this reading “"Why do you tremble so?" she asked in her colorless voice, without resonance.”
the distinctive quality or pitch or condition of a person's speech
From this reading “"Why do you tremble so?" she asked in her colorless voice, without resonance.”
spoken in soft hushed tones without vibrations of the vocal cords
From this reading “"Don't touch me," she whispered.”
Every word in these five lines is listed here, and every one of them can be played on its own.
Dictionary details are shown only when verified; these are not licensed Oxford entries.
the form of “be” used with “I”
From this reading "What am I going to do?"
past form of “ask” — make a request or demand for something to somebody
From this reading "Why do you tremble so?" she asked in her colorless voice, without resonance.
lacking in variety and interest
From this reading "Why do you tremble so?" she asked in her colorless voice, without resonance.
move toward, travel toward something or somebody or approach something or somebody
From this reading "Why didn't you come?"
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading "Why didn't you come?"
used to form questions and negatives, and to give emphasis
From this reading "What am I going to do?"
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading "Don't touch me," she whispered.
the act of departing
From this reading "What am I going to do?"
belonging to a woman, girl, or female animal already mentioned
From this reading "Why do you tremble so?" she asked in her colorless voice, without resonance.
the person speaking or writing, as the subject of the verb
From this reading "What am I going to do?"
inside something, or within a place, period, or state
From this reading "Why do you tremble so?" she asked in her colorless voice, without resonance.
Dictionary entry pending editorial verification. Tap Listen to hear the word.
From this reading "Joe?"
the person speaking, as the object of a verb or preposition
From this reading "Don't touch me," she whispered.
The reinforcement or prolongation of sound or magical energy by reflection.
From this reading "Why do you tremble so?" she asked in her colorless voice, without resonance.
a woman, girl, or female animal already mentioned, as the subject
From this reading "Don't touch me," she whispered.
for that reason; with the result that
From this reading "Why do you tremble so?" she asked in her colorless voice, without resonance.
used before the base form of a verb to make the infinitive
From this reading "What am I going to do?"
make physical contact with, come in contact with
From this reading "Don't touch me," she whispered.
move or jerk quickly and involuntarily up and down or sideways
From this reading "Why do you tremble so?" she asked in her colorless voice, without resonance.
the distinctive quality or pitch or condition of a person's speech
From this reading "Why do you tremble so?" she asked in her colorless voice, without resonance.
used to ask for information about something
From this reading "What am I going to do?"
spoken in soft hushed tones without vibrations of the vocal cords
From this reading "Don't touch me," she whispered.
the cause or intention underlying an action or situation, especially in the phrase “the whys and wherefores”
From this reading "Why do you tremble so?" she asked in her colorless voice, without resonance.
not having, not using, or not accompanied by
From this reading "Why do you tremble so?" she asked in her colorless voice, without resonance.
the person or people being spoken to
From this reading "Why do you tremble so?" she asked in her colorless voice, without resonance.
Chapter 5 of The best short stories of 1920, and by Edward J. (Edward Joseph) [Editor] O'Brien holds 507 sentences, grouped into 102 reading sections of at most 5 sentences. The text is the source edition, unabridged, and the chapter records which sentences cover which part of the work so that nothing is dropped. Every word can be tapped for its pronunciation and dictionary entry.
Chapter 5 holds 507 sentences of The best short stories of 1920, and, unabridged, divided into 102 reading sections.
This page carries chapter 5 of The best short stories of 1920, and by Edward J. (Edward Joseph) [Editor] O'Brien exactly as it stands in the source edition, without abridgement. It runs to 507 sentences, grouped into 102 sections of at most 5 sentences so that a reader can take the chapter in steady, finishable pieces. The chapter also stores a coverage record mapping every one of its sentences to a part of the work, which is how the edition demonstrates that no line was dropped.
Work through the 102 sections in order, replaying any sentence and tapping unfamiliar words for their entries.
Each of the 102 sections in this chapter is short enough to read once, hear once, and then re-read with the vocabulary in view. Tapping a word plays it alone and opens its dictionary entry with IPA, part of speech and meaning, so the reader is never forced to guess a pronunciation from spelling. Working section by section keeps a long chapter from becoming an undifferentiated wall of text, which is the usual reason a reader abandons a work of this period.
Yes — every sentence and every individual word in chapter 5 can be played aloud in United States English.
Audio covers the whole chapter: any sentence can be played, and any single word within it can be played on its own. The voice uses United States English. For a work of this period that matters, because spelling is an unreliable guide to pronunciation for vocabulary that has fallen out of daily use, and a learner who guesses wrong tends to keep the error. Hearing the word in its own sentence, and then alone, settles it.
Common questions about reading The best short stories of 1920, and by Edward J. (Edward Joseph) [Editor] O'Brien on this page, its source edition and its audio.
Yes. All 19297 sentences of Project Gutenberg eBook #22091 are kept, with a record of which sentences cover which part.
Project Gutenberg eBook #22091, unabridged. The Project Gutenberg header, footer and licence are removed.
About 600 minutes of reading across 3860 sections of 5 sentences each, at an unhurried pace.
How to work through The best short stories of 1920, and section by section, using the audio and the tap-to-define vocabulary.
Choose one of the 38 chapters of The best short stories of 1920, and to begin.
Each section holds 5 sentences; read it once through.
Play the section aloud, then tap any unfamiliar word for its entry.
Words and structures a reader meets early in The best short stories of 1920, and, each tappable for pronunciation and meaning.
