The Works of Winston Churchill: A Linked Index of the Project Gutenberg Editions
Date: 2009-05-15T00:00:00+00:00
Keywords: Indexes

The Project Gutenberg eBook of The Works of Winston Churchill: A Linked Index of the Project Gutenberg Editions

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: The Works of Winston Churchill: A Linked Index of the Project Gutenberg Editions

Author: Winston Churchill

Editor: David Widger

Release date: May 15, 2009 [eBook #28822]
Most recently updated: November 11, 2023

Language: English

Other information and formats: www.gutenberg.org/ebooks/28822

Credits: David Widger

*** START OF THE PROJECT GUTENBERG EBOOK THE WORKS OF WINSTON CHURCHILL: A LINKED INDEX OF THE PROJECT GUTENBERG EDITIONS ***

THE WORKS OF

WINSTON CHURCHILL

AN ON-LINE INDEX

Compiled by David Widger

Project Gutenberg Editions

Winston Churchill (1871-1947)

(The American Author who is not related to the British Sir Winston)

A Sketch of his Life and Work

This sketch was released by THE MACMILLAN COMPANY as part of a document to promote Churchill's 1913 novel, "The Inside of the Cup."

Mr. Winston Churchill, the author of "The Inside of the Cup," "The Modern Chronicle," "Mr. Crewe's Career," "Coniston," "Richard Carvel," "The Crisis," and "The Crossing," was born in St. Louis, Mo., November 10, 1871. He is the oldest son of Edwin Spaulding Churchill of Portland, Me., and Emma Bell Blaine, of St. Louis. The first sixteen years of his life he spent in his native city, which was in fact his home until he built Harlakenden House, his present residence at Cornish, N. H. In St. Louis, it will be remembered, the opening scenes of "The Crisis" are laid; and St. Louis again formed the objective point of Mr. Churchill's next novel, "The Crossing." From Smith Academy in St. Louis he went to the Naval Academy at Annapolis, Md.

Winston Churchill had not been a year at the Naval Academy before he became interested in American history and American problems, and before he finished his course he had made up his mind to devote his life and energies to these—not only with the pen, but as an active participant. Much of the atmosphere and some of the material for "Richard Carvel" he gathered while still a midshipman at the Naval Academy; and in the brief intervals between scientific studies and drills he began to read some of the history which he afterwards used.

He resigned from the Navy on his graduation, worked for a time on the Army and Navy Journal, and then joined the staff of The Cosmopolitan. While he lived at Irvington-on-the-Hudson, working steadily on the magazine, he continued his experience with fiction. He never tried to publish any of his first work, and it is not now in existence. That year (1895) he married Miss Mabel Harlakenden Hall, of St. Louis; and not long after established his home at Cornish.

He found himself at this time in a fairly enviable position. He was not obliged to spend his life doing hack-work, and could take abundant leisure to perfect any piece of writing which he undertook. However, he united with his rare good fortune much rare good sense. He best illustrated the familiar paradox that genius is a capacity for taking infinite pains. He approached his work with an inexhaustible patience, a dogged determination to be true to his own high exactions, both in style and substance.

Before he began "Richard Carvel," and also while it was on the stocks, he visited Virginia and Maryland, and studied the country and the old records with great thoroughness. He also read a vast amount of history and other literature which gave the spirit of the period. During the seven or eight months in '98 and '99, when he was writing the book from beginning to end for the fifth time, he was living on the Hudson, about thirty miles from New York. During those months he worked from breakfast to one o'clock, then for some hours after luncheon. Late in the afternoon he would take a long horseback ride, and after dinner he would go at his work again, continuing sometimes far into the night. In the midst of his work on "Richard Carvel," while he was staying at Lake George, he ran out of historical material, and wrote "The Celebrity." This novel was the subject of a great deal of comment on its first appearance in 1897, and many people still regard it as the brightest and most amusing and original piece of work which Mr. Churchill has done.

After finishing his work on "Richard Carvel," Mr. Churchill, in the spring of 1899, went to live at Cornish, N. H., where he had purchased a large farm on high ground on the banks of the Connecticut, just opposite Windsor, Vt. On the estate which he had bought Mr. Churchill then built Harlakenden House, which is modelled upon one of the mansions of Colonial Maryland. In 1913 Harlakenden House was selected by President Woodrow Wilson as his summer residence.

It was here that news of the great success of "Richard Carvel" came to Mr. Churchill.

The novel immediately became the most popular book in the United States, and was more widely read and discussed during its first year than has been the case with any other book ever published.

"Richard Carvel" contains the great historical figures of Charles James Fox and John Paul Jones. Perhaps the most thrilling and vividly written passage in the book is that which describes the memorable battle between the Bon Homme Richard and the Serapis. It was this that was accountable for the revival of interest in John Paul Jones and led to the finding of his burial place in France and to several biographies written largely under the stimulus of his character and personality as graphically revealed in "Richard Carvel."

Two or three years later "The Crisis" appeared. This time Mr. Churchill chose for his background the stirring days of the Civil War, through some of its most thrilling events his hero passes. He incidently painted supremely good pictures of Lincoln and Grant, showing how they grew out of the conditions that produced the crisis, and how they dominated it and brought it to such an issue that the country became better, greater and stronger for the cataclysm that had threatened to disrupt it. Like "Richard Carvel," "The Crisis" was dramatized, and opened its successful run on the stage a few months after the book's publication.

Mr. Churchill's next book, in the series of historical romances which he began with "Richard Carvel," is entitled "The Crossing" and was published in the spring of 1904. Its title refers to the crossing of the Alleghanies by the tide of the American immigration after the Revolutionary War. No annals in the world's history are more wonderful than the story of this conquest of Kentucky and Tennessee by the pioneers. In "The Crossing" Mr. Churchill caught the wonder of that adventurous phase in our early history and made of it what many consider his most delighting romance.

Meanwhile Mr. Churchill had become actively interested in politics. In the year 1903 he became a member of the New Hampshire Legislature. The direct outgrowth of Mr. Churchill's interest and experiences in politics were two important novels, "Coniston" and "Mr. Crewe's Career."

In "Coniston"—that great prose epic of political corruption as it existed in New England a generation or more ago—Mr. Churchill showed his ability to write of contemporary life with a vigor and understanding which were not surpassed in any of his other work. "Coniston" has a big, vital, political issue for background and a unique and dominant character for central interest. "Jethro Bass" was a farmer by origin, taciturn, inscrutable, with his streak of sardonic humor and his slight, unforgetable stammer, was heralded as the most important figure Mr. Churchill had ever drawn.

Two years later "Mr. Crewe's Career" was published, to meet with instant success. It was a further embodiment of Mr. Churchill's observations and experiences among the people of the political whirlpool, and showed his increasing power as a novelist of contemporary life. The business of politics, the sordid struggles of an election are described with a graphic pen. Rarely has an American author portrayed with such judicial calm and yet with such relentless realism, the sinister aspects of political life in a rural community or woven into this grimy fabric, in gold thread, a charming love story that goes far to make us forget the ugly and hateful features of the picture.

It will be seen how, since the publication of "Richard Carvel," Mr. Churchill's themes move in orderly sequence from Colonial days until each represents the actual life and atmosphere of distinct periods in American history. It was "A Modern Chronicle" that brought Mr. Churchill's work to the heart of the present. The new novel dealt with the social problems of the marriage condition, the imperfect civilization of ultra-fashionable life, with its frequent climax of divorce. Heretofore Mr. Churchill's leading characters are men, but in "A Modern Chronicle" he gives us a woman—Honora Leffingwell—fascinating, full of illogical moods and caprices, who, taken from start to finish, is a most consistent and convincing piece of characterization.

With the day of its publication, in 1910, "The Modern Chronicle" headed the list of "Books Most in Demand" at the libraries and the Bookman list of "Six Best Sellers" in almost every large city of this country. Its success was confined not only to this side of the water but in Great Britain, as well; the book was in great demand. These conditions were due to the fact of the author's established reputation with the great majority of American and English readers, and to the merits of a work which received almost unanimous appreciation from the press of both countries.

Three years have passed since the tremendous success of "A Modern Chronicle," and during this time Mr. Churchill has worked upon and completed the novel which, perhaps more than any other, will create discussion and admiration and go furthest to assure the author's reputation as the biggest literary figure in America to-day.

"The Inside of the Cup," Mr. Churchill's latest novel, may be rightly called the sum of his genius. It contains the same art of his former work, broadened, enriched and matured, and reflects the romance of "Richard Carvel," the realism of "Coniston," and the deep social significance of "A Modern Chronicle." From a masterly delineation of the personal history of a young clergyman and the transformation of his views and attitudes toward modern society, Mr. Churchill unfolds a powerful study of the present tendencies in the Church and their new relation to the life of to-day.

"The Inside of the Cup" is unquestionably the most impressive novel that Mr. Churchill has yet written, in character drawing and illuminative disclosures of the cross sections of society, and in the portrayal of their more delicate and crucial relation to conditions vital to the national welfare.

CONTENTS

Click on the ## before each title to go directly to a
linked index of the detailed chapters and illustrations

The Works of Winston Churchill

| Title | Year
| The Unchartered Way | 1940
| Dr. Jonathan (Play) | 1919
## | A Traveller in War-time ¹ | 1918
## | Essay on The American Contribution ¹ | 1918
## | The Dwelling-Place of Light | 1917
## | A Far Country | 1915
## | The Inside of The Cup | 1913
## | A Modern Chronicle | 1910
## | Mr. Crewe's Career | 1908
## | Coniston | 1906
## | The Crossing | 1904
| Mr. Keegan's Elopement ² | 1903
## | The Crisis | 1901
## | Richard Carvel | 1899
## | The Celebrity ³ | 1897

1. Both works were released in 1918 under the title A Traveller in War-time with an Essay on the American Contribution and the Democratic Idea.

2. Mr. Keegan's Elopement was first released in serial form for a magazine in 1896.

3. Other sources (like Wikipedia) say this book was released in 1898. The article above says it was released in 1897, as does the copyright page for the book in Hathitrust.

VOLUMES, CHAPTERS AND STORIES

The Celebrity

- VOLUME 1.
CHAPTER I
CHAPTER II
CHAPTER III
CHAPTER IV
VOLUME 2.
CHAPTER V
CHAPTER VI
CHAPTER VII
CHAPTER VIII

- VOLUME 3.
CHAPTER IX
CHAPTER X
CHAPTER XI
CHAPTER XII
CHAPTER XIII
CHAPTER XIV
VOLUME 4.
CHAPTER XV
CHAPTER XVI
CHAPTER XVII
CHAPTER XVIII
CHAPTER XIX
CHAPTER XX
CHAPTER XXI

Richard Carvel

Volume 1.
Chapter I. | Lionel Carver, of Carver Hall
Chapter II. | Some Memories of Childhood
Chapter III. | Caught by the Tide
Chapter IV. | Grafton would heal an Old Breach
Chapter V. | "If Ladies be but Young and Fair"
Chapter VI. | I first Suffer for the Cause
Chapter VII. | Grafton has his Chance
Volume 2.
Chapter VIII. | Over the Wall
Chapter IX. | Under False Colours
Chapter X. | The Red in the Carvel Blood
Chapter XI. | A Festival and a Parting
Chapter XII. | News from a Far Country
Volume 3.
Chapter XIII. | Mr. Allen Shows his Hand
Chapter XIV. | The Volte Coupe
Chapter XV. | Of Which the Rector has the worst
Chapter XVI. | In Which some things are Made Clear
Chapter XVII. | South River
Chapter XVIII. | The "Black Moll"
Volume 4.
Chapter XIX. | A Man of Destiny
Chapter XX. | A Sad Home-coming
Chapter XXI. | The Gardener's Cottage
Chapter XXII. | On the Road
Chapter XXIII. | London Town
Chapter XXIV. | Castle Yard
Chapter XXV. | The Rescue
Volume 5.
Chapter XXVI. | The Part Horatio Played
Chapter XXVII. | In Which I am Sore Tempted
Chapter XXVIII. | Arlington Street
Chapter XXIX. | I Meet a Very Great Young Man
Chapter XXX. | A Conspiracy
Chapter XXXI. | "Upstairs into the World"
Chapter XXXII. | Lady Tankerville's Drum Major
Chapter XXXIII. | Drury Lane
Volume 6.
Chapter XXXIV. | His Grave Makes Advances
Chapter XXXV. | In Which my Lord Baltimore Appears
Chapter XXXVI. | A Glimpse of Mr. Garrick
Chapter XXXVII. | The Serpentine
Chapter XXXVIII. | In which I am Roundly brought to task
Chapter XXXIX. | Holland House
Chapter XL. | Vauxhall
Chapter XLI. | The Wilderness
Volume 7.
Chapter XLII. | My Friends are Proven
Chapter XLIII. | Annapolis Once More
Chapter XLIV. | Noblesse Oblige
Chapter XLV. | The House of Memories
Chapter XLVI. | Gordon's Pride
Chapter XLVII. | Visitors
Chapter XLVIII. | Multum in Parvo
Chapter XLIX. | Liberty Loses a Friend
Volume 8.
Chapter L. | Farewell to Gordon's
Chapter XLI. | How an Idle Prophecy Came to Pass
Chapter LII. | How the Gardener's Son Fought the "Serapis"
Chapter LIII. | In Which I make some Discoveries
Chapter LIV. | More Discoveries
Chapter LV. | "The Love of a Maid for a Man"
Chapter LVI. | How Good Came out of Evil
Chapter LVII. | I Come to My Own Again
| Afterword

The Crisis

Book I.
Chapter I. | Which deals with Origins
Chapter II. | The Mole
Chapter III. | The Unattainable Simplicity
Chapter IV. | Black Cattle
Chapter V. | The First Spark passes
Chapter VI. | Silas Whipple
Chapter VII. | Callers
Chapter VIII. | Bellegarde
Chapter IX. | A Quiet Sunday in Locust Street
Chapter X. | The Little House
Chapter XI. | The Invitation
Chapter XII. | "Miss Jinny"
Chapter XIII. | The Party
Book II.
Chapter I. | Raw Material
Chapter II. | Abraham Lincoln
Chapter III. | In which Stephen learns Something
Chapter IV. | The Question
Chapter V. | The Crisis
Chapter VI. | Glencoe
Chapter VII. | An Excursion
Chapter VIII. | The Colonel is warned
Chapter IX. | Signs of the Times
Chapter X. | Richter's Scar
Chapter XI. | How a Prince came
Chapter XII. | Into which a Potentate comes
Chapter XIII. | At Mr. Brinsmade's Gate
Chapter XIV. | The Breach Becomes too Wide
Chapter XV. | Mutterings
Chapter XVI. | The Guns of Sumter
Chapter XVII. | Camp Jackson
Chapter XVIII. | The Stone that is rejected
Chapter XIX. | The Tenth of May
Chapter XX. | In the Arsenal
Chapter XXI. | The Stampede
Chapter XXII. | The Straining of Another Friendship
Chapter XXIII. | Of Clarence
Book III.
Chapter I. | Introducing a Capitalist
Chapter II. | News from Clarence
Chapter III. | The Scourge of War
Chapter IV. | The List of Sixty
Chapter V. | The Auction
Chapter VI. | Eliphalet plays his Trumps
Chapter VII. | With the Armies of the West
Chapter VIII. | A Strange Meeting
Chapter IX. | Bellegarde Once More
Chapter X. | In Judge Whipple's Office
Chapter XI. | Lead, Kindly Night
Chapter XII. | The Last Card
Chapter XIII. | From the Letters of Major Stephen Brice
Chapter XIV. | The Same, Continued
Chapter XV. | The Man of Sorrows
Chapter XVI. | Annapolis
| Afterword

The Crossing

Book I. The Borderland
Chapter I. | The Blue Wall
Chapter II. | Wars and Rumors of Wars
Chapter III. | Charlestown
Chapter IV. | Temple Bow
Chapter V. | Cram's Hell
Chapter VI. | Man proposes, but God disposes
Chapter VII. | In Sight of the Blue Wall once more
Chapter VIII. | The Nollichucky Trace
Chapter IX. | On the Wilderness Trail
Chapter X. | Harrodstown
Chapter XI. | Fragmentary
Chapter XII. | The Campaign begins
Chapter XIII. | Kaskaskia
Chapter XIV. | How the Kaskaskians were made Citizens
Chapter XV. | Days of Trial
Chapter XVI. | Davy goes to Cahokia
Chapter XVII. | The Sacrifice
Chapter XVIII. | “An' ye had been where I had been”
Chapter XIX. | The Hair Buyer trapped
Chapter XX. | The Campaign ends
BOOK II. Flotsam and Jetsam
Chapter I. | In the Cabin
Chapter II. | “The Beggars are come to Town”
Chapter III. | We go to Danville
Chapter IV. | I cross the Mountains once more
Chapter V. | I meet an Old Bedfellow
Chapter VI. | The Widow Brown's
Chapter VII. | I meet a Hero
Chapter VIII. | To St. Louis
Chapter IX. | “Cherchez la Femme”
Chapter X. | The Keel Boat
Chapter XI. | The Strange City
Chapter XII. | Les Îles
Chapter XIII. | Monsieur Augusteen trapped
Chapter XIV. | Retribution
BOOK III. Louisiana
Chapter I. | The Rights of Man
Chapter II. | The House above the Falls
Chapter III. | Louisville celebrates
Chapter IV. | Of a Sudden Resolution
Chapter V. | The House of the Honeycombed Tiles
Chapter VI. | Madame la Vicomtesse
Chapter VII. | The Disposal of the Sieur de St. Gré
Chapter VIII. | At Lamarque's
Chapter IX. | Monsieur le Baron
Chapter X. | The Scourge
Chapter XI. | “In the Midst of Life”
Chapter XII. | Visions, and an Awakening
Chapter XIII. | A Mystery
Chapter XIV. | “To Unpathed Waters, Undreamed Shores”
Chapter XV. | An Episode in the Life of a Man
| Afterword

Coniston

Book I.
Chapter I. | On the Dangers of Curiosity
Chapter II. | On the Wisdom of Charity
Chapter III. | The Clerk and the Locket
Chapter IV. | Enter a Great Man, Incognito
Chapter V. | The King is Dead! Long Live the King!
Chapter VI. | "Deep as First Love, and Wild with All Regret"
Chapter VII. | "And Still the Ages roll, Unmoved"
Chapter VIII. | It is Something to have Dreamed
Book 2.
Chapter IX. | Shake Hands with Mr. Bijah Bixby
Chapter X. | How the Rebellion was Quenched
Chapter XI. | Mr. Worthington becomes a Reformer
Chapter XII. | "A Time to Weep, and a Time to Laugh"
Chapter XIII. | Mr. Wetherell descends into the Arena
Chapter XIV. | In which the Back Seats are Heard From
Chapter XV. | The Woodchuck Session
Chapter XVI. | "Cynthia loved You"
Book 3.
Chapter I. | In the Tannery House
Chapter II. | Chiefly concerning the National Game
Chapter III. | Journeys to Go
Chapter IV. | "Judge Bass and Party"
Chapter V. | Cousin Ephraim's Comrade
Chapter VI. | Mr. Sutton talks to a Constituent
Chapter VII. | An Amazing Encounter
Chapter VIII. | Cynthia learns how to be Fashionable
Chapter IX. | In which Mr. Merrill abandons a Habit
Chapter X. | Of An Unexpected Return
Book 4.
Chapter XI. | In which Miss Sadler writes a Letter
Chapter XII. | "In the Tannery Shed!"
Chapter XIII. | Cynthia becomes a Teacher
Chapter XIV. | In which the Lord of Brampton Returns
Chapter XV. | Containing a Dramatic Climax
Chapter XVI. | Miss Lucretia quotes Genesis
Chapter XVII. | When the Pie was Opened
Chapter XVIII. | A Biographical Episode: Hitherto Unpublished
Chapter XIX. | Containing Free Transportation to Brampton
Chapter XX. | "To change the Name, and not the Letter"
| Afterword

Mr. Crewe's Career

Book I.
Chapter I. | The Honorouble Hilary Vane sits for His Portrait
Chapter II. | On the Treatment of Prodigals
Chapter III. | Concerning the Practice of Law
Chapter IV. | "Timeo Danaos"
Chapter V. | The Parting of the Ways
Chapter VI. | Enter the Lion
Chapter VII. | The Leopard and his Spots
Chapter VIII. | The Trials of an Honourable
Chapter IX. | Mr. Crewe assaults the Capital
Chapter X. | "For Bills may come, and Bills may go"
Book II.
Chapter XI. | The Hopper
Chapter XII. | Mr. Redbrook's Party
Chapter XIII. | The Realm of Pegasus
Chapter XIV. | The Descendants of Horatius
Chapter XV. | The Disturbance of June Seventh
Chapter XVI. | The "Book of Arguments" is opened
Chapter XVII. | Busy Days at Wedderburn
Chapter XVIII. | A Spirit in the Woods
Chapter XIX. | Mr. Jabe Jenney Entertains
Chapter XX. | Mr. Crewe: an Appreciation
Book III.
Chapter XXI. | St. Giles of the Blameless Life
Chapter XXII. | In which Euphrasia takes a hand
Chapter XXIII. | A Falling-out in High Places
Chapter XXIV. | An Adventure of Victoria's
Chapter XXV. | More Adventures
Chapter XXVI. | The Focus of Wrath
Chapter XXVII. | The Arena and the Dust
Chapter XXVIII. | The Voice of an Era
Chapter XXIX. | The Vale of the Blue
Chapter XXX. | P. S.

A Modern Chronicle

Book I.
Chapter I. | What's in Heredity
Chapter II. | Perdita Recalled
Chapter III. | Concerning Providence
Chapter IV. | Of Temperment
Chapter V. | In which Providence keeps Faith
Chapter VI. | Honora has a Glimpse of the World
Chapter VII. | The Olympian Order
Chapter VIII. | A Chapter of Conquests
Chapter IX. | In which the Vicomte continues his studies
Chapter X. | In which Honora widens her Horizon
Chapter XI. | What might have Been
Chapter XII. | Which contains a Surprise for Mrs. Holt
Book II.
Chapter I. | So Long as ye Both shall Live!
Chapter II. | "Stafford Park"
Chapter III. | The Great Unattached
Chapter IV. | The New Doctrine
Chapter V. | Quicksands
Chapter VI. | Gad and Meni
Chapter VII. | Of Certain Delicate Matters
Chapter VIII. | Of Mental Processes—Feminine and Insoluable
Chapter IX. | Introducing a Revolutionizing Vehicle
Chapter X. | On the Art of Lion Taming
Chapter XI. | Containing Some Revelations
Book III.
Chapter I. | Ascendi
Chapter II. | The Path of Philanthropy
Chapter III. | Vineland
Chapter IV. | The Viking
Chapter V. | The Survival of the Fittest
Chapter VI. | Clio, or Thalia?
Chapter VII. | "Liberty, and the Pursuit of Happiness"
Chapter VIII. | In which the Law betrays a Heart
Chapter IX. | Wylie Street
Chapter X. | The Price of Freedom
Chapter XI. | In which it is All done over Again
Chapter XII. | The Entrance into Eden
Chapter XIII. | Of The World Beyond the Gates
Chapter XIV. | Containing Philosophy from Mr. Grainger
Chapter XV. | The Pillars of Society
Chapter XVI. | In which a Mirror is held Up
Chapter XVII. | The Renewal of an Ancient Hospitality
Chapter XVIII. | In which Mr. Erwin sees Paris

The Inside of The Cup

Volume I.
Chapter I. | The Warring Problems
Chapter II. | Mr. Langmaid's Mission
Chapter III. | The Primrose Path
Chapter IV. | Some Riddles of the Twentieth Century
Volume 2.
Chapter V. | The Rector has More Food for Thought
Chapter VI. | "Watchman, What of the Night?"
Chapter VII. | The Kingdoms of the World
Chapter VIII. | The Line of Least Resistance
Volume 3.
Chapter IX. | The Divine Discontent
Chapter X. | The Messenger in the Church
Chapter XI. | The Lost Parishoner
Chapter XII. | The Woman of the Song
Volume 4.
Chapter XIII. | Winterbourne
Chapter XIV. | A Saturday Afternoon
Chapter XV. | The Crucible
Chapter XVI. | Amid the Encircling Gloom
Volume 5.
Chapter XVII. | Reconstruction
Chapter XVIII. | The Riddle of Causation
Chapter XIX. | Mr. Goodrich becomes a Partisan
Volume 6.
Chapter XX. | The Arraignment
Chapter XXI. | Alison Goes to Church
Chapter XXII. | "Which say to the Seers, See not!"
Volume 7.
Chapter XXIII. | The Choice
Chapter XXIV. | The Vestry Meets
Chapter XXV. | "Rise, Crowned with Light!"
Chapter XVI. | The Current of Life
Volume 8.
Chapter XXVII. | Retribution
Chapter XXVIII. | Light
| Afterword

A Far Country

- BOOK 1.

I.

II.

III.

IV.

V.

VI.

VII.

VIII

IX.

- BOOK 2.

X.

XI.

XII.

XIII.

XIV.

XV.

XVI.

XVII.

- BOOK 3.

XVIII.

XVIX.

XX.

XXI.

XXII.

XXIII.

XXIV.

XXV.

XXVI.

The Dwelling Place of Light

- CHAPTER I
- CHAPTER II
- CHAPTER III
- CHAPTER IV
- CHAPTER V
- CHAPTER VI
- CHAPTER VII

- CHAPTER VIII
- CHAPTER IX
- CHAPTER X
- CHAPTER XI
- CHAPTER XII
- CHAPTER XIII
- CHAPTER XIV

- CHAPTER XV
- CHAPTER XVI
- CHAPTER XVII
- CHAPTER XVIII
- CHAPTER XIX
- CHAPTER XX
- CHAPTER XXI

A Traveller in Wartime

- PREFACE
- CHAPTER I
- CHAPTER II
- CHAPTER III

Essay on The American Contribution

- I.

- II.

- III.

- IV.

- V.

*** END OF THE PROJECT GUTENBERG EBOOK THE WORKS OF WINSTON CHURCHILL: A LINKED INDEX OF THE PROJECT GUTENBERG EDITIONS ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG™ LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg electronic works

1.A. By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg™ License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg

Project Gutenberg is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg eBooks with only a loose network of volunteer support.

Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

back

Table of Contents

- THE WORKS OF WINSTON CHURCHILL

- AN ON-LINE INDEX

- Compiled by David Widger

- Winston Churchill (1871-1947)

- A Sketch of his Life and Work

- CONTENTS

- VOLUMES, CHAPTERS AND STORIES

- The Celebrity
- Richard Carvel
- The Crisis
- The Crossing
- Coniston
- Mr. Crewe's Career
- A Modern Chronicle
- The Inside of The Cup
- A Far Country

- The Dwelling Place of Light

- A Traveller in Wartime
- Essay on The American Contribution
- THE FULL PROJECT GUTENBERG™ LICENSE