This book has been written by Andy Hall, who is an experienced driving instructor/author of driver education material.

It is a practical pictorial guide to Driving Hazards, which will help with your revision for the UK Hazard Perception Test.

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In January 2000, after a career in the insurance industry, I switched to driver education, qualifying as an Approved Driving Instructor and registering with the Driving Standards Agency. I franchised myself with the Central Instructors' Association Driving School. Now I am working for myself. I enjoy my new work and find the high quality of teaching required challenging and very rewarding.

I have written the Hazard Ahead book and also developed tutorials on roundabouts.

In 2001 I qualified as a mentor with Rainer Kent Mentoring and, supported by Kent County Council, help young people coming out of care homes. For this voluntary work role I have attended a number of additional training courses on drug abuse, mental health and work involvement of Connections (a government organisation) for helping young people into work training experience and jobs. I am working to qualify for the B-Tech Award qualification.

A member of the Royal Ashdown Forest Golf Club, I enjoy playing golf, tennis, walking and swimming. I hold both British and Canadian Private Pilot's Licences and enjoy classical and jazz music.

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Der junge Arzt Allan Kerrish ist auf der Flucht vor den Männern von Senator Cahill. Auf seinem Weg durch die verschneite Landschaft rettet er Catherine Archer das Leben. Ihr Mann wurde ermordet, und die Täter sind mit der Besitzurkunde für die Archer-Goldmine über alle Berge. Der Doktor und die Witwe landen in dem trostlosen Goldgräbernest Three Oaks - einem gesetzlosen Ort, in dem allein das Recht des Stärkeren zählt. Ein modern erzählter Western, spannende und fesselnde Story, dichte Atmosphäre, hervorragend recherchiert. \\\"Wild-West-Feeling\\\" garantiert! 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Korea in Perspective: Orientation Guide and South Korean Cultural Orientation: Geography, History, Economy, Security, Korean War, Seoul, Busan, Incheon, Chosun, Naktong, Daegu, Kum, Han, Silla","2940152378849","This is a professionally-formatted, free flowing ebook reproduction of unique, up-to-date guides produced by the Department of Defense that provide comprehensive information about all aspects of life in South Korea, with a special emphasis on geography, history, the economy, society, security and military matters, religion, traditions, urban and rural life, ethnic groups, crime, the environment, government, holidays, gender issues and much more.CHAPTER 1: GEOGRAPHY * Introduction * Geography and Topographic Features * The Central Mountains * The Southern Plain * The Southwestern Plain * Climate * Bodies of Water * East China Sea * Yellow Sea (West Sea) * Sea of Japan (East Sea) * Strait of Korea * The Naktong River * The Han River * The Kum River * Major Cities * Seoul * Busan * Incheon * Daegu * Daejon * Gwangju * Environmental Concerns * Natural Hazards * CHAPTER 1 ASSESSMENT * CHAPTER 2: HISTORY * Introduction * Korean Origins * The Three Kingdoms * The Unified Silla Kingdom (668-935) * The Koryo (918-1392) * The Chosun Dynasty (1392-1910) * Japanese Colonialism (1910-1945) * A Divided Nation (1945-1949) * The Korean War * The Aftermath of War * On the Road to Democracy (1961-1987) * Modern Korea (1987-2012) * Recent Events * CHAPTER 2 ASSESSMENT * CHAPTER 3: ECONOMY * Introduction * Agriculture * Fishing * Manufacturing/Industry * Energy * Natural Resources * Trade * Tourism * Banking and Finance * Standard of Living * Employment Trends * Outlook * CHAPTER 3 ASSESSMENT * CHAPTER 4: SOCIETY * Introduction * Ethnic Groups and Languages * Religion * Shamanism * Buddhism * Christianity * Cuisine * Traditional Dress * Gender Issues * Arts * Pottery * Painting * Literature * Dance * Music * Folklore * Sports and Recreation * Taekwondo * Sheeruhm * Soccer * Baseball * Archery * Traditional Games * CHAPTER 4 ASSESSMENT * CHAPTER 5: SECURITY * Introduction * Relations with the United States * Relations with Neighbors * North Korea * China * Japan * Russia * Police * Military * Issues Affecting Stability * North Korea * Energy * Political Violence * Demographics * CHAPTER 1: PROFILE * Introduction * Geography * Climate * Bodies of Water * Major Cities * Seoul * Busan * Incheon * Daegu * Daejon * Gwangju * History * The Three Kingdoms (108 B.C.E.-918) * The Koryo (918-1392) * The Chosun Dynasty (1392-1910) * Japanese Occupation and the Korean War (1910-1953) * On the Road to Democracy (1953-1987) * Modern Korea (1987-2012) * Government * Media * Economy * Ethnic Groups and Languages * Chapter 1 Assessment * CHAPTER 2: RELIGION * Overview * Major Religions * Shamanism * Buddhism * Christianity * Religion and Government * Influence of Religion in Daily Life * Religious Holidays * Buildings of Worship * Churches and Cathedrals * Temples * Behavior in Buildings of Worship * Churches * Temples * Chapter 2 Assessment * CHAPTER 3: TRADITIONS * Introduction * Formulaic Codes of Politeness * Male/Female Interaction * Hospitality and Gift Giving * Eating Habits * Eating Out * Drinking Culture and Rituals * Dress Codes * Nonreligious Holidays * New Year's Day * Seollal (Lunar New Year) * Gookgyongil (Independence Day or National Day) * Labor Day * Uhleenee nal (Children's Day) * Ahbahee nal (Parents' Day) * Hyunchoonil (Memorial Day) * Gwangbokjol (Liberation Day) * Chuseok (Harvest Moon Festival) * Gaechunjul (National Foundation Day) * Hangul nal (Hangul Proclamation Day) * Dos and Don'ts * Chapter 3 Assessment * CHAPTER 4: URBAN LIFE * Introduction * Work Problems in Urban Areas * Urban Healthcare * Education * Restaurants * Marketplace and Street Vendors * Transportation * Cars and Motorcycles * Taxis * Subways * Buses * Trains * Ferries and Airplanes * Urban Crime * Chapter 4 Assessment * CHAPTER 5: RURAL LIFE * 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This is a professionally-formatted, free flowing ebook reproduction of unique, up-to-date guides produced by the Department of Defense that provide comprehensive information about all aspects of life in South Korea, with a special emphasis on geography, history, the economy, society, security and military matters, religion, traditions, urban and rural life, ethnic groups, crime, the environment, government, holidays, gender issues and much more.

CHAPTER 1: GEOGRAPHY * Introduction * Geography and Topographic Features * The Central Mountains * The Southern Plain * The Southwestern Plain * Climate * Bodies of Water * East China Sea * Yellow Sea (West Sea) * Sea of Japan (East Sea) * Strait of Korea * The Naktong River * The Han River * The Kum River * Major Cities * Seoul * Busan * Incheon * Daegu * Daejon * Gwangju * Environmental Concerns * Natural Hazards * CHAPTER 1 ASSESSMENT * CHAPTER 2: HISTORY * Introduction * Korean Origins * The Three Kingdoms * The Unified Silla Kingdom (668-935) * The Koryo (918-1392) * The Chosun Dynasty (1392-1910) * Japanese Colonialism (1910-1945) * A Divided Nation (1945-1949) * The Korean War * The Aftermath of War * On the Road to Democracy (1961-1987) * Modern Korea (1987-2012) * Recent Events * CHAPTER 2 ASSESSMENT * CHAPTER 3: ECONOMY * Introduction * Agriculture * Fishing * Manufacturing/Industry * Energy * Natural Resources * Trade * Tourism * Banking and Finance * Standard of Living * Employment Trends * Outlook * CHAPTER 3 ASSESSMENT * CHAPTER 4: SOCIETY * Introduction * Ethnic Groups and Languages * Religion * Shamanism * Buddhism * Christianity * Cuisine * Traditional Dress * Gender Issues * Arts * Pottery * Painting * Literature * Dance * Music * Folklore * Sports and Recreation * Taekwondo * Sheeruhm * Soccer * Baseball * Archery * Traditional Games * CHAPTER 4 ASSESSMENT * CHAPTER 5: SECURITY * Introduction * Relations with the United States * Relations with Neighbors * North Korea * China * Japan * Russia * Police * Military * Issues Affecting Stability * North Korea * Energy * Political Violence * Demographics * CHAPTER 1: PROFILE * Introduction * Geography * Climate * Bodies of Water * Major Cities * Seoul * Busan * Incheon * Daegu * Daejon * Gwangju * History * The Three Kingdoms (108 B.C.E.-918) * The Koryo (918-1392) * The Chosun Dynasty (1392-1910) * Japanese Occupation and the Korean War (1910-1953) * On the Road to Democracy (1953-1987) * Modern Korea (1987-2012) * Government * Media * Economy * Ethnic Groups and Languages * Chapter 1 Assessment * CHAPTER 2: RELIGION * Overview * Major Religions * Shamanism * Buddhism * Christianity * Religion and Government * Influence of Religion in Daily Life * Religious Holidays * Buildings of Worship * Churches and Cathedrals * Temples * Behavior in Buildings of Worship * Churches * Temples * Chapter 2 Assessment * CHAPTER 3: TRADITIONS * Introduction * Formulaic Codes of Politeness * Male/Female Interaction * Hospitality and Gift Giving * Eating Habits * Eating Out * Drinking Culture and Rituals * Dress Codes * Nonreligious Holidays * New Year's Day * Seollal (Lunar New Year) * Gookgyongil (Independence Day or National Day) * Labor Day * Uhleenee nal (Children's Day) * Ahbahee nal (Parents' Day) * Hyunchoonil (Memorial Day) * Gwangbokjol (Liberation Day) * Chuseok (Harvest Moon Festival) * Gaechunjul (National Foundation Day) * Hangul nal (Hangul Proclamation Day) * Dos and Don'ts * Chapter 3 Assessment * CHAPTER 4: URBAN LIFE * Introduction * Work Problems in Urban Areas * Urban Healthcare * Education * Restaurants * Marketplace and Street Vendors * Transportation * Cars and Motorcycles * Taxis * Subways * Buses * Trains * Ferries and Airplanes * Urban Crime * Chapter 4 Assessment * CHAPTER 5: RURAL LIFE * Introduction * Land Distribution and Rural Development * Economy * Transportation * Rural Healthcare * Education * Who's in Charge? * Border Crossings and Checkpoints * Landmines

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It was four o’clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of Marija Berczynskas. The occasion rested heavily upon Marija’s broad shoulders—it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortège at each side street for half a mile.

This was unfortunate, for already there was a throng before the door. The music had started up, and half a block away you could hear the dull “broom, broom” of a ’cello, with the squeaking of two fiddles which vied with each other in intricate and altitudinous gymnastics. Seeing the throng, Marija abandoned precipitately the debate concerning the ancestors of her coachman, and, springing from the moving carriage, plunged in and proceeded to clear a way to the hall. Once within, she turned and began to push the other way, roaring, meantime, “Eik! Eik! Uzdaryk-duris!” in tones which made the orchestral uproar sound like fairy music.

“Z. Graiczunas, Pasilinksminimams darzas. Vynas. Sznapsas. Wines and Liquors. Union Headquarters”—that was the way the signs ran. The reader, who perhaps has never held much converse in the language of far-off Lithuania, will be glad of the explanation that the place was the rear-room of a saloon in that part of Chicago known as “back of the yards.” This information is definite and suited to the matter of fact; but how pitifully inadequate it would have seemed to one who understood that it was also the supreme hour of ecstasy in the life of one of God’s gentlest creatures, the scene of the wedding-feast and the joy-transfiguration of little Ona Lukoszaite!

She stood in the doorway, shepherded by Cousin Marija, breath- less from pushing through the crowd, and in her happiness painful to look upon. There was a light of wonder in her eyes and her lids trembled, and her otherwise wan little face was flushed. She wore a muslin dress, conspicuously white, and a stiff little veil coming to her shoulders. There were five pink paper-roses twisted in the veil, and eleven bright green rose-leaves. There were new white cotton gloves upon her hands, and as she stood staring about her she twisted them together feverishly. It was almost too much for her—you could see the pain of too great emotion in her face, and all the tremor of her form. She was so young—not quite sixteen—and small for her age, a mere child; and she had just been married—and married to Jurgis,1 of all men, to Jurgis Rudkus, he with the white flower in the buttonhole of his new black suit, he with the mighty shoulders and the giant hands.

1. Pronounced Yoorghis.

Ona was blue-eyed and fair, while Jurgis had great black eyes with beetling brows, and thick black hair that curled in waves about his ears—in short, they were one of those incongruous and impos- sible married couples with which Mother Nature so often wills to confound all prophets, before and after. Jurgis could take up a two-hundred-and-fifty-pound quarter of beef and carry it into a car without a stagger, or even a thought; and now he stood in a far corner, frightened as a hunted animal, and obliged to moisten his lips with his tongue each time before he could answer the congratulations of his friends.

Gradually there was effected a separation between the spectators and the guests—a separation at least sufficiently complete for working purposes. There was no time during the festivities which ensued when there were not groups of onlookers in the doorways and the corners; and if any one of these onlookers came sufficiently close, or looked sufficiently hungry, a chair was offered him, and he was invited to the feast. It was one of the laws of the veselija that no one goes hungry; and, while a rule made in the forests of Lithuania is hard to apply in the stockyards district of Chicago, with its quarter of a million inhabi- tants, still they did their best, and the children who ran in from the street, and even the dogs, went out again happier. A charming informality was one of the characteristics of this celebration. The men wore their hats, or, if they wished, they took them off, and their coats with them; they ate when and where they pleased, and moved as often as they pleased. There were to be speeches and singing, but no one had to listen who did not care to; if he wished, meantime, to speak or sing himself, he was perfectly free. The resulting medley of sound distracted no one, save possibly alone the babies, of which there were present a number equal to the total possessed by all the guests invited. There was no other place for the babies to be, and so part of the preparations for the evening consisted of a collection of cribs and carriages in one corner. In these the babies slept, three or four together, or wakened together, as the case might be. Those who were still older, and could reach the tables, marched about munching contentedly at meat-bones and bologna sausages.

The room is about thirty feet square, with whitewashed walls, bare save for a calendar, a picture of a race-horse, and a family tree in a gilded frame. To the right there is a door from the saloon, with a few loafers in the doorway, and in the corner beyond it a bar, with a presiding genius clad in soiled white, with waxed black mustaches and a carefully oiled curl plastered against one side of his forehead. In the opposite corner are two tables, filling a third of the room and laden with dishes and cold viands, which a few of the hungrier guests are already munching. At the head, where sits the bride, is a snow-white cake, with an Eiffel tower of constructed decoration, with sugar roses and two angels upon it, and a generous sprinkling of pink and green and yellow candies. Beyond opens a door into the kitchen, where there is a glimpse to be had of a range with much steam ascending from it, and many women, old and young, rushing hither and thither. In the corner to the left are the three musicians, upon a little platform, toiling heroically to make some impression upon the hubbub; also the babies, similarly occupied, and an open window whence the populace imbibes the sights and sounds and odors.

Suddenly some of the steam begins to advance, and, peering through it, you discern Aunt Elizabeth, Ona’s stepmother—Teta Elzbieta, as they call her—bearing aloft a great platter of stewed duck. Behind her is Kotrina, making her way cautiously, staggering beneath a similar burden; and half a minute later there appears old Grandmother Majauszkiene, with a big yellow bowl of smoking potatoes, nearly as big as herself. So, bit by bit, the feast takes form—there is a ham and a dish of sauerkraut, boiled rice, macaroni, bologna sausages, great piles of penny buns, bowls of milk, and foaming pitchers of beer. There is also, not six feet from your back, the bar, where you may order all you please and do not have to pay for it. “Eiksz! Graicziau!” screams Marija Berczynskas, and falls to work herself—for there is more upon the stove inside that will be spoiled if it be not eaten.

So, with laughter and shouts and endless badinage and merriment, the guests take their places. The young men, who for the most part have been huddled near the door, summon their resolution and advance; and the shrinking Jurgis is poked and scolded by the old folks until he consents to seat himself at the right hand of the bride. The two bridesmaids, whose insignia of office are paper wreaths, come next, and after them the rest of the guests, old and young, boys and girls. The spirit of the occasion takes hold of the stately bartender, who condescends to a plate of stewed duck; even the fat policeman—whose duty it will be, later in the evening, to break up the fights—draws up a chair to the foot of the table. And the children shout and the babies yell, and every one laughs and sings and chatters—while above all the deafening clamor Cousin Marija shouts orders to the musicians.

The musicians—how shall one begin to describe them? All this time they have been there, playing in a mad frenzy—all of this scene must be read, or said, or sung, to music. It is the music which makes it what it is; it is the music which changes the place from the rear-room of a saloon in back of the yards to a fairy place, a wonderland, a little corner of the high mansions of the sky.

The little person who leads this trio is an inspired man. His fiddle is out of tune, and there is no rosin on his bow, but still he is an inspired man—the hands of the muses have been laid upon him. He plays like one possessed by a demon, by a whole horde of demons. You can feel them in the air round about him, capering frenetically; with their invisible feet they set the pace, and the hair of the leader of the orchestra rises on end, and his eyeballs start from their sockets, as he toils to keep up with them.

Tamoszius Kuszleika is his name, and he has taught himself to play the violin by practising all night, after working all day on the “killing beds.” He is in his shirt sleeves, with a vest figured with faded gold horseshoes, and a pink-striped shirt, suggestive of peppermint candy. A pair of military trousers, light blue with a yellow stripe, serve to give that suggestion of authority proper to the leader of a band. He is only about five feet high, but even so these trousers are about eight inches short of the ground. You wonder where he can have gotten them—or rather you would wonder, if the excitement of being in his presence left you time to think of such things.

For he is an inspired man. Every inch of him is inspired—you might almost say inspired separately. He stamps with his feet, he tosses his head, he sways and swings to and fro; he has a wizened-up little face, irresistibly comical; and, when he executes a turn or a flourish, his brows knit and his lips work and his eyelids wink—the very ends of his necktie bristle out. And every now and then he turns upon his companions, nodding, signalling, beckoning frantically—with every inch of him appealing, imploring, in behalf of the muses and their call.

For they are hardly worthy of Tamoszius, the other two members of the orchestra. The second violin is a Slovak, a tall, gaunt man with black-rimmed spectacles and the mute and patient look of an overdriven mule; he responds to the whip but feebly, and then always falls back into his old rut. The third man is very fat, with a round, red, sentimental nose, and he plays with his eyes turned up to the sky and a look of infinite yearning. He is playing a bass part upon his ’cello, and so the excitement is nothing to him; no matter what happens in the treble, it is his task to saw out one long-drawn and lugubrious note after another, from four o’clock in the afternoon until nearly the same hour next morning, for his third of the total income of one dollar per hour.

Chapter I

It was four o’clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of Marija Berczynskas. The occasion rested heavily upon Marija’s broad shoulders—it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortège at each side street for half a mile.

1. Pronounced Yoorghis.

Before the feast has been five minutes under way, Tamoszius Kuszleika has risen in his excitement; a minute or two more and you see that he is beginning to edge over toward the tables. His nostrils are dilated and his breath comes fast—his demons are driving him. He nods and shakes his head at his companions, jerking at them with his violin, until at last the long form of the second violinist also rises up. In the end all three of them begin advancing, step by step, upon the banqueters, Valentinavyczia, the ’cellist, bumping along with his instrument between notes. Finally all three are gathered at the foot of the tables, and there Tamoszius mounts upon a stool.\"},{\"id\":\"2636509T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"3\",\"text\":\" Chapter I

It was four o’clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of Marija Berczynskas. The occasion rested heavily upon Marija’s broad shoulders—it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortège at each side street for half a mile.

This was unfortunate, for already there was a throng before the door. The music had started up, and half a block away you could hear the dull “broom, broom” of a ’cello, with the squeaking of two fiddles which vied with each other in intricate and altitudinous gymnastics. Seeing the throng, Marija abandoned precipitately the debate concerning the ancestors of her coachman, and, springing from themoving carriage, plunged in and proceeded to clear a way to the hall. Once within, she turned and began to push the other way, roaring, meantime, “Eik! Eik! Uzdaryk-duris!” in tones which made the orchestral uproar sound like fairy music.

“Z. Graiczunas, Pasilinksminimams darzas. Vynas. Sznapsas. Wines and Liquors. Union Headquarters”—that was the way the signs ran. The reader, who perhaps has never held much converse in the language of far-off Lithuania, will be glad of the explanation that the place was the rear-room of a saloon in that part of Chicago known as “back of the yards.” This information is definite and suited to the matter of fact; but how pitifully inadequate it would have seemed to one who understood that it was also the supreme hour of ecstasy in the life of one of God’s gentlest creatures, the scene of the wedding-feast and the joy-transfiguration of little Ona Lukoszaite!

She stood in the doorway, shepherded by Cousin Marija, breath- less from pushing through the crowd, and in her happiness painful to look upon. There was a light of wonder in her eyes and her lids trembled, and her otherwise wan little face was flushed. She wore a muslin dress, conspicuously white, and a stiff little veil coming to her shoulders. There were five pink paper-roses twisted in the veil, and eleven bright green rose-leaves. There were new white cotton gloves upon her hands, and as she stood staring about her she twisted them together feverishly. It was almost too much for her—you could see the pain of too great emotion in her face, and all the tremor of her form. She was so young—not quite sixteen—and small for her age, a mere child; and she had just been married—and married to Jurgis,1 of all men, to Jurgis Rudkus, he with the white flower in the buttonhole of his new black suit, he with the mighty shoulders and the giant hands.

1. Pronounced Yoorghis.

Ona was blue-eyed and fair, while Jurgis had great black eyes with beetling brows, and thick black hair that curled in waves about his ears—in short, they were one of those incongruous and impos- sible married couples with which Mother Nature so often wills to confound all prophets, before and after. Jurgis could take up a two-hundred-and-fifty-pound quarter of beef and carry it into a car without a stagger, or even a thought; and now he stood in a far corner, frightened as a hunted animal, and obliged to moisten his lips with his tongue each time before he could answer the congratulations of his friends.

Gradually there was effected a separation between the spectators and the guests—a separation at least sufficiently complete for working purposes. There was no time during the festivities which ensued when there were not groups of onlookers in the doorways and the corners; and if any one of these onlookers came sufficiently close, or looked sufficiently hungry, a chair was offered him, and he was invited to the feast. It was one of the laws of the veselija that no one goes hungry; and, while a rule made in the forests of Lithuania is hard to apply in the stockyards district of Chicago, with its quarter of a million inhabi- tants, still they did their best, and the children who ran in from the street, and even the dogs, went out again happier. A charming informality was one of the characteristics of this celebration. The men wore their hats, or, if they wished, they took them off, and their coats with them; they ate when and where they pleased, and moved as often as they pleased. There were to be speeches and singing, but no one had to listen who did not care to; if he wished, meantime, to speak or sing himself, he was perfectly free. The resulting medley of sound distracted no one, save possibly alone the babies, of which there were present a number equal to the total possessed by all the guests invited. There was no other place for the babies to be, and so part of the preparations for the evening consisted of a collection of cribs and carriages in one corner. In these the babies slept, three or four together, or wakened together, as the case might be. Those who were still older, and could reach the tables, marched about munching contentedly at meat-bones and bologna sausages.

The room is about thirty feet square, with whitewashed walls, bare save for a calendar, a picture of a race-horse, and a family tree in a gilded frame. To the right there is a door from the saloon, with a few loafers in the doorway, and in the corner beyond it a bar, with a presiding genius clad in soiled white, with waxed black mustaches and a carefully oiled curl plastered against one side of his forehead. In the opposite corner are two tables, filling a third of the room and laden with dishes and cold viands, which a few of the hungrier guests are already munching. At the head, where sits the bride, is a snow-white cake, with an Eiffel tower of constructed decoration, with sugar roses and two angels upon it, and a generous sprinkling of pink and green and yellow candies. Beyond opens a door into the kitchen, where there is a glimpse to be had of a range with much steam ascending from it, and many women, old and young, rushing hither and thither. In the corner to the left are the three musicians, upon a little platform, toiling heroically to make some impression upon the hubbub; also the babies, similarly occupied, and an open window whence the populace imbibes the sights and sounds and odors.

Suddenly some of the steam begins to advance, and, peering through it, you discern Aunt Elizabeth, Ona’s stepmother—Teta Elzbieta, as they call her—bearing aloft a great platter of stewed duck. Behind her is Kotrina, making her way cautiously, staggering beneath a similar burden; and half a minute later there appears old Grandmother Majauszkiene, with a big yellow bowl of smoking potatoes, nearly as big as herself. So, bit by bit, the feast takes form—there is a ham and a dish of sauerkraut, boiled rice, macaroni, bologna sausages, great piles of penny buns, bowls of milk, and foaming pitchers of beer. There is also, not six feet from your back, the bar, where you may order all you please and do not have to pay for it. “Eiksz! Graicziau!” screams Marija Berczynskas, and falls to work herself—for there is more upon the stove inside that will be spoiled if it be not eaten.

So, with laughter and shouts and endless badinage and merriment, the guests take their places. The young men, who for the most part have been huddled near the door, summon their resolution and advance; and the shrinking Jurgis is poked and scolded by the old folks until he consents to seat himself at the right hand of the bride. The two bridesmaids, whose insignia of office are paper wreaths, come next, and after them the rest of the guests, old and young, boys and girls. The spirit of the occasion takes hold of the stately bartender, who condescends to a plate of stewed duck; even the fat policeman—whose duty it will be, later in the evening, to break up the fights—draws up a chair to the foot of the table. And the children shout and the babies yell, and every one laughs and sings and chatters—while above all the deafening clamor Cousin Marija shouts orders to the musicians.

The musicians—how shall one begin to describe them? All this time they have been there, playing in a mad frenzy—all of this scene must be read, or said, or sung, to music. It is the music which makes it what it is; it is the music which changes the place from the rear-room of a saloon in back of the yards to a fairy place, a wonderland, a little corner of the high mansions of the sky.

The little person who leads this trio is an inspired man. His fiddle is out of tune, and there is no rosin on his bow, but still he is an inspired man—the hands of the muses have been laid upon him. He plays like one possessed by a demon, by a whole horde of demons. You can feel them in the air round about him, capering frenetically; with their invisible feet they set the pace, and the hair of the leader of the orchestra rises on end, and his eyeballs start from their sockets, as he toils to keep up with them.

Tamoszius Kuszleika is his name, and he has taught himself to play the violin by practising all night, after working all day on the “killing beds.” He is in his shirt sleeves, with a vest figured with faded gold horseshoes, and a pink-striped shirt, suggestive of peppermint candy. A pair of military trousers, light blue with a yellow stripe, serve to give that suggestion of authority proper to the leader of a band. He is only about five feet high, but even so these trousers are about eight inches short of the ground. You wonder where he can have gotten them—or rather you would wonder, if the excitement of being in his presence left you time to think of such things.

For he is an inspired man. Every inch of him is inspired—you might almost say inspired separately. He stamps with his feet, he tosses his head, he sways and swings to and fro; he has a wizened-up little face, irresistibly comical; and, when he executes a turn or a flourish, his brows knit and his lips work and his eyelids wink—the very ends of his necktie bristle out. And every now and then he turns upon his companions, nodding, signalling, beckoning frantically—with every inch of him appealing, imploring, in behalf of the muses and their call.

For they are hardly worthy of Tamoszius, the other two members of the orchestra. The second violin is a Slovak, a tall, gaunt man with black-rimmed spectacles and the mute and patient look of an overdriven mule; he responds to the whip but feebly, and then always falls back into his old rut. The third man is very fat, with a round, red, sentimental nose, and he plays with his eyes turned up to the sky and a look of infinite yearning. He is playing a bass part upon his ’cello, and so the excitement is nothing to him; no matter what happens in the treble, it is his task to saw out one long-drawn and lugubrious note after another, from four o’clock in the afternoon until nearly the same hour next morning, for his third of the total income of one dollar per hour.

Before the feast has been five minutes under way, Tamoszius Kuszleika has risen in his excitement; a minute or two more and you see that he is beginning to edge over toward the tables. His nostrils are dilated and his breath comes fast—his demons are driving him. He nods and shakes his head at his companions, jerking at them with his violin, until at last the long form of the second violinist also rises up. In the end all three of them begin advancing, step by step, upon the banqueters, Valentinavyczia, the ’cellist, bumping along with his instrument between notes. Finally all three are gathered at the foot of the tables, and there Tamoszius mounts upon a stool.

Copyright 2002 by Upton Sinclair Introduction by Jane Jacobs \"},{\"id\":\"4347635T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"4\",\"text\":\"

The Jungle

By Upton Sinclair

Random House

Upton Sinclair
All right reserved.
ISBN: 0812976231

Chapter One

Chapter I

It was four o'clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of Marija Berczynskas. The occasion rested heavily upon Marija's broad shoulders--it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortege at each side street for half a mile.

This was unfortunate, for already there was a throng before the door. The music had started up, and half a block away you could hear the dull \\\"broom, broom\\\" of a 'cello, with the squeaking of two fiddles which vied with each other in intricate and altitudinous gymnastics. Seeing the throng, Marija abandoned precipitately the debate concerning the ancestors of her coachman, and, springing from the moving carriage, plunged in and proceeded to clear a way to the hall. Once within, she turned and began to push the other way, roaring, meantime, \\\"Eik! Eik! Uzdaryk-duris!\\\" in tones which made the orchestral uproar sound like fairy music.

\\\"Z. Graiczunas, Pasilinksminimams darzas. Vynas. Sznapsas. Wines and Liquors. Union Headquarters\\\"--that was the way the signs ran. The reader, who perhaps has never held much converse in the language of far-off Lithuania, will be glad of the explanation that the place was the rear-room of a saloon in that part of Chicago known as \\\"back of the yards.\\\" This information is definite and suited to the matter of fact; but how pitifully inadequate it would have seemed to one who understood that it was also the supreme hour of ecstasy in the life of one of God's gentlest creatures, the scene of the wedding-feast and the joy-transfiguration of little Ona Lukoszaite!

She stood in the doorway, shepherded by Cousin Marija, breath- less from pushing through the crowd, and in her happiness painful to look upon. There was a light of wonder in her eyes and her lids trembled, and her otherwise wan little face was flushed. She wore a muslin dress, conspicuously white, and a stiff little veil coming to her shoulders. There were five pink paper-roses twisted in the veil, and eleven bright green rose-leaves. There were new white cotton gloves upon her hands, and as she stood staring about her she twisted them together feverishly. It was almost too much for her--you could see the pain of too great emotion in her face, and all the tremor of her form. She was so young--not quite sixteen--and small for her age, a mere child; and she had just been married--and married to Jurgis,1 of all men, to Jurgis Rudkus, he with the white flower in the buttonhole of his new black suit, he with the mighty shoulders and the giant hands.

1. Pronounced Yoorghis.

Ona was blue-eyed and fair, while Jurgis had great black eyes with beetling brows, and thick black hair that curled in waves about his ears--in short, they were one of those incongruous and impos- sible married couples with which Mother Nature so often wills to confound all prophets, before and after. Jurgis could take up a two-hundred-and-fifty-pound quarter of beef and carry it into a car without a stagger, or even a thought; and now he stood in a far corner, frightened as a hunted animal, and obliged to moisten his lips with his tongue each time before he could answer the congratulations of his friends.

Gradually there was effected a separation between the spectators and the guests--a separation at least sufficiently complete for working purposes. There was no time during the festivities which ensued when there were not groups of onlookers in the doorways and the corners; and if any one of these onlookers came sufficiently close, or looked sufficiently hungry, a chair was offered him, and he was invited to the feast. It was one of the laws of the veselija that no one goes hungry; and, while a rule made in the forests of Lithuania is hard to apply in the stockyards district of Chicago, with its quarter of a million inhabi- tants, still they did their best, and the children who ran in from the street, and even the dogs, went out again happier. A charming informality was one of the characteristics of this celebration. The men wore their hats, or, if they wished, they took them off, and their coats with them; they ate when and where they pleased, and moved as often as they pleased. There were to be speeches and singing, but no one had to listen who did not care to; if he wished, meantime, to speak or sing himself, he was perfectly free. The resulting medley of sound distracted no one, save possibly alone the babies, of which there were present a number equal to the total possessed by all the guests invited. There was no other place for the babies to be, and so part of the preparations for the evening consisted of a collection of cribs and carriages in one corner. In these the babies slept, three or four together, or wakened together, as the case might be. Those who were still older, and could reach the tables, marched about munching contentedly at meat-bones and bologna sausages.

The room is about thirty feet square, with whitewashed walls, bare save for a calendar, a picture of a race-horse, and a family tree in a gilded frame. To the right there is a door from the saloon, with a few loafers in the doorway, and in the corner beyond it a bar, with a presiding genius clad in soiled white, with waxed black mustaches and a carefully oiled curl plastered against one side of his forehead. In the opposite corner are two tables, filling a third of the room and laden with dishes and cold viands, which a few of the hungrier guests are already munching. At the head, where sits the bride, is a snow-white cake, with an Eiffel tower of constructed decoration, with sugar roses and two angels upon it, and a generous sprinkling of pink and green and yellow candies. Beyond opens a door into the kitchen, where there is a glimpse to be had of a range with much steam ascending from it, and many women, old and young, rushing hither and thither. In the corner to the left are the three musicians, upon a little platform, toiling heroically to make some impression upon the hubbub; also the babies, similarly occupied, and an open window whence the populace imbibes the sights and sounds and odors.

Suddenly some of the steam begins to advance, and, peering through it, you discern Aunt Elizabeth, Ona's stepmother--Teta Elzbieta, as they call her--bearing aloft a great platter of stewed duck. Behind her is Kotrina, making her way cautiously, staggering beneath a similar burden; and half a minute later there appears old Grandmother Majauszkiene, with a big yellow bowl of smoking potatoes, nearly as big as herself. So, bit by bit, the feast takes form--there is a ham and a dish of sauerkraut, boiled rice, macaroni, bologna sausages, great piles of penny buns, bowls of milk, and foaming pitchers of beer. There is also, not six feet from your back, the bar, where you may order all you please and do not have to pay for it. \\\"Eiksz! Graicziau!\\\" screams Marija Berczynskas, and falls to work herself--for there is more upon the stove inside that will be spoiled if it be not eaten.

So, with laughter and shouts and endless badinage and merriment, the guests take their places. The young men, who for the most part have been huddled near the door, summon their resolution and advance; and the shrinking Jurgis is poked and scolded by the old folks until he consents to seat himself at the right hand of the bride. The two bridesmaids, whose insignia of office are paper wreaths, come next, and after them the rest of the guests, old and young, boys and girls. The spirit of the occasion takes hold of the stately bartender, who condescends to a plate of stewed duck; even the fat policeman--whose duty it will be, later in the evening, to break up the fights--draws up a chair to the foot of the table. And the children shout and the babies yell, and every one laughs and sings and chatters--while above all the deafening clamor Cousin Marija shouts orders to the musicians.

The musicians--how shall one begin to describe them? All this time they have been there, playing in a mad frenzy--all of this scene must be read, or said, or sung, to music. It is the music which makes it what it is; it is the music which changes the place from the rear-room of a saloon in back of the yards to a fairy place, a wonderland, a little corner of the high mansions of the sky.

The little person who leads this trio is an inspired man. His fiddle is out of tune, and there is no rosin on his bow, but still he is an inspired man--the hands of the muses have been laid upon him. He plays like one possessed by a demon, by a whole horde of demons. You can feel them in the air round about him, capering frenetically; with their invisible feet they set the pace, and the hair of the leader of the orchestra rises on end, and his eyeballs start from their sockets, as he toils to keep up with them.

Tamoszius Kuszleika is his name, and he has taught himself to play the violin by practising all night, after working all day on the \\\"killing beds.\\\" He is in his shirt sleeves, with a vest figured with faded gold horseshoes, and a pink-striped shirt, suggestive of peppermint candy. A pair of military trousers, light blue with a yellow stripe, serve to give that suggestion of authority proper to the leader of a band. He is only about five feet high, but even so these trousers are about eight inches short of the ground. You wonder where he can have gotten them--or rather you would wonder, if the excitement of being in his presence left you time to think of such things.

For he is an inspired man. Every inch of him is inspired--you might almost say inspired separately. He stamps with his feet, he tosses his head, he sways and swings to and fro; he has a wizened-up little face, irresistibly comical; and, when he executes a turn or a flourish, his brows knit and his lips work and his eyelids wink--the very ends of his necktie bristle out. And every now and then he turns upon his companions, nodding, signalling, beckoning frantically--with every inch of him appealing, imploring, in behalf of the muses and their call.

For they are hardly worthy of Tamoszius, the other two members of the orchestra. The second violin is a Slovak, a tall, gaunt man with black-rimmed spectacles and the mute and patient look of an overdriven mule; he responds to the whip but feebly, and then always falls back into his old rut. The third man is very fat, with a round, red, sentimental nose, and he plays with his eyes turned up to the sky and a look of infinite yearning. He is playing a bass part upon his 'cello, and so the excitement is nothing to him; no matter what happens in the treble, it is his task to saw out one long-drawn and lugubrious note after another, from four o'clock in the afternoon until nearly the same hour next morning, for his third of the total income of one dollar per hour.

Before the feast has been five minutes under way, Tamoszius Kuszleika has risen in his excitement; a minute or two more and you see that he is beginning to edge over toward the tables. His nostrils are dilated and his breath comes fast--his demons are driving him. He nods and shakes his head at his companions, jerking at them with his violin, until at last the long form of the second violinist also rises up. In the end all three of them begin advancing, step by step, upon the banqueters, Valentinavyczia, the 'cellist, bumping along with his instrument between notes. Finally all three are gathered at the foot of the tables, and there Tamoszius mounts upon a stool.

\"},{\"id\":\"5887033T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"5\",\"text\":\"

1. Pronounced Yoorghis.

The Jungle

By Upton Sinclair

Random House

Upton Sinclair
All right reserved.
ISBN: 0812976231

Chapter One

\"},{\"id\":\"5887033T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"3\",\"text\":\"

1. Pronounced Yoorghis.

Upton Sinclair's dramatic and deeply moving story exposed the brutal conditions in the Chicago stockyards at the turn of the nineteenth century and brought into sharp moral focus the apalling odds against which immigrants and other working people struggled for their share of the American dream. Denounced by the conservative press as an un-American libel on the meatpacking industry, the book was championed by more progressive thinkers, including then president Theodore Roosevelt, and was a major catalyst to the passing of the Pure Food and Meat Inspection act, which has tremendous impact to this day.

For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

","Upton Sinclair's dramatic and deeply moving story exposed the brutal conditions in the Chicago stockyards at the turn of the nineteenth century and brought into sharp moral focus the apalling odds against which immigrants and other working people struggled for their share of the American dream. Denounced by the conservative press as an un-American libel on the meatpacking industry, the book was championed by more progressive thinkers, including then president Theodore Roosevelt, and was a major catalyst to the passing of the Pure Food and Meat Inspection act, which has tremendous impact to this day.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.",[2968,2969],{"_191":3415,"_202":3417},{"_193":3416,"_195":196},"18.0",{"_193":3416,"_195":196},{"_191":3419,"_202":3420},{"_193":201,"_195":196},{"_193":201,"_195":196},{"_206":3422},[],{"_206":3424},[],[3426],{"_219":220,"_3003":3427},[3428],{"_219":222,"_3006":3429,"_3016":-5},{"_197":105,"_210":-5,"_34":3430,"_158":-5,"_212":3431,"_214":3432,"_216":3433,"_223":3410,"_107":222,"_224":-5,"_3015":105},"gid://shopify/ProductVariant/47016204927216",{"_193":3416,"_195":196},{"_107":3409,"_176":3410},[3434],{"_219":220,"_221":222},{"_197":105,"_210":-5,"_34":3430,"_158":-5,"_212":3436,"_214":3437,"_216":3438,"_223":3410,"_107":222,"_224":-5,"_3015":105},{"_193":3416,"_195":196},{"_107":3409,"_176":3410},[3439],{"_219":220,"_221":222},[],{"_178":-5,"_107":-5},{"_221":3410},{"_221":3030},{"_221":3032},{"_221":3446},"2006-03-28T05:00:00Z",{"_221":3448},"2006-03-24T05:00:00Z",{"_221":3450},"Penguin Classics Deluxe Edition Series",{"_221":3043},{"_221":3453},"8.4",{"_221":3455},"5.7",{"_221":3457},"1.1",{"_221":3416},{"_221":3416},{"_221":2970},{"_221":3055},{"_221":3463},"54861",{"_221":3231},{"_221":3466},"[{\"contributorId\":171413,\"firstName\":\"Upton\",\"lastName\":\"Sinclair\",\"jobName\":\"Author\",\"jobPrimary\":true,\"jobType\":\"Creative\",\"sequenceNumber\":1},{\"contributorId\":2743212,\"firstName\":\"Eric\",\"lastName\":\"Schlosser\",\"jobName\":\"Introduction\",\"jobPrimary\":false,\"jobType\":\"Creative\",\"sequenceNumber\":2},{\"contributorId\":218046,\"firstName\":\"Charles\",\"lastName\":\"Burns\",\"jobName\":\"Illustrator\",\"jobPrimary\":false,\"jobType\":\"Creative\",\"sequenceNumber\":3}]",{"_221":3468},"Penguin Classics Deluxe Edition",{"_221":3068},{"_221":3471},"5",{"_3075":3076,"_221":3077},[3474,3475,3476,3478,3479,-5,3480,3481,3483,3484,3485,-5,3487,-5,3489,-5,-5,-5,-5,3490,3491,-5,-5,-5,-5],{"_229":230,"_231":254,"_221":3068},{"_229":230,"_231":3070,"_221":3471},{"_229":230,"_231":232,"_221":3477},"[{\"contributorId\":171413,\"fullName\":\"Upton Sinclair\",\"jobName\":\"Author\",\"sequenceNumber\":1},{\"contributorId\":2743212,\"fullName\":\"Eric Schlosser\",\"jobName\":\"Introduction\",\"sequenceNumber\":2},{\"contributorId\":218046,\"fullName\":\"Charles Burns\",\"jobName\":\"Illustrator\",\"sequenceNumber\":3}]",{"_229":230,"_231":236,"_221":2970},{"_229":230,"_231":239,"_221":2970},{"_229":230,"_231":246,"_221":3089},{"_229":230,"_231":250,"_221":3482},"[{\"id\":\"36743622T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"

The Jungle

By Upton Sinclair

Random House

Upton Sinclair
All right reserved.
ISBN: 0812976231

Chapter One

\"},{\"id\":\"36743623T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"2\",\"text\":\"

1. Pronounced Yoorghis.

Before the feast has been five minutes under way, Tamoszius Kuszleika has risen in his excitement; a minute or two more and you see that he is beginning to edge over toward the tables. His nostrils are dilated and his breath comes fast—his demons are driving him. He nods and shakes his head at his companions, jerking at them with his violin, until at last the long form of the second violinist also rises up. In the end all three of them begin advancing, step by step, upon the banqueters, Valentinavyczia, the ’cellist, bumping along with his instrument between notes. Finally all three are gathered at the foot of the tables, and there Tamoszius mounts upon a stool.\"},{\"id\":\"36743621T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"3\",\"text\":\" Chapter I

It was four o’clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of Marija Berczynskas. The occasion rested heavily upon Marija’s broad shoulders—it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortège at each side street for half a mile.

This was unfortunate, for already there was a throng before the door. The music had started up, and half a block away you could hear the dull “broom, broom” of a ’cello, with the squeaking of two fiddles which vied with each other in intricate and altitudinous gymnastics. Seeing the throng, Marija abandoned precipitately the debate concerning the ancestors of her coachman, and, springing from themoving carriage, plunged in and proceeded to clear a way to the hall. Once within, she turned and began to push the other way, roaring, meantime, “Eik! Eik! Uzdaryk-duris!” in tones which made the orchestral uproar sound like fairy music.

“Z. Graiczunas, Pasilinksminimams darzas. Vynas. Sznapsas. Wines and Liquors. Union Headquarters”—that was the way the signs ran. The reader, who perhaps has never held much converse in the language of far-off Lithuania, will be glad of the explanation that the place was the rear-room of a saloon in that part of Chicago known as “back of the yards.” This information is definite and suited to the matter of fact; but how pitifully inadequate it would have seemed to one who understood that it was also the supreme hour of ecstasy in the life of one of God’s gentlest creatures, the scene of the wedding-feast and the joy-transfiguration of little Ona Lukoszaite!

She stood in the doorway, shepherded by Cousin Marija, breath- less from pushing through the crowd, and in her happiness painful to look upon. There was a light of wonder in her eyes and her lids trembled, and her otherwise wan little face was flushed. She wore a muslin dress, conspicuously white, and a stiff little veil coming to her shoulders. There were five pink paper-roses twisted in the veil, and eleven bright green rose-leaves. There were new white cotton gloves upon her hands, and as she stood staring about her she twisted them together feverishly. It was almost too much for her—you could see the pain of too great emotion in her face, and all the tremor of her form. She was so young—not quite sixteen—and small for her age, a mere child; and she had just been married—and married to Jurgis,1 of all men, to Jurgis Rudkus, he with the white flower in the buttonhole of his new black suit, he with the mighty shoulders and the giant hands.

1. Pronounced Yoorghis.

Ona was blue-eyed and fair, while Jurgis had great black eyes with beetling brows, and thick black hair that curled in waves about his ears—in short, they were one of those incongruous and impos- sible married couples with which Mother Nature so often wills to confound all prophets, before and after. Jurgis could take up a two-hundred-and-fifty-pound quarter of beef and carry it into a car without a stagger, or even a thought; and now he stood in a far corner, frightened as a hunted animal, and obliged to moisten his lips with his tongue each time before he could answer the congratulations of his friends.

Gradually there was effected a separation between the spectators and the guests—a separation at least sufficiently complete for working purposes. There was no time during the festivities which ensued when there were not groups of onlookers in the doorways and the corners; and if any one of these onlookers came sufficiently close, or looked sufficiently hungry, a chair was offered him, and he was invited to the feast. It was one of the laws of the veselija that no one goes hungry; and, while a rule made in the forests of Lithuania is hard to apply in the stockyards district of Chicago, with its quarter of a million inhabi- tants, still they did their best, and the children who ran in from the street, and even the dogs, went out again happier. A charming informality was one of the characteristics of this celebration. The men wore their hats, or, if they wished, they took them off, and their coats with them; they ate when and where they pleased, and moved as often as they pleased. There were to be speeches and singing, but no one had to listen who did not care to; if he wished, meantime, to speak or sing himself, he was perfectly free. The resulting medley of sound distracted no one, save possibly alone the babies, of which there were present a number equal to the total possessed by all the guests invited. There was no other place for the babies to be, and so part of the preparations for the evening consisted of a collection of cribs and carriages in one corner. In these the babies slept, three or four together, or wakened together, as the case might be. Those who were still older, and could reach the tables, marched about munching contentedly at meat-bones and bologna sausages.

The room is about thirty feet square, with whitewashed walls, bare save for a calendar, a picture of a race-horse, and a family tree in a gilded frame. To the right there is a door from the saloon, with a few loafers in the doorway, and in the corner beyond it a bar, with a presiding genius clad in soiled white, with waxed black mustaches and a carefully oiled curl plastered against one side of his forehead. In the opposite corner are two tables, filling a third of the room and laden with dishes and cold viands, which a few of the hungrier guests are already munching. At the head, where sits the bride, is a snow-white cake, with an Eiffel tower of constructed decoration, with sugar roses and two angels upon it, and a generous sprinkling of pink and green and yellow candies. Beyond opens a door into the kitchen, where there is a glimpse to be had of a range with much steam ascending from it, and many women, old and young, rushing hither and thither. In the corner to the left are the three musicians, upon a little platform, toiling heroically to make some impression upon the hubbub; also the babies, similarly occupied, and an open window whence the populace imbibes the sights and sounds and odors.

Suddenly some of the steam begins to advance, and, peering through it, you discern Aunt Elizabeth, Ona’s stepmother—Teta Elzbieta, as they call her—bearing aloft a great platter of stewed duck. Behind her is Kotrina, making her way cautiously, staggering beneath a similar burden; and half a minute later there appears old Grandmother Majauszkiene, with a big yellow bowl of smoking potatoes, nearly as big as herself. So, bit by bit, the feast takes form—there is a ham and a dish of sauerkraut, boiled rice, macaroni, bologna sausages, great piles of penny buns, bowls of milk, and foaming pitchers of beer. There is also, not six feet from your back, the bar, where you may order all you please and do not have to pay for it. “Eiksz! Graicziau!” screams Marija Berczynskas, and falls to work herself—for there is more upon the stove inside that will be spoiled if it be not eaten.

So, with laughter and shouts and endless badinage and merriment, the guests take their places. The young men, who for the most part have been huddled near the door, summon their resolution and advance; and the shrinking Jurgis is poked and scolded by the old folks until he consents to seat himself at the right hand of the bride. The two bridesmaids, whose insignia of office are paper wreaths, come next, and after them the rest of the guests, old and young, boys and girls. The spirit of the occasion takes hold of the stately bartender, who condescends to a plate of stewed duck; even the fat policeman—whose duty it will be, later in the evening, to break up the fights—draws up a chair to the foot of the table. And the children shout and the babies yell, and every one laughs and sings and chatters—while above all the deafening clamor Cousin Marija shouts orders to the musicians.

The musicians—how shall one begin to describe them? All this time they have been there, playing in a mad frenzy—all of this scene must be read, or said, or sung, to music. It is the music which makes it what it is; it is the music which changes the place from the rear-room of a saloon in back of the yards to a fairy place, a wonderland, a little corner of the high mansions of the sky.

The little person who leads this trio is an inspired man. His fiddle is out of tune, and there is no rosin on his bow, but still he is an inspired man—the hands of the muses have been laid upon him. He plays like one possessed by a demon, by a whole horde of demons. You can feel them in the air round about him, capering frenetically; with their invisible feet they set the pace, and the hair of the leader of the orchestra rises on end, and his eyeballs start from their sockets, as he toils to keep up with them.

Tamoszius Kuszleika is his name, and he has taught himself to play the violin by practising all night, after working all day on the “killing beds.” He is in his shirt sleeves, with a vest figured with faded gold horseshoes, and a pink-striped shirt, suggestive of peppermint candy. A pair of military trousers, light blue with a yellow stripe, serve to give that suggestion of authority proper to the leader of a band. He is only about five feet high, but even so these trousers are about eight inches short of the ground. You wonder where he can have gotten them—or rather you would wonder, if the excitement of being in his presence left you time to think of such things.

For he is an inspired man. Every inch of him is inspired—you might almost say inspired separately. He stamps with his feet, he tosses his head, he sways and swings to and fro; he has a wizened-up little face, irresistibly comical; and, when he executes a turn or a flourish, his brows knit and his lips work and his eyelids wink—the very ends of his necktie bristle out. And every now and then he turns upon his companions, nodding, signalling, beckoning frantically—with every inch of him appealing, imploring, in behalf of the muses and their call.

For they are hardly worthy of Tamoszius, the other two members of the orchestra. The second violin is a Slovak, a tall, gaunt man with black-rimmed spectacles and the mute and patient look of an overdriven mule; he responds to the whip but feebly, and then always falls back into his old rut. The third man is very fat, with a round, red, sentimental nose, and he plays with his eyes turned up to the sky and a look of infinite yearning. He is playing a bass part upon his ’cello, and so the excitement is nothing to him; no matter what happens in the treble, it is his task to saw out one long-drawn and lugubrious note after another, from four o’clock in the afternoon until nearly the same hour next morning, for his third of the total income of one dollar per hour.

Before the feast has been five minutes under way, Tamoszius Kuszleika has risen in his excitement; a minute or two more and you see that he is beginning to edge over toward the tables. His nostrils are dilated and his breath comes fast—his demons are driving him. He nods and shakes his head at his companions, jerking at them with his violin, until at last the long form of the second violinist also rises up. In the end all three of them begin advancing, step by step, upon the banqueters, Valentinavyczia, the ’cellist, bumping along with his instrument between notes. Finally all three are gathered at the foot of the tables, and there Tamoszius mounts upon a stool.

Copyright 2002 by Upton Sinclair Introduction by Jane Jacobs \"},{\"id\":\"36743589T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"1\",\"text\":\"Mr. Sinclair in The Jungle has given the world a close, a striking, and, we may say, in many ways a brilliant study of the great industries of Chicago. . . . The language Mr. Sinclair employs is appropriate to the scene, the action, and the characters of his drama. . . . The experienced reader will at once perceive that Mr. Sinclair has taken Zola for his model. The likeness is more than striking -- it fairly forces itself upon the attention of the reader. . . .He has not written a second Uncle Tom's Cabin. -- New York Times review, March 1906; Books of the Century\"},{\"id\":\"36743631T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"

Upton Sinclair (1878–1968) was a Pulitzer Prize–winning author. The Jungle helped in the passage of the pure-food laws during the Progressive Era.

Eric Schlosser is a journalist and the New York Times bestselling author of Fast Food Nation. He began his journalism career at the Atlantic Monthly.

Charles Burns, a former contributor to Art Spiegelman’s Raw magazine, is an illustrator whose work has included the covers of major magazines and CDs. His most well-known comics are Black Hole, Big Baby, and Skin Deep.\"},{\"id\":\"34196103T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"displayOrder\":\"2\",\"text\":\"

Charles Burns, a former contributor to Art Spiegelman’s Raw magazine, is an illustrator whose work has included the covers of major magazines and CDs. 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ENDURING LITERATURE ILLUMINATED
BY PRACTICAL SCHOLARSHIP

Upton Sinclair's unflinching chronicle of crushing poverty and oppression set in Chicago in the early 1900s.

EACH ENRICHED CLASSIC EDITION INCLUDES:
A concise introduction that gives readers important background information
A chronology of the author's life and work
A timeline of significant events that provides the book's historical context
An outline of key themes and plot points to help readers form their own interpretations
Detailed explanatory notes
Critical analysis, including contemporary and modern perspectives on the work
Discussion questions to promote lively classroom and book group interaction
A list of recommended related books and films to broaden the reader's experience

Enriched Classics offer readers affordable editions of great works of literature enhanced by helpful notes and insightful commentary. The scholarship provided in Enriched Classics enables readers to appreciate, understand, and enjoy the world's finest books to their full potential.
SERIES EDITED BY CYNTHIA BRANTLEY JOHNSON

","ENDURING LITERATURE ILLUMINATEDBY PRACTICAL SCHOLARSHIPUpton Sinclair's unflinching chronicle of crushing poverty and oppression set in Chicago in the early 1900s.EACH ENRICHED CLASSIC EDITION INCLUDES: A concise introduction that gives readers important background information A chronology of the author's life and work A timeline of significant events that provides the book's historical context An outline of key themes and plot points to help readers form their own interpretations Detailed explanatory notes Critical analysis, including contemporary and modern perspectives on the work Discussion questions to promote lively classroom and book group interaction A list of recommended related books and films to broaden the reader's experienceEnriched Classics offer readers affordable editions of great works of literature enhanced by helpful notes and insightful commentary. 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“Practically alone among the American writers of his generation, [Sinclair] put to the American public the fundamental questions raised by capitalism in such a way that they could not escape them.” —Edmund Wilson

When it was first published in 1906, The Jungle exposed the inhumane conditions of Chicago’s stockyards and the laborer’s struggle against industry and “wage slavery.” It was an immediate bestseller and led to new regulations that forever changed workers’ rights and the meatpacking industry. A direct descendant of Dickens’s Hard Times, it remains the most influential workingman’s novel in American literature.

","“Practically alone among the American writers of his generation, [Sinclair] put to the American public the fundamental questions raised by capitalism in such a way that they could not escape them.” —Edmund WilsonWhen it was first published in 1906, The Jungle exposed the inhumane conditions of Chicago’s stockyards and the laborer’s struggle against industry and “wage slavery.” It was an immediate bestseller and led to new regulations that forever changed workers’ rights and the meatpacking industry. A direct descendant of Dickens’s Hard Times, it remains the most influential workingman’s novel in American literature.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.",[2968,2969],{"_191":3723,"_202":3725},{"_193":3724,"_195":196},"15.0",{"_193":3724,"_195":196},{"_191":3727,"_202":3728},{"_193":201,"_195":196},{"_193":201,"_195":196},{"_206":3730},[3731],{"_34":3732,"_54":3733,"_188":-5,"_56":3734,"_50":272},"gid://shopify/ProductImage/47747793060080","https://cdn.shopify.com/s/files/1/0737/7593/9824/files/613002953.jpg?v=1744465889",1306,{"_206":3736},[3737],{"_34":3738,"_158":3739},"gid://shopify/MediaImage/39283032359152",{"_34":3740,"_54":3733,"_188":-5,"_56":3734,"_50":272},"gid://shopify/ImageSource/39303793017072",[3742],{"_219":220,"_3003":3743},[3744],{"_219":222,"_3006":3745,"_3016":-5},{"_197":105,"_210":-5,"_34":3746,"_158":3747,"_212":3748,"_214":3749,"_216":3750,"_223":3718,"_107":222,"_224":-5,"_3015":105},"gid://shopify/ProductVariant/47022509818096",{"_170":3010,"_34":3732,"_54":3733,"_188":-5,"_56":3734,"_50":272},{"_193":3724,"_195":196},{"_107":3175,"_176":3718},[3751],{"_219":220,"_221":222},{"_197":105,"_210":-5,"_34":3746,"_158":3753,"_212":3754,"_214":3755,"_216":3756,"_223":3718,"_107":222,"_224":-5,"_3015":105},{"_170":3010,"_34":3732,"_54":3733,"_188":-5,"_56":3734,"_50":272},{"_193":3724,"_195":196},{"_107":3175,"_176":3718},[3757],{"_219":220,"_221":222},[],{"_178":-5,"_107":-5},{"_221":3718},{"_221":3030},{"_221":3032},{"_221":3764},"1985-04-02T05:00:00Z",{"_221":3766},"1985-03-29T05:00:00Z",{"_221":3768},"Penguin American Library Series",{"_221":3770},"448",{"_221":3772},"7.7",{"_221":3300},{"_221":3775},"0.8",{"_221":3416},{"_221":3416},{"_221":2970},{"_221":3055},{"_221":3781},"36819",{"_221":3783},"[{\"contributorId\":171413,\"firstName\":\"Upton\",\"lastName\":\"Sinclair\",\"jobName\":\"Author\",\"jobPrimary\":true,\"jobType\":\"Creative\",\"sequenceNumber\":1},{\"contributorId\":338068,\"firstName\":\"Ronald\",\"lastName\":\"Gottesman\",\"jobName\":\"Introduction\",\"jobPrimary\":false,\"jobType\":\"Creative\",\"sequenceNumber\":2}]",{"_221":3785},"Revised",{"_221":3068},{"_221":3471},{"_3075":3076,"_221":3077},[3790,3791,3792,3794,3795,-5,3796,3797,3799,3800,3801,-5,3803,-5,3805,-5,-5,-5,-5,3806,3807,-5,-5,-5,-5],{"_229":230,"_231":254,"_221":3068},{"_229":230,"_231":3070,"_221":3471},{"_229":230,"_231":232,"_221":3793},"[{\"contributorId\":171413,\"fullName\":\"Upton Sinclair\",\"jobName\":\"Author\",\"sequenceNumber\":1},{\"contributorId\":338068,\"fullName\":\"Ronald Gottesman\",\"jobName\":\"Introduction\",\"sequenceNumber\":2}]",{"_229":230,"_231":236,"_221":2970},{"_229":230,"_231":239,"_221":2970},{"_229":230,"_231":246,"_221":3089},{"_229":230,"_231":250,"_221":3798},"[{\"id\":\"53887898T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"

1. Pronounced Yoorghis.

Before the feast has been five minutes under way, Tamoszius Kuszleika has risen in his excitement; a minute or two more and you see that he is beginning to edge over toward the tables. His nostrils are dilated and his breath comes fast—his demons are driving him. He nods and shakes his head at his companions, jerking at them with his violin, until at last the long form of the second violinist also rises up. In the end all three of them begin advancing, step by step, upon the banqueters, Valentinavyczia, the ’cellist, bumping along with his instrument between notes. Finally all three are gathered at the foot of the tables, and there Tamoszius mounts upon a stool.\"},{\"id\":\"2636509T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"2\",\"text\":\" Chapter I

It was four o’clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of Marija Berczynskas. The occasion rested heavily upon Marija’s broad shoulders—it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortège at each side street for half a mile.

This was unfortunate, for already there was a throng before the door. The music had started up, and half a block away you could hear the dull “broom, broom” of a ’cello, with the squeaking of two fiddles which vied with each other in intricate and altitudinous gymnastics. Seeing the throng, Marija abandoned precipitately the debate concerning the ancestors of her coachman, and, springing from themoving carriage, plunged in and proceeded to clear a way to the hall. Once within, she turned and began to push the other way, roaring, meantime, “Eik! Eik! Uzdaryk-duris!” in tones which made the orchestral uproar sound like fairy music.

“Z. Graiczunas, Pasilinksminimams darzas. Vynas. Sznapsas. Wines and Liquors. Union Headquarters”—that was the way the signs ran. The reader, who perhaps has never held much converse in the language of far-off Lithuania, will be glad of the explanation that the place was the rear-room of a saloon in that part of Chicago known as “back of the yards.” This information is definite and suited to the matter of fact; but how pitifully inadequate it would have seemed to one who understood that it was also the supreme hour of ecstasy in the life of one of God’s gentlest creatures, the scene of the wedding-feast and the joy-transfiguration of little Ona Lukoszaite!

She stood in the doorway, shepherded by Cousin Marija, breath- less from pushing through the crowd, and in her happiness painful to look upon. There was a light of wonder in her eyes and her lids trembled, and her otherwise wan little face was flushed. She wore a muslin dress, conspicuously white, and a stiff little veil coming to her shoulders. There were five pink paper-roses twisted in the veil, and eleven bright green rose-leaves. There were new white cotton gloves upon her hands, and as she stood staring about her she twisted them together feverishly. It was almost too much for her—you could see the pain of too great emotion in her face, and all the tremor of her form. She was so young—not quite sixteen—and small for her age, a mere child; and she had just been married—and married to Jurgis,1 of all men, to Jurgis Rudkus, he with the white flower in the buttonhole of his new black suit, he with the mighty shoulders and the giant hands.

1. Pronounced Yoorghis.

Ona was blue-eyed and fair, while Jurgis had great black eyes with beetling brows, and thick black hair that curled in waves about his ears—in short, they were one of those incongruous and impos- sible married couples with which Mother Nature so often wills to confound all prophets, before and after. Jurgis could take up a two-hundred-and-fifty-pound quarter of beef and carry it into a car without a stagger, or even a thought; and now he stood in a far corner, frightened as a hunted animal, and obliged to moisten his lips with his tongue each time before he could answer the congratulations of his friends.

Gradually there was effected a separation between the spectators and the guests—a separation at least sufficiently complete for working purposes. There was no time during the festivities which ensued when there were not groups of onlookers in the doorways and the corners; and if any one of these onlookers came sufficiently close, or looked sufficiently hungry, a chair was offered him, and he was invited to the feast. It was one of the laws of the veselija that no one goes hungry; and, while a rule made in the forests of Lithuania is hard to apply in the stockyards district of Chicago, with its quarter of a million inhabi- tants, still they did their best, and the children who ran in from the street, and even the dogs, went out again happier. A charming informality was one of the characteristics of this celebration. The men wore their hats, or, if they wished, they took them off, and their coats with them; they ate when and where they pleased, and moved as often as they pleased. There were to be speeches and singing, but no one had to listen who did not care to; if he wished, meantime, to speak or sing himself, he was perfectly free. The resulting medley of sound distracted no one, save possibly alone the babies, of which there were present a number equal to the total possessed by all the guests invited. There was no other place for the babies to be, and so part of the preparations for the evening consisted of a collection of cribs and carriages in one corner. In these the babies slept, three or four together, or wakened together, as the case might be. Those who were still older, and could reach the tables, marched about munching contentedly at meat-bones and bologna sausages.

The room is about thirty feet square, with whitewashed walls, bare save for a calendar, a picture of a race-horse, and a family tree in a gilded frame. To the right there is a door from the saloon, with a few loafers in the doorway, and in the corner beyond it a bar, with a presiding genius clad in soiled white, with waxed black mustaches and a carefully oiled curl plastered against one side of his forehead. In the opposite corner are two tables, filling a third of the room and laden with dishes and cold viands, which a few of the hungrier guests are already munching. At the head, where sits the bride, is a snow-white cake, with an Eiffel tower of constructed decoration, with sugar roses and two angels upon it, and a generous sprinkling of pink and green and yellow candies. Beyond opens a door into the kitchen, where there is a glimpse to be had of a range with much steam ascending from it, and many women, old and young, rushing hither and thither. In the corner to the left are the three musicians, upon a little platform, toiling heroically to make some impression upon the hubbub; also the babies, similarly occupied, and an open window whence the populace imbibes the sights and sounds and odors.

Suddenly some of the steam begins to advance, and, peering through it, you discern Aunt Elizabeth, Ona’s stepmother—Teta Elzbieta, as they call her—bearing aloft a great platter of stewed duck. Behind her is Kotrina, making her way cautiously, staggering beneath a similar burden; and half a minute later there appears old Grandmother Majauszkiene, with a big yellow bowl of smoking potatoes, nearly as big as herself. So, bit by bit, the feast takes form—there is a ham and a dish of sauerkraut, boiled rice, macaroni, bologna sausages, great piles of penny buns, bowls of milk, and foaming pitchers of beer. There is also, not six feet from your back, the bar, where you may order all you please and do not have to pay for it. “Eiksz! Graicziau!” screams Marija Berczynskas, and falls to work herself—for there is more upon the stove inside that will be spoiled if it be not eaten.

So, with laughter and shouts and endless badinage and merriment, the guests take their places. The young men, who for the most part have been huddled near the door, summon their resolution and advance; and the shrinking Jurgis is poked and scolded by the old folks until he consents to seat himself at the right hand of the bride. The two bridesmaids, whose insignia of office are paper wreaths, come next, and after them the rest of the guests, old and young, boys and girls. The spirit of the occasion takes hold of the stately bartender, who condescends to a plate of stewed duck; even the fat policeman—whose duty it will be, later in the evening, to break up the fights—draws up a chair to the foot of the table. And the children shout and the babies yell, and every one laughs and sings and chatters—while above all the deafening clamor Cousin Marija shouts orders to the musicians.

The musicians—how shall one begin to describe them? All this time they have been there, playing in a mad frenzy—all of this scene must be read, or said, or sung, to music. It is the music which makes it what it is; it is the music which changes the place from the rear-room of a saloon in back of the yards to a fairy place, a wonderland, a little corner of the high mansions of the sky.

The little person who leads this trio is an inspired man. His fiddle is out of tune, and there is no rosin on his bow, but still he is an inspired man—the hands of the muses have been laid upon him. He plays like one possessed by a demon, by a whole horde of demons. You can feel them in the air round about him, capering frenetically; with their invisible feet they set the pace, and the hair of the leader of the orchestra rises on end, and his eyeballs start from their sockets, as he toils to keep up with them.

Tamoszius Kuszleika is his name, and he has taught himself to play the violin by practising all night, after working all day on the “killing beds.” He is in his shirt sleeves, with a vest figured with faded gold horseshoes, and a pink-striped shirt, suggestive of peppermint candy. A pair of military trousers, light blue with a yellow stripe, serve to give that suggestion of authority proper to the leader of a band. He is only about five feet high, but even so these trousers are about eight inches short of the ground. You wonder where he can have gotten them—or rather you would wonder, if the excitement of being in his presence left you time to think of such things.

For he is an inspired man. Every inch of him is inspired—you might almost say inspired separately. He stamps with his feet, he tosses his head, he sways and swings to and fro; he has a wizened-up little face, irresistibly comical; and, when he executes a turn or a flourish, his brows knit and his lips work and his eyelids wink—the very ends of his necktie bristle out. And every now and then he turns upon his companions, nodding, signalling, beckoning frantically—with every inch of him appealing, imploring, in behalf of the muses and their call.

For they are hardly worthy of Tamoszius, the other two members of the orchestra. The second violin is a Slovak, a tall, gaunt man with black-rimmed spectacles and the mute and patient look of an overdriven mule; he responds to the whip but feebly, and then always falls back into his old rut. The third man is very fat, with a round, red, sentimental nose, and he plays with his eyes turned up to the sky and a look of infinite yearning. He is playing a bass part upon his ’cello, and so the excitement is nothing to him; no matter what happens in the treble, it is his task to saw out one long-drawn and lugubrious note after another, from four o’clock in the afternoon until nearly the same hour next morning, for his third of the total income of one dollar per hour.

Before the feast has been five minutes under way, Tamoszius Kuszleika has risen in his excitement; a minute or two more and you see that he is beginning to edge over toward the tables. His nostrils are dilated and his breath comes fast—his demons are driving him. He nods and shakes his head at his companions, jerking at them with his violin, until at last the long form of the second violinist also rises up. In the end all three of them begin advancing, step by step, upon the banqueters, Valentinavyczia, the ’cellist, bumping along with his instrument between notes. Finally all three are gathered at the foot of the tables, and there Tamoszius mounts upon a stool.

The Jungle

By Upton Sinclair

Random House

Upton Sinclair
All right reserved.
ISBN: 0812976231

Chapter One

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1. Pronounced Yoorghis.

Upton Sinclair (1878-1968) was born in Baltimore. At age fifteen, he began writing a series of dime novels in order to pay for his education at the City College of New York. He was later accepted to do graduate work at Columbia, and while there he published a number of novels, including The Journal of Arthur Stirling (1903) and Manassas (1904). Sinclair’s breakthrough came in 1906 with the publication of The Jungle, a scathing indictment of the Chicago meat-packing industry. His later works include World’s End (1940), Dragon’s Teeth (1942), which won him a Pulitzer Prize, O Shepherd, Speak! (1949) and Another Pamela (1950).

Ronald Gottesman was born in Boston and earned degrees from the University of Massachusetts and from Colgate and Indiana universities. He has taught literature, film studies, and humanities courses at Northwestern, Indiana, and Rutgers universities, the University of Wisconsin, and the University of Southern California, where for nine years he directed the Center for the Humanities. Founding editor of the Quarterly Review of Film Studies and Humanities in Society, Professor Gottesman was editor and author of many articles and books on literature and film, including three on Upton Sinclair.\"},{\"id\":\"29721081T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"displayOrder\":\"2\",\"text\":\"

Upton Sinclair (1878-1968) was born in Baltimore. At age fifteen, he began writing a series of dime novels in order to pay for his education at the City College of New York. He was later accepted to do graduate work at Columbia, and while there he published a number of novels, including The Journal of Arthur Stirling (1903) and Manassas (1904). Sinclair’s breakthrough came in 1906 with the publication of The Jungle, a scathing indictment of the Chicago meat-packing industry. His later works include World’s End (1940), Dragon’s Teeth (1942), which won him a Pulitzer Prize, O Shepherd, Speak! (1949) and Another Pamela (1950).
Ronald Gottesman was born in Boston and earned degrees from the University of Massachusetts and from Colgate and Indiana universities. He has taught literature, film studies, and humanities courses at Northwestern, Indiana, and Rutgers universities, the University of Wisconsin, and the University of Southern California, where for nine years he directed the Center for the Humanities. Founding editor of the Quarterly Review of Film Studies and Humanities in Society, Professor Gottesman is editor and author of many articles and books on literature and film, including three on Upton Sinclair. He is currently completing a Ph.D. in psychoanalysis.\"},{\"id\":\"5690196T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"displayOrder\":\"3\",\"text\":\"

Jurgis Rudkus, a young Lithuanian immigrant in search of a better life, faces instead an epic struggle for survival. His story of factory life in Chicago in the early twentieth century is a saga of barbarous working conditions, crushing poverty, crime, disease, and despair.

Upton Sinclair’s vivid depiction of the horrors of Chicago’s stockyards and slaughterhouses aroused such public indignation that a government investigation was called, eventually resulting in the passage of pure food laws. More than a hundred years later, The Jungle continues to pack the same emotional power it did when it was first published.

","Upton Sinclair's classic revelatory novel about turn-of-the-century business and immigrant labor practices--with an afterword by Dr. Barry Sears, the New York Times bestselling author of The Zone.Jurgis Rudkus, a young Lithuanian immigrant in search of a better life, faces instead an epic struggle for survival. His story of factory life in Chicago in the early twentieth century is a saga of barbarous working conditions, crushing poverty, crime, disease, and despair.Upton Sinclair’s vivid depiction of the horrors of Chicago’s stockyards and slaughterhouses aroused such public indignation that a government investigation was called, eventually resulting in the passage of pure food laws. More than a hundred years later, The Jungle continues to pack the same emotional power it did when it was first published.",[2968,2969],{"_191":3975,"_202":3976},{"_193":3343,"_195":196},{"_193":3343,"_195":196},{"_191":3978,"_202":3979},{"_193":201,"_195":196},{"_193":201,"_195":196},{"_206":3981},[],{"_206":3983},[],[3985],{"_219":220,"_3003":3986},[3987],{"_219":222,"_3006":3988,"_3016":-5},{"_197":105,"_210":-5,"_34":3989,"_158":-5,"_212":3990,"_214":3991,"_216":3992,"_223":3970,"_107":222,"_224":-5,"_3015":105},"gid://shopify/ProductVariant/47025753260272",{"_193":3343,"_195":196},{"_107":3175,"_176":3970},[3993],{"_219":220,"_221":222},{"_197":105,"_210":-5,"_34":3989,"_158":-5,"_212":3995,"_214":3996,"_216":3997,"_223":3970,"_107":222,"_224":-5,"_3015":105},{"_193":3343,"_195":196},{"_107":3175,"_176":3970},[3998],{"_219":220,"_221":222},[],{"_178":-5,"_107":-5},{"_221":3970},{"_221":3030},{"_221":3032},{"_221":4005},"2015-03-03T05:00:00Z",{"_221":4007},"2015-02-27T05:00:00Z",{"_221":3219},{"_221":3678},{"_221":4011},"4.13",{"_221":4013},"1.03",{"_221":3416},{"_221":3416},{"_221":2970},{"_221":3055},{"_221":4019},"107582",{"_221":4021},"[{\"contributorId\":171413,\"firstName\":\"Upton\",\"lastName\":\"Sinclair\",\"jobName\":\"Author\",\"jobPrimary\":true,\"jobType\":\"Creative\",\"sequenceNumber\":1},{\"contributorId\":165657,\"firstName\":\"Barry\",\"lastName\":\"Sears\",\"jobName\":\"Afterword\",\"jobPrimary\":false,\"jobType\":\"Creative\",\"sequenceNumber\":2},{\"contributorId\":16664933,\"firstName\":\"Alicia Mischa\",\"lastName\":\"Renfroe\",\"jobName\":\"Introduction\",\"jobPrimary\":false,\"jobType\":\"Creative\",\"sequenceNumber\":3}]",{"_221":4023},"Reprint",{"_221":3068},{"_221":3236},{"_3075":3076,"_221":3316},[4028,4029,4030,4032,4033,-5,4034,4035,4037,4038,4039,-5,-5,-5,4041,-5,-5,-5,-5,4042,4043,4044,-5,-5,-5],{"_229":230,"_231":254,"_221":3068},{"_229":230,"_231":3070,"_221":3236},{"_229":230,"_231":232,"_221":4031},"[{\"contributorId\":171413,\"fullName\":\"Upton Sinclair\",\"jobName\":\"Author\",\"sequenceNumber\":1},{\"contributorId\":165657,\"fullName\":\"Barry Sears\",\"jobName\":\"Afterword\",\"sequenceNumber\":2},{\"contributorId\":16664933,\"fullName\":\"Alicia Mischa Renfroe\",\"jobName\":\"Introduction\",\"sequenceNumber\":3}]",{"_229":230,"_231":236,"_221":2970},{"_229":230,"_231":239,"_221":2970},{"_229":230,"_231":246,"_221":3324},{"_229":230,"_231":250,"_221":4036},"[{\"id\":\"5887033T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"

1. Pronounced Yoorghis.

The Jungle

By Upton Sinclair

Random House

Upton Sinclair
All right reserved.
ISBN: 0812976231

Chapter One

\"},{\"id\":\"1934119T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"1\",\"text\":\"Mr. Sinclair in The Jungle has given the world a close, a striking, and, we may say, in many ways a brilliant study of the great industries of Chicago. . . . The language Mr. Sinclair employs is appropriate to the scene, the action, and the characters of his drama. . . . The experienced reader will at once perceive that Mr. Sinclair has taken Zola for his model. The likeness is more than striking -- it fairly forces itself upon the attention of the reader. . . .He has not written a second Uncle Tom's Cabin. -- New York Times review, March 1906; Books of the Century\"},{\"id\":\"41180269T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"
Upton Sinclair (1878–1968) was born in Baltimore and began writing dime novels to pay his way through the College of the City of New York. While doing graduate work at Columbia University, he wrote six novels, including King Midas (1901), The Journal of Arthur Stirling (1903), and Manassas (1904). His masterwork, The Jungle (1906), aided the passage of pure food laws and won him wide acclaim. Active throughout his life in socialist causes, he invested the money he made from The Jungle in a Utopian experiment, the Helicon Hall Colony in Englewood, New Jersey. In 1915, he moved to California, where he ran unsuccessfully for public office and waged an antipoverty campaign. Among his later works was Dragon’s Teeth (1942), for which he won a Pulitzer Prize.

Dr. Barry Sears, a widely published scientist and pioneer in the field of medical research, holds twelve U. S. patents in drug delivery and hormonal control technology. He is the author of numerous books, including the #1 New York Times bestseller The Zone.

Dr. Alicia Mischa Renfroe (JD, PhD) is an Associate Professor of English at Middle Tennessee State University. She teaches courses in American literature, Law and Literature, and American Realism and Naturalism. She has published essays on Ernest Hemingway, Jack London, Edith Wharton, Rebecca Harding Davis, William Dean Howells, and Louisa May Alcott. Her edition of Davis’s A Law Unto Herself is forthcoming from Nebraska University Press’s Legacies of Nineteenth Century Women Writers series.
\"},{\"id\":\"5690196T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"displayOrder\":\"2\",\"text\":\"

New introductions commissioned from today's top writers and scholars
Biographies of the authors
Chronologies of contemporary historical, biographical, and cultural events
Footnotes and endnotes
Selective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the work
Comments by other famous authors
Study questions to challenge the reader's viewpoints and expectations
Bibliographies for further reading
Indices & Glossaries, when appropriate

Upton Sinclair’s muckraking masterpiece The Jungle centers on Jurgis Rudkus, a Lithuanian immigrant working in Chicago’s infamous Packingtown. Instead of finding the American Dream, Rudkus and his family inhabit a brutal, soul-crushing urban jungle dominated by greedy bosses, pitiless con-men, and corrupt politicians.

While Sinclair’s main target was the industry’s appalling labor conditions, the reading public was most outraged by the disgusting filth and contamination in American food that his novel exposed. As a result, President Theodore Roosevelt demanded an official investigation, which quickly led to the passage of the Pure Food and Drug laws. For a work of fiction to have such an impact outside its literary context is extremely rare. (At the time of The Jungle’s publication in 1906, the only novel to have led to social change on a similar scale in America was Uncle Tom’s Cabin.)

Today, The Jungle remains a relevant portrait of capitalism at its worst and an impassioned account of the human spirit facing nearly insurmountable challenges.

Maura Spiegel teaches literature and film at Columbia University and Barnard College. She is the coauthor of The Grim Reader and The Breast Book: An Intimate and Curious History. She coedits Literature and Medicine, a journal.

","The Jungle, by Upton Sinclair, is part of the Barnes & Noble Classics series, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of Barnes & Noble Classics: New introductions commissioned from today's top writers and scholars Biographies of the authors Chronologies of contemporary historical, biographical, and cultural events Footnotes and endnotes Selective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the work Comments by other famous authors Study questions to challenge the reader's viewpoints and expectations Bibliographies for further reading Indices & Glossaries, when appropriate All editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes & Noble Classics pulls together a constellation of influences—biographical, historical, and literary—to enrich each reader's understanding of these enduring works. Upton Sinclair’s muckraking masterpiece The Jungle centers on Jurgis Rudkus, a Lithuanian immigrant working in Chicago’s infamous Packingtown. Instead of finding the American Dream, Rudkus and his family inhabit a brutal, soul-crushing urban jungle dominated by greedy bosses, pitiless con-men, and corrupt politicians. While Sinclair’s main target was the industry’s appalling labor conditions, the reading public was most outraged by the disgusting filth and contamination in American food that his novel exposed. As a result, President Theodore Roosevelt demanded an official investigation, which quickly led to the passage of the Pure Food and Drug laws. For a work of fiction to have such an impact outside its literary context is extremely rare. (At the time of The Jungle’s publication in 1906, the only novel to have led to social change on a similar scale in America was Uncle Tom’s Cabin.) Today, The Jungle remains a relevant portrait of capitalism at its worst and an impassioned account of the human spirit facing nearly insurmountable challenges.Maura Spiegel teaches literature and film at Columbia University and Barnard College. She is the coauthor of The Grim Reader and The Breast Book: An Intimate and Curious History. She coedits Literature and Medicine, a journal.",[2968,2969],{"_191":4342,"_202":4344},{"_193":4343,"_195":196},"9.95",{"_193":4343,"_195":196},{"_191":4346,"_202":4347},{"_193":201,"_195":196},{"_193":201,"_195":196},{"_206":4349},[],{"_206":4351},[],[4353],{"_219":220,"_3003":4354},[4355],{"_219":222,"_3006":4356,"_3016":-5},{"_197":105,"_210":-5,"_34":4357,"_158":-5,"_212":4358,"_214":4359,"_216":4360,"_223":4337,"_107":222,"_224":-5,"_3015":105},"gid://shopify/ProductVariant/47031136813296",{"_193":4343,"_195":196},{"_107":4336,"_176":4337},[4361],{"_219":220,"_221":222},{"_197":105,"_210":-5,"_34":4357,"_158":-5,"_212":4363,"_214":4364,"_216":4365,"_223":4337,"_107":222,"_224":-5,"_3015":105},{"_193":4343,"_195":196},{"_107":4336,"_176":4337},[4366],{"_219":220,"_221":222},[],{"_178":-5,"_107":-5},{"_221":4337},{"_221":3030},{"_221":3032},{"_221":4373},"2005-04-01T05:00:00Z",{"_221":4375},"2005-03-24T05:00:00Z",{"_221":4377},"Barnes & Noble Classics Series",{"_221":3926},{"_221":4380},"5.24",{"_221":4382},"7.96",{"_221":4384},"1.06",{"_221":2970},{"_221":3055},{"_221":4388},"1327114",{"_221":4390},"[\"Hero Override True (p4065)\",\"Educator Discount Program (p431)\"]",{"_221":4392},"[{\"contributorId\":171413,\"firstName\":\"Upton\",\"lastName\":\"Sinclair\",\"jobName\":\"Author\",\"jobPrimary\":true,\"jobType\":\"Creative\",\"sequenceNumber\":1},{\"contributorId\":1397931,\"firstName\":\"Maura\",\"lastName\":\"Spiegel\",\"jobName\":\"Introduction\",\"jobPrimary\":false,\"jobType\":\"Creative\",\"sequenceNumber\":2}]",{"_221":3942},{"_221":3068},{"_221":3471},{"_3075":3076,"_221":3077},{"_3075":4317,"_221":4398},"[{\"Key\":\"HeroCode\",\"Value\":\"2\"}]",[4400,4401,4402,4404,4405,-5,4406,4407,4409,4410,4411,-5,4413,-5,4415,-5,-5,-5,-5,4416,4418,-5,-5,-5,-5],{"_229":230,"_231":254,"_221":3068},{"_229":230,"_231":3070,"_221":3471},{"_229":230,"_231":232,"_221":4403},"[{\"contributorId\":171413,\"fullName\":\"Upton Sinclair\",\"jobName\":\"Author\",\"sequenceNumber\":1},{\"contributorId\":1397931,\"fullName\":\"Maura Spiegel\",\"jobName\":\"Introduction\",\"sequenceNumber\":2}]",{"_229":230,"_231":236,"_221":2970},{"_229":230,"_231":239,"_221":2970},{"_229":230,"_231":246,"_221":3089},{"_229":230,"_231":250,"_221":4408},"[{\"id\":\"2820747T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"From Maura Spiegel's Introduction to The Jungle

Upton Sinclair described the site of Chicago's meatpacking industry, Packingtown, as \\\"the greatest aggregation of labor and capital ever gathered in one place.\\\" The supreme achievement of American capitalism, Sinclair would undertake to reveal, was also its greatest disgrace. At the age of twenty-six, Sinclair set out to write The Jungle in the spirit of Saint George battling the dragon. His was an age of capitalist Titans, of magnates whose wealth, power, and hubris seemed unlimited: A single man owned a million acres of the Texas Panhandle, an American coal tycoon attempted to buy the Great Wall of China, and in the Midwest a combination known as the Beef Trust tightly controlled the production and sale of meat through pervasive wage and price fixing and the unrelenting exploitation of the stockyard workforce. Sinclair's was also an age when writers, both journalists and novelists, were experiencing a thrilling sense of their own efficacy. The investigative exposé-what President Theodore Roosevelt would unflatteringly dub \\\"muckraking,\\\" after the character in John Bunyan's The Pilgrim's Progress (1678, 1684) who could \\\"look no way but downward, with a muckrake in his hands\\\"-had taken the magazine and publishing world by storm, had grabbed hold of the popular reader, and was shining a bright light on the ever-darkening realms of child labor, prisons, insurance companies, and, foremost, American enterprise and its role in the creation of a new American class of impoverished industrial wage slaves.

With their tremendous descriptive and explanatory power, books such as Henry Demarest Lloyd's Wealth against Commonwealth (1894), a study of American business syndicates and trusts, Ida Tarbell's History of the Standard Oil Company (1904), and Lincoln Steffens's The Shame of the Cities (1904), an exposé of municipal corruption and the ties between government and business in six American cities, had a significant impact on public debate, turning uncertainty into indignation and despair into outrage. Combining rigorous research and firsthand reporting with moralistic rhetoric, these works revealed how the contemporary world worked, how businesses were being transformed into empires, and how these empires were bleeding the public in an exploitative relationship starkly delineated by Lloyd on the first page of Wealth against Commonwealth (see \\\"For Further Reading\\\"): \\\"Holding back the riches of earth, sea, and sky from their fellows who famish and freeze in the dark, they [the syndicates and trusts] . . . assert the right, for their private profit, to regulate the consumption by the people of the necessaries of life, and to control production, not by the needs of humanity, but by the desires of few for dividends.\\\"

Energized by their sense of mission, these journalists also understood that at that moment, when magazines and books were reaching wider audiences than ever before, there was no more powerful means at their disposal than the written word. They had a confidence in the power of their medium that writers seldom experience today. Not yet competing with motion pictures, either dramatic or documentary, these writers seemed to understand that, for the moment at least, the written word was the document of truth. Even photographs could not vie with narrative for getting at what was real. Consider, in this regard, the reader's first exposure to the packing yards in The Jungle, when Jurgis and his family take a tour. As spectators, outsiders, what they see is an immensely impressive system; Jurgis himself is full of admiration; the family is \\\"breathless with wonder\\\" at the magnitude, the efficiency; \\\"it seemed to them impossible of belief that anything so stupendous could have been devised by mortal man.\\\" This first impression, like a panoramic set of photographs, lacked narrative dimension. As the novel unfolds, we discover, along with Jurgis, that only through time and its unraveling- that is, through narrative-can the real meaning of these impressive images be disclosed and comprehended.

Given the great success of the muckraking journalists, and Sinclair's admiration for them (including his friend Lincoln Steffens), it is worth examining why Sinclair did not choose to write his Packingtown book as a journalistic exposé, especially considering that he had written a series of articles on the failed meatpackers strike of 1904. In choosing fiction over a journalistic account, Sinclair was responding to a moment when novelists were also taking on the real and exploring new techniques for storytelling, and as a consequence enjoying a heady period of reinvigoration and a renewed sense of their own persuasive power. Frank Norris, whose highly successful The Octopus (1901) was based on an actual clash in 1880 between farmers in California's San Joaquin valley and the Southern Pacific Railroad, wrote in a 1902 essay:

If the novel were not one of the most important factors of modern life, . . . if its influence were not greater than all the pulpits, than all the newspapers between the oceans, it would not be so important that its message should be true. . . . [The people] look to-day as they never have looked before, as they never will look again, to the writer of fiction to give them an idea of Life beyond their limits, and they believe him as they never have believed before and never will again\\\" (\\\"The Responsibilities of the Novelist,\\\" Critic 16, December 1902; in Documents of American Realism and Naturalism, edited by Donald Pizer). Novelists had their own distinct aims and responsibilities, not only to represent \\\"the true\\\" but to give symbolic dimension to the new and strange. They sought to find language to describe the urban blight that was growing and spreading at frightening speed, drawing a vast population to toil and live in a new kind of poverty, to struggle against a new kind of filth and stench, to look upon a new kind of ugliness, and to endure new illnesses, injuries, and perils. The speed at which change was occurring intensified the sense that these transmutations were unstoppable. (In 1864 the Chicago meatpacking plants and stockyards were built, and were up and running within a matter of six months; within a short time every railroad that entered Chicago went to the yards, creating a ribbon of 100 miles of track surrounding the new plants that grew to 250 miles by 1905.) Such vastness and efficiency possessed the power to awe, and to overwhelm. Sinclair, and writers of his school, sought to represent the inhuman magnitude of industrial expansion, but also to give it symbolic shape-a human comprehensibility.

Although Sinclair portrays the crushing, machine-like force of a man-made hell, he turned for his title to an image from the natural world (as Frank Norris had done in choosing the octopus to describe the spread of the railway), to a place that, particularly in this period, evoked a sense of primal fear, a \\\"heart of darkness.\\\" The Jungle represented a setting inhospitable to human life, where \\\"civilized\\\" man does not thrive, where life is an unrelenting and ultimately a dehumanizing battle. From our perspective, at the other end of the twentieth century, Sinclair's world had yet to arrive at the shared symbolic reference points for man-made horror provided for us by systematic genocide, concentration camps, and industrial warfare.

For many writers of this new school of realism (or what some describe as Naturalism, which I discuss below), there was a sense of liberation from the requirement to tell a story; now the conditions of life were the story. (If for postmodernist writers, reality is no longer realistic, for writers of this period, reality was a new frontier, vivid and legible.) Exploring new narrative structures, novelists, following Émile Zola's lead, were hanging their narratives on the framework not of an individual life, but of an industry or the history of a commodity. Zola had built his novels around coal mines, the emergence of the department store, stock market speculation, even a Parisian laundry. But when Sinclair determined to write a novel about the packing yards, he hit upon more than an apt framing device, more even than an industry that needed to be exposed for its heinous practices; consciously or not, he hit upon the subject that would give his novel its most enduring quality. The Jungle is, arguably, the only muckraking novel of its era that is still read for more than historical interest. In the slaughterhouse Sinclair found both the symbol and the objective correlative for the condition of the worker in that moment, as well as a trope for the entire twentieth century.

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The Jungle is Upton Sinclair’s scathing indictment of the meat packing industry in the early 1900s. This novel, which follows the Lithuanian immigrant Jurgis Rudkus and his family in their doomed struggle for survival in the brutal world of the Chicago stock yards, became a bestseller and changed history. The exposure of the appalling labor conditions and the unsanitary practices led to a public outcry, and eventually reforms, including the Meat Packing Act.

At the time, fellow writer Jack London called The Jungle \"the Uncle Tom's Cabin of wage slavery.\" Eric Schlosser’s more recent assessment is ''The Jungle . . . captures something essential about the American immigrant experience and the workings of a brutal industrial system. It transcends the specifics of one historical era and sadly remains relevant to our own.'' Sinclair’s novel is now read both as literature and as history.

Upton Sinclair, journalist, novelist, political activist and gubernatorial candidate, has featured on the cover of Time magazine and is remembered for The Jungle and the wry words \"It is difficult to get a man to understand something, when his salary depends upon his not understanding it.\"

","The Jungle is Upton Sinclair’s scathing indictment of the meat packing industry in the early 1900s. This novel, which follows the Lithuanian immigrant Jurgis Rudkus and his family in their doomed struggle for survival in the brutal world of the Chicago stock yards, became a bestseller and changed history. The exposure of the appalling labor conditions and the unsanitary practices led to a public outcry, and eventually reforms, including the Meat Packing Act. At the time, fellow writer Jack London called The Jungle \"the Uncle Tom's Cabin of wage slavery.\" Eric Schlosser’s more recent assessment is ''The Jungle . . . captures something essential about the American immigrant experience and the workings of a brutal industrial system. It transcends the specifics of one historical era and sadly remains relevant to our own.'' Sinclair’s novel is now read both as literature and as history. Upton Sinclair, journalist, novelist, political activist and gubernatorial candidate, has featured on the cover of Time magazine and is remembered for The Jungle and the wry words \"It is difficult to get a man to understand something, when his salary depends upon his not understanding it.\"",[2968,2969],{"_191":4632,"_202":4634},{"_193":4633,"_195":196},"17.5",{"_193":4633,"_195":196},{"_191":4636,"_202":4637},{"_193":201,"_195":196},{"_193":201,"_195":196},{"_206":4639},[],{"_206":4641},[],[4643],{"_219":220,"_3003":4644},[4645],{"_219":222,"_3006":4646,"_3016":-5},{"_197":105,"_210":-5,"_34":4647,"_158":-5,"_212":4648,"_214":4649,"_216":4650,"_223":4627,"_107":222,"_224":-5,"_3015":105},"gid://shopify/ProductVariant/47037612818672",{"_193":4633,"_195":196},{"_107":4625,"_176":4627},[4651],{"_219":220,"_221":222},{"_197":105,"_210":-5,"_34":4647,"_158":-5,"_212":4653,"_214":4654,"_216":4655,"_223":4627,"_107":222,"_224":-5,"_3015":105},{"_193":4633,"_195":196},{"_107":4625,"_176":4627},[4656],{"_219":220,"_221":222},[],{"_178":-5,"_107":-5},{"_221":4627},{"_221":3030},{"_221":3032},{"_221":4663},"2017-07-01T04:00:00Z",{"_221":4665},"2017-06-27T04:00:00Z",{"_221":4667},"254",{"_221":4669},"1.5",{"_221":4671},"6.5",{"_221":4673},"9.5",{"_221":542},{"_221":3055},{"_221":3308},{"_221":3063},{"_221":3068},{"_221":3072},{"_3075":3076,"_221":4681},"TC",[4683,4684,4685,4686,4687,-5,4688,-5,4690,4691,-5,-5,-5,-5,4692,-5,-5,-5,-5,4693,4695,-5,-5,-5,-5],{"_229":230,"_231":254,"_221":3068},{"_229":230,"_231":3070,"_221":3072},{"_229":230,"_231":232,"_221":3085},{"_229":230,"_231":236,"_221":542},{"_229":230,"_231":239,"_221":542},{"_229":230,"_231":246,"_221":4689},"118",{"_229":230,"_231":3027,"_221":4627},{"_229":230,"_231":262,"_221":3030},{"_229":230,"_231":258,"_221":3032},{"_229":230,"_231":3097,"_221":4694},"[\"Fiction\",\"Fiction Subjects\",\"Character Types - 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Jungle (100th Anniversary Edition)","9780451528049","

“I wrote with tears and anguish, pouring into the pages all the pain that life had meant to me.”—Upton Sinclair

Ranking alongside Harriet Beecher Stowe’s Uncle Tom’s Cabin as a novel that has galvanized public opinion, The Jungle tells the story of Jurgis Rudkus, a young immigrant who came to the New World to find a better life. Instead, he is confronted with the horrors of the slaughterhouses, barbarous working conditions, crushing poverty, disease, and despair.

Upton Sinclair vividly depicted factory life in Chicago in the first years of the twentieth century, and the harrowing scenes he related aroused the indignation of the public and forced a government investigation that led to the passage of pure food laws. A hundred years later, The Jungle continues to pack the same emotional power it did when it was first published.

","“I wrote with tears and anguish, pouring into the pages all the pain that life had meant to me.”—Upton SinclairRanking alongside Harriet Beecher Stowe’s Uncle Tom’s Cabin as a novel that has galvanized public opinion, The Jungle tells the story of Jurgis Rudkus, a young immigrant who came to the New World to find a better life. Instead, he is confronted with the horrors of the slaughterhouses, barbarous working conditions, crushing poverty, disease, and despair.Upton Sinclair vividly depicted factory life in Chicago in the first years of the twentieth century, and the harrowing scenes he related aroused the indignation of the public and forced a government investigation that led to the passage of pure food laws. A hundred years later, The Jungle continues to pack the same emotional power it did when it was first published.",[2968,2969],{"_191":5199,"_202":5200},{"_193":3343,"_195":196},{"_193":3343,"_195":196},{"_191":5202,"_202":5203},{"_193":201,"_195":196},{"_193":201,"_195":196},{"_206":5205},[],{"_206":5207},[],[5209],{"_219":220,"_3003":5210},[5211],{"_219":222,"_3006":5212,"_3016":-5},{"_197":77,"_210":-5,"_34":5213,"_158":-5,"_212":5214,"_214":5215,"_216":5216,"_223":5194,"_107":222,"_224":-5,"_3015":105},"gid://shopify/ProductVariant/47053274120432",{"_193":3343,"_195":196},{"_107":5193,"_176":5194},[5217],{"_219":220,"_221":222},{"_197":77,"_210":-5,"_34":5213,"_158":-5,"_212":5219,"_214":5220,"_216":5221,"_223":5194,"_107":222,"_224":-5,"_3015":105},{"_193":3343,"_195":196},{"_107":5193,"_176":5194},[5222],{"_219":220,"_221":222},[],{"_178":-5,"_107":-5},{"_221":5194},{"_221":3030},{"_221":3032},{"_221":5229},"2006-05-28T04:00:00Z",{"_221":3219},{"_221":5232},"6.81",{"_221":3680},{"_221":5235},"1.13",{"_221":3416},{"_221":3416},{"_221":2970},{"_221":3055},{"_221":3308},{"_221":5242},"[{\"contributorId\":171413,\"firstName\":\"Upton\",\"lastName\":\"Sinclair\",\"jobName\":\"Author\",\"jobPrimary\":true,\"jobType\":\"Creative\",\"sequenceNumber\":1},{\"contributorId\":165657,\"firstName\":\"Barry\",\"lastName\":\"Sears\",\"jobName\":\"Afterword\",\"jobPrimary\":false,\"jobType\":\"Creative\",\"sequenceNumber\":2}]",{"_221":5244},"100th Anniversary Edition",{"_221":3068},{"_221":5247},"11",{"_3075":3076,"_221":3316},[5250,5251,5252,5254,5255,-5,5256,5257,5259,5260,5261,-5,-5,-5,5262,-5,-5,-5,-5,5263,5264,5265,-5,-5,-5],{"_229":230,"_231":254,"_221":3068},{"_229":230,"_231":3070,"_221":5247},{"_229":230,"_231":232,"_221":5253},"[{\"contributorId\":171413,\"fullName\":\"Upton Sinclair\",\"jobName\":\"Author\",\"sequenceNumber\":1},{\"contributorId\":165657,\"fullName\":\"Barry Sears\",\"jobName\":\"Afterword\",\"sequenceNumber\":2}]",{"_229":230,"_231":236,"_221":2970},{"_229":230,"_231":239,"_221":2970},{"_229":230,"_231":246,"_221":3324},{"_229":230,"_231":250,"_221":5258},"[{\"id\":\"22266578T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"

The Jungle

By Upton Sinclair

Random House

Upton Sinclair
All right reserved.
ISBN: 0812976231

Chapter One

\"},{\"id\":\"22266576T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"2\",\"text\":\"Chapter I

It was four o’clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of Marija Berczynskas. The occasion rested heavily upon Marija’s broad shoulders—it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortège at each side street for half a mile.

1. Pronounced Yoorghis.

From the Trade Paperback edition.\"},{\"id\":\"22266575T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"3\",\"text\":\" Chapter I

It was four o’clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of Marija Berczynskas. The occasion rested heavily upon Marija’s broad shoulders—it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortège at each side street for half a mile.

This was unfortunate, for already there was a throng before the door. The music had started up, and half a block away you could hear the dull “broom, broom” of a ’cello, with the squeaking of two fiddles which vied with each other in intricate and altitudinous gymnastics. Seeing the throng, Marija abandoned precipitately the debate concerning the ancestors of her coachman, and, springing from themoving carriage, plunged in and proceeded to clear a way to the hall. Once within, she turned and began to push the other way, roaring, meantime, “Eik! Eik! Uzdaryk-duris!” in tones which made the orchestral uproar sound like fairy music.

“Z. Graiczunas, Pasilinksminimams darzas. Vynas. Sznapsas. Wines and Liquors. Union Headquarters”—that was the way the signs ran. The reader, who perhaps has never held much converse in the language of far-off Lithuania, will be glad of the explanation that the place was the rear-room of a saloon in that part of Chicago known as “back of the yards.” This information is definite and suited to the matter of fact; but how pitifully inadequate it would have seemed to one who understood that it was also the supreme hour of ecstasy in the life of one of God’s gentlest creatures, the scene of the wedding-feast and the joy-transfiguration of little Ona Lukoszaite!

She stood in the doorway, shepherded by Cousin Marija, breath- less from pushing through the crowd, and in her happiness painful to look upon. There was a light of wonder in her eyes and her lids trembled, and her otherwise wan little face was flushed. She wore a muslin dress, conspicuously white, and a stiff little veil coming to her shoulders. There were five pink paper-roses twisted in the veil, and eleven bright green rose-leaves. There were new white cotton gloves upon her hands, and as she stood staring about her she twisted them together feverishly. It was almost too much for her—you could see the pain of too great emotion in her face, and all the tremor of her form. She was so young—not quite sixteen—and small for her age, a mere child; and she had just been married—and married to Jurgis,1 of all men, to Jurgis Rudkus, he with the white flower in the buttonhole of his new black suit, he with the mighty shoulders and the giant hands.

1. Pronounced Yoorghis.

Ona was blue-eyed and fair, while Jurgis had great black eyes with beetling brows, and thick black hair that curled in waves about his ears—in short, they were one of those incongruous and impos- sible married couples with which Mother Nature so often wills to confound all prophets, before and after. Jurgis could take up a two-hundred-and-fifty-pound quarter of beef and carry it into a car without a stagger, or even a thought; and now he stood in a far corner, frightened as a hunted animal, and obliged to moisten his lips with his tongue each time before he could answer the congratulations of his friends.

Gradually there was effected a separation between the spectators and the guests—a separation at least sufficiently complete for working purposes. There was no time during the festivities which ensued when there were not groups of onlookers in the doorways and the corners; and if any one of these onlookers came sufficiently close, or looked sufficiently hungry, a chair was offered him, and he was invited to the feast. It was one of the laws of the veselija that no one goes hungry; and, while a rule made in the forests of Lithuania is hard to apply in the stockyards district of Chicago, with its quarter of a million inhabi- tants, still they did their best, and the children who ran in from the street, and even the dogs, went out again happier. A charming informality was one of the characteristics of this celebration. The men wore their hats, or, if they wished, they took them off, and their coats with them; they ate when and where they pleased, and moved as often as they pleased. There were to be speeches and singing, but no one had to listen who did not care to; if he wished, meantime, to speak or sing himself, he was perfectly free. The resulting medley of sound distracted no one, save possibly alone the babies, of which there were present a number equal to the total possessed by all the guests invited. There was no other place for the babies to be, and so part of the preparations for the evening consisted of a collection of cribs and carriages in one corner. In these the babies slept, three or four together, or wakened together, as the case might be. Those who were still older, and could reach the tables, marched about munching contentedly at meat-bones and bologna sausages.

The room is about thirty feet square, with whitewashed walls, bare save for a calendar, a picture of a race-horse, and a family tree in a gilded frame. To the right there is a door from the saloon, with a few loafers in the doorway, and in the corner beyond it a bar, with a presiding genius clad in soiled white, with waxed black mustaches and a carefully oiled curl plastered against one side of his forehead. In the opposite corner are two tables, filling a third of the room and laden with dishes and cold viands, which a few of the hungrier guests are already munching. At the head, where sits the bride, is a snow-white cake, with an Eiffel tower of constructed decoration, with sugar roses and two angels upon it, and a generous sprinkling of pink and green and yellow candies. Beyond opens a door into the kitchen, where there is a glimpse to be had of a range with much steam ascending from it, and many women, old and young, rushing hither and thither. In the corner to the left are the three musicians, upon a little platform, toiling heroically to make some impression upon the hubbub; also the babies, similarly occupied, and an open window whence the populace imbibes the sights and sounds and odors.

Suddenly some of the steam begins to advance, and, peering through it, you discern Aunt Elizabeth, Ona’s stepmother—Teta Elzbieta, as they call her—bearing aloft a great platter of stewed duck. Behind her is Kotrina, making her way cautiously, staggering beneath a similar burden; and half a minute later there appears old Grandmother Majauszkiene, with a big yellow bowl of smoking potatoes, nearly as big as herself. So, bit by bit, the feast takes form—there is a ham and a dish of sauerkraut, boiled rice, macaroni, bologna sausages, great piles of penny buns, bowls of milk, and foaming pitchers of beer. There is also, not six feet from your back, the bar, where you may order all you please and do not have to pay for it. “Eiksz! Graicziau!” screams Marija Berczynskas, and falls to work herself—for there is more upon the stove inside that will be spoiled if it be not eaten.

So, with laughter and shouts and endless badinage and merriment, the guests take their places. The young men, who for the most part have been huddled near the door, summon their resolution and advance; and the shrinking Jurgis is poked and scolded by the old folks until he consents to seat himself at the right hand of the bride. The two bridesmaids, whose insignia of office are paper wreaths, come next, and after them the rest of the guests, old and young, boys and girls. The spirit of the occasion takes hold of the stately bartender, who condescends to a plate of stewed duck; even the fat policeman—whose duty it will be, later in the evening, to break up the fights—draws up a chair to the foot of the table. And the children shout and the babies yell, and every one laughs and sings and chatters—while above all the deafening clamor Cousin Marija shouts orders to the musicians.

The musicians—how shall one begin to describe them? All this time they have been there, playing in a mad frenzy—all of this scene must be read, or said, or sung, to music. It is the music which makes it what it is; it is the music which changes the place from the rear-room of a saloon in back of the yards to a fairy place, a wonderland, a little corner of the high mansions of the sky.

The little person who leads this trio is an inspired man. His fiddle is out of tune, and there is no rosin on his bow, but still he is an inspired man—the hands of the muses have been laid upon him. He plays like one possessed by a demon, by a whole horde of demons. You can feel them in the air round about him, capering frenetically; with their invisible feet they set the pace, and the hair of the leader of the orchestra rises on end, and his eyeballs start from their sockets, as he toils to keep up with them.

Tamoszius Kuszleika is his name, and he has taught himself to play the violin by practising all night, after working all day on the “killing beds.” He is in his shirt sleeves, with a vest figured with faded gold horseshoes, and a pink-striped shirt, suggestive of peppermint candy. A pair of military trousers, light blue with a yellow stripe, serve to give that suggestion of authority proper to the leader of a band. He is only about five feet high, but even so these trousers are about eight inches short of the ground. You wonder where he can have gotten them—or rather you would wonder, if the excitement of being in his presence left you time to think of such things.

For he is an inspired man. Every inch of him is inspired—you might almost say inspired separately. He stamps with his feet, he tosses his head, he sways and swings to and fro; he has a wizened-up little face, irresistibly comical; and, when he executes a turn or a flourish, his brows knit and his lips work and his eyelids wink—the very ends of his necktie bristle out. And every now and then he turns upon his companions, nodding, signalling, beckoning frantically—with every inch of him appealing, imploring, in behalf of the muses and their call.

For they are hardly worthy of Tamoszius, the other two members of the orchestra. The second violin is a Slovak, a tall, gaunt man with black-rimmed spectacles and the mute and patient look of an overdriven mule; he responds to the whip but feebly, and then always falls back into his old rut. The third man is very fat, with a round, red, sentimental nose, and he plays with his eyes turned up to the sky and a look of infinite yearning. He is playing a bass part upon his ’cello, and so the excitement is nothing to him; no matter what happens in the treble, it is his task to saw out one long-drawn and lugubrious note after another, from four o’clock in the afternoon until nearly the same hour next morning, for his third of the total income of one dollar per hour.

Before the feast has been five minutes under way, Tamoszius Kuszleika has risen in his excitement; a minute or two more and you see that he is beginning to edge over toward the tables. His nostrils are dilated and his breath comes fast—his demons are driving him. He nods and shakes his head at his companions, jerking at them with his violin, until at last the long form of the second violinist also rises up. In the end all three of them begin advancing, step by step, upon the banqueters, Valentinavyczia, the ’cellist, bumping along with his instrument between notes. Finally all three are gathered at the foot of the tables, and there Tamoszius mounts upon a stool.

Copyright 2002 by Upton Sinclair Introduction by Jane Jacobs \"},{\"id\":\"22266558T\",\"type\":\"Review\",\"linkText\":\"From The Critics\",\"typeId\":\"1002\",\"abbr\":\"REV\",\"maxToDisplay\":\"255\",\"displayOrder\":\"1\",\"text\":\"Mr. Sinclair in The Jungle has given the world a close, a striking, and, we may say, in many ways a brilliant study of the great industries of Chicago. . . . The language Mr. Sinclair employs is appropriate to the scene, the action, and the characters of his drama. . . . The experienced reader will at once perceive that Mr. Sinclair has taken Zola for his model. The likeness is more than striking -- it fairly forces itself upon the attention of the reader. . . .He has not written a second Uncle Tom's Cabin. -- New York Times review, March 1906; Books of the Century\"},{\"id\":\"22266581T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"

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The Jungle is a 1906 novel written by the Pulitzer Prize winning journalist Upton Sinclair (1878–1968). Upton Sinclair wrote the novel to portray the changing lives of immigrants traveling to the United States and landing in Chicago or other industrialized cities.

Sinclair exposed shocking government and business corruption in this 1906 best seller. He worked undercover in the meatpacking Chicago stockyards to describe in true detail the horrific conditions among workers and the food they produced.

His work, intended as a message to promote socialism, instead caused changes in the food industry with laws signed by Theodore Roosevelt as the Pure Food and Drug Act and the Meat Inspection Act. “I aimed at the public's heart,” Sinclair wrote, “and by accident hit its stomach.”

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He worked undercover in the meatpacking Chicago stockyards to describe in true detail the horrific conditions among workers and the food they produced.His work, intended as a message to promote socialism, instead caused changes in the food industry with laws signed by Theodore Roosevelt as the Pure Food and Drug Act and the Meat Inspection Act. “I aimed at the public's heart,” Sinclair wrote, “and by accident hit its 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Upton Sinclair's 1906 satire depicting the working conditions of life in the Chicago stockyards is one of the most controversial novels ever written. It depicts with vivid and brutal realism the experiences of a Slavic immigrant, Jurgis Rudkus, and his wife, Ona.

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The Jungle is a 1906 book written by the American journalist and novelist Upton Sinclair (1878–1968). Sinclair wrote the novel to portray the lives of immigrants in the United States. Many readers were most concerned with his exposure of practices in the American meatpacking industry during the early 20th century, based on an investigation he did for a socialist newspaper.

The book depicts poverty, the absence of social programs, unpleasant living and working conditions, and the hopelessness prevalent among the working class, which is contrasted with the deeply rooted corruption of people in power. A review by the writer Jack London called it, \"the Uncle Tom's Cabin of wage slavery.\"

Sinclair was considered a muckraker, or journalist who exposed corruption in government and business. He first published the novel in serial form in 1905 in the socialist newspaper, Appeal to Reason, between February 25, 1905, and November 4, 1905. In 1904, Sinclair had spent seven weeks gathering information while working incognito in the meatpacking plants of the Chicago stockyards for the newspaper. It was published as a book on 26 February 1906 by Doubleday and in a subscribers' edition.

A film version of the novel was made in 1914, but it has since become lost.","This edition is annotated, with additional information about the Jungle. This work has been formatted for your NOOK.The Jungle is a 1906 book written by the American journalist and novelist Upton Sinclair (1878–1968). Sinclair wrote the novel to portray the lives of immigrants in the United States. Many readers were most concerned with his exposure of practices in the American meatpacking industry during the early 20th century, based on an investigation he did for a socialist newspaper.The book depicts poverty, the absence of social programs, unpleasant living and working conditions, and the hopelessness prevalent among the working class, which is contrasted with the deeply rooted corruption of people in power. A review by the writer Jack London called it, \"the Uncle Tom's Cabin of wage slavery.\"Sinclair was considered a muckraker, or journalist who exposed corruption in government and business. He first published the novel in serial form in 1905 in the socialist newspaper, Appeal to Reason, between February 25, 1905, and November 4, 1905. In 1904, Sinclair had spent seven weeks gathering information while working incognito in the meatpacking plants of the Chicago stockyards for the newspaper. 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In this powerful book, we enter the world of Jurgis Rudkus, a young Lithuanian immigrant who arrives in America fired with dreams of wealth, freedom, and opportunity. And we discover the astonishing truth about \"packingtown,\" the busy, flourishing, filthy Chicago stockyards, where New World visions perish in a jungle of human suffering. Upton Sinclair, master of the \"muckraking\" novel, here explores the workingman's lot at the turn of the century: the backbreaking labor, the injustices of \"wage slavery,\" and the bewildering chaos of urban life. The Jungle, a story so shocking that it launched a government investigation, re-creates this startling chapter of our history in unflinching detail. Always a vigorous champion of political reform, Sinclair is also a gripping storyteller, and his 1906 novel stands as one of the most important-and moving-works in the literature of social change.

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It was four o’clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of Marija Berczynskas. The occasion rested heavily upon Marija’s broad shoulders—it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortège at each side street for half a mile.

This was unfortunate, for already there was a throng before the door. The music had started up, and half a block away you could hear the dull “broom, broom” of a ’cello, with the squeaking of two fiddles which vied with each other in intricate and altitudinous gymnastics. Seeing the throng, Marija abandoned precipitately the debate concerning the ancestors of her coachman, and, springing from themoving carriage, plunged in and proceeded to clear a way to the hall. Once within, she turned and began to push the other way, roaring, meantime, “Eik! Eik! Uzdaryk-duris!” in tones which made the orchestral uproar sound like fairy music.

“Z. Graiczunas, Pasilinksminimams darzas. Vynas. Sznapsas. Wines and Liquors. Union Headquarters”—that was the way the signs ran. The reader, who perhaps has never held much converse in the language of far-off Lithuania, will be glad of the explanation that the place was the rear-room of a saloon in that part of Chicago known as “back of the yards.” This information is definite and suited to the matter of fact; but how pitifully inadequate it would have seemed to one who understood that it was also the supreme hour of ecstasy in the life of one of God’s gentlest creatures, the scene of the wedding-feast and the joy-transfiguration of little Ona Lukoszaite!

She stood in the doorway, shepherded by Cousin Marija, breath- less from pushing through the crowd, and in her happiness painful to look upon. There was a light of wonder in her eyes and her lids trembled, and her otherwise wan little face was flushed. She wore a muslin dress, conspicuously white, and a stiff little veil coming to her shoulders. There were five pink paper-roses twisted in the veil, and eleven bright green rose-leaves. There were new white cotton gloves upon her hands, and as she stood staring about her she twisted them together feverishly. It was almost too much for her—you could see the pain of too great emotion in her face, and all the tremor of her form. She was so young—not quite sixteen—and small for her age, a mere child; and she had just been married—and married to Jurgis,1 of all men, to Jurgis Rudkus, he with the white flower in the buttonhole of his new black suit, he with the mighty shoulders and the giant hands.

1. Pronounced Yoorghis.

Ona was blue-eyed and fair, while Jurgis had great black eyes with beetling brows, and thick black hair that curled in waves about his ears—in short, they were one of those incongruous and impos- sible married couples with which Mother Nature so often wills to confound all prophets, before and after. Jurgis could take up a two-hundred-and-fifty-pound quarter of beef and carry it into a car without a stagger, or even a thought; and now he stood in a far corner, frightened as a hunted animal, and obliged to moisten his lips with his tongue each time before he could answer the congratulations of his friends.

Gradually there was effected a separation between the spectators and the guests—a separation at least sufficiently complete for working purposes. There was no time during the festivities which ensued when there were not groups of onlookers in the doorways and the corners; and if any one of these onlookers came sufficiently close, or looked sufficiently hungry, a chair was offered him, and he was invited to the feast. It was one of the laws of the veselija that no one goes hungry; and, while a rule made in the forests of Lithuania is hard to apply in the stockyards district of Chicago, with its quarter of a million inhabi- tants, still they did their best, and the children who ran in from the street, and even the dogs, went out again happier. A charming informality was one of the characteristics of this celebration. The men wore their hats, or, if they wished, they took them off, and their coats with them; they ate when and where they pleased, and moved as often as they pleased. There were to be speeches and singing, but no one had to listen who did not care to; if he wished, meantime, to speak or sing himself, he was perfectly free. The resulting medley of sound distracted no one, save possibly alone the babies, of which there were present a number equal to the total possessed by all the guests invited. There was no other place for the babies to be, and so part of the preparations for the evening consisted of a collection of cribs and carriages in one corner. In these the babies slept, three or four together, or wakened together, as the case might be. Those who were still older, and could reach the tables, marched about munching contentedly at meat-bones and bologna sausages.

The room is about thirty feet square, with whitewashed walls, bare save for a calendar, a picture of a race-horse, and a family tree in a gilded frame. To the right there is a door from the saloon, with a few loafers in the doorway, and in the corner beyond it a bar, with a presiding genius clad in soiled white, with waxed black mustaches and a carefully oiled curl plastered against one side of his forehead. In the opposite corner are two tables, filling a third of the room and laden with dishes and cold viands, which a few of the hungrier guests are already munching. At the head, where sits the bride, is a snow-white cake, with an Eiffel tower of constructed decoration, with sugar roses and two angels upon it, and a generous sprinkling of pink and green and yellow candies. Beyond opens a door into the kitchen, where there is a glimpse to be had of a range with much steam ascending from it, and many women, old and young, rushing hither and thither. In the corner to the left are the three musicians, upon a little platform, toiling heroically to make some impression upon the hubbub; also the babies, similarly occupied, and an open window whence the populace imbibes the sights and sounds and odors.

Suddenly some of the steam begins to advance, and, peering through it, you discern Aunt Elizabeth, Ona’s stepmother—Teta Elzbieta, as they call her—bearing aloft a great platter of stewed duck. Behind her is Kotrina, making her way cautiously, staggering beneath a similar burden; and half a minute later there appears old Grandmother Majauszkiene, with a big yellow bowl of smoking potatoes, nearly as big as herself. So, bit by bit, the feast takes form—there is a ham and a dish of sauerkraut, boiled rice, macaroni, bologna sausages, great piles of penny buns, bowls of milk, and foaming pitchers of beer. There is also, not six feet from your back, the bar, where you may order all you please and do not have to pay for it. “Eiksz! Graicziau!” screams Marija Berczynskas, and falls to work herself—for there is more upon the stove inside that will be spoiled if it be not eaten.

So, with laughter and shouts and endless badinage and merriment, the guests take their places. The young men, who for the most part have been huddled near the door, summon their resolution and advance; and the shrinking Jurgis is poked and scolded by the old folks until he consents to seat himself at the right hand of the bride. The two bridesmaids, whose insignia of office are paper wreaths, come next, and after them the rest of the guests, old and young, boys and girls. The spirit of the occasion takes hold of the stately bartender, who condescends to a plate of stewed duck; even the fat policeman—whose duty it will be, later in the evening, to break up the fights—draws up a chair to the foot of the table. And the children shout and the babies yell, and every one laughs and sings and chatters—while above all the deafening clamor Cousin Marija shouts orders to the musicians.

The musicians—how shall one begin to describe them? All this time they have been there, playing in a mad frenzy—all of this scene must be read, or said, or sung, to music. It is the music which makes it what it is; it is the music which changes the place from the rear-room of a saloon in back of the yards to a fairy place, a wonderland, a little corner of the high mansions of the sky.

The little person who leads this trio is an inspired man. His fiddle is out of tune, and there is no rosin on his bow, but still he is an inspired man—the hands of the muses have been laid upon him. He plays like one possessed by a demon, by a whole horde of demons. You can feel them in the air round about him, capering frenetically; with their invisible feet they set the pace, and the hair of the leader of the orchestra rises on end, and his eyeballs start from their sockets, as he toils to keep up with them.

Tamoszius Kuszleika is his name, and he has taught himself to play the violin by practising all night, after working all day on the “killing beds.” He is in his shirt sleeves, with a vest figured with faded gold horseshoes, and a pink-striped shirt, suggestive of peppermint candy. A pair of military trousers, light blue with a yellow stripe, serve to give that suggestion of authority proper to the leader of a band. He is only about five feet high, but even so these trousers are about eight inches short of the ground. You wonder where he can have gotten them—or rather you would wonder, if the excitement of being in his presence left you time to think of such things.

For he is an inspired man. Every inch of him is inspired—you might almost say inspired separately. He stamps with his feet, he tosses his head, he sways and swings to and fro; he has a wizened-up little face, irresistibly comical; and, when he executes a turn or a flourish, his brows knit and his lips work and his eyelids wink—the very ends of his necktie bristle out. And every now and then he turns upon his companions, nodding, signalling, beckoning frantically—with every inch of him appealing, imploring, in behalf of the muses and their call.

For they are hardly worthy of Tamoszius, the other two members of the orchestra. The second violin is a Slovak, a tall, gaunt man with black-rimmed spectacles and the mute and patient look of an overdriven mule; he responds to the whip but feebly, and then always falls back into his old rut. The third man is very fat, with a round, red, sentimental nose, and he plays with his eyes turned up to the sky and a look of infinite yearning. He is playing a bass part upon his ’cello, and so the excitement is nothing to him; no matter what happens in the treble, it is his task to saw out one long-drawn and lugubrious note after another, from four o’clock in the afternoon until nearly the same hour next morning, for his third of the total income of one dollar per hour.

Before the feast has been five minutes under way, Tamoszius Kuszleika has risen in his excitement; a minute or two more and you see that he is beginning to edge over toward the tables. His nostrils are dilated and his breath comes fast—his demons are driving him. He nods and shakes his head at his companions, jerking at them with his violin, until at last the long form of the second violinist also rises up. In the end all three of them begin advancing, step by step, upon the banqueters, Valentinavyczia, the ’cellist, bumping along with his instrument between notes. Finally all three are gathered at the foot of the tables, and there Tamoszius mounts upon a stool.

The Jungle

By Upton Sinclair

Random House

Upton Sinclair
All right reserved.
ISBN: 0812976231

Chapter One

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1. Pronounced Yoorghis.

Upton Sinclair (1878–1968) was the prolific author of over ninety books, including The Jungle, King Coal, and Dragon's Teeth, for which he won a Pulitzer Prize.

Paul Boehmer is a seasoned actor who has appeared on Broadway, film, and television, including The Thomas Crown Affair and All My Children. 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Denounced by the conservative press as an un-American libel on the meatpacking industry, the book was championed by more progressive thinkers, including then president Theodore Roosevelt, and was a major catalyst to the passing of the Pure Food and Meat Inspection act, which has tremendous impact to this day.

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It was four o’clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of Marija Berczynskas. The occasion rested heavily upon Marija’s broad shoulders—it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortège at each side street for half a mile.

This was unfortunate, for already there was a throng before the door. The music had started up, and half a block away you could hear the dull “broom, broom” of a ’cello, with the squeaking of two fiddles which vied with each other in intricate and altitudinous gymnastics. Seeing the throng, Marija abandoned precipitately the debate concerning the ancestors of her coachman, and, springing from themoving carriage, plunged in and proceeded to clear a way to the hall. Once within, she turned and began to push the other way, roaring, meantime, “Eik! Eik! Uzdaryk-duris!” in tones which made the orchestral uproar sound like fairy music.

“Z. Graiczunas, Pasilinksminimams darzas. Vynas. Sznapsas. Wines and Liquors. Union Headquarters”—that was the way the signs ran. The reader, who perhaps has never held much converse in the language of far-off Lithuania, will be glad of the explanation that the place was the rear-room of a saloon in that part of Chicago known as “back of the yards.” This information is definite and suited to the matter of fact; but how pitifully inadequate it would have seemed to one who understood that it was also the supreme hour of ecstasy in the life of one of God’s gentlest creatures, the scene of the wedding-feast and the joy-transfiguration of little Ona Lukoszaite!

She stood in the doorway, shepherded by Cousin Marija, breath- less from pushing through the crowd, and in her happiness painful to look upon. There was a light of wonder in her eyes and her lids trembled, and her otherwise wan little face was flushed. She wore a muslin dress, conspicuously white, and a stiff little veil coming to her shoulders. There were five pink paper-roses twisted in the veil, and eleven bright green rose-leaves. There were new white cotton gloves upon her hands, and as she stood staring about her she twisted them together feverishly. It was almost too much for her—you could see the pain of too great emotion in her face, and all the tremor of her form. She was so young—not quite sixteen—and small for her age, a mere child; and she had just been married—and married to Jurgis,1 of all men, to Jurgis Rudkus, he with the white flower in the buttonhole of his new black suit, he with the mighty shoulders and the giant hands.

1. Pronounced Yoorghis.

Ona was blue-eyed and fair, while Jurgis had great black eyes with beetling brows, and thick black hair that curled in waves about his ears—in short, they were one of those incongruous and impos- sible married couples with which Mother Nature so often wills to confound all prophets, before and after. Jurgis could take up a two-hundred-and-fifty-pound quarter of beef and carry it into a car without a stagger, or even a thought; and now he stood in a far corner, frightened as a hunted animal, and obliged to moisten his lips with his tongue each time before he could answer the congratulations of his friends.

Gradually there was effected a separation between the spectators and the guests—a separation at least sufficiently complete for working purposes. There was no time during the festivities which ensued when there were not groups of onlookers in the doorways and the corners; and if any one of these onlookers came sufficiently close, or looked sufficiently hungry, a chair was offered him, and he was invited to the feast. It was one of the laws of the veselija that no one goes hungry; and, while a rule made in the forests of Lithuania is hard to apply in the stockyards district of Chicago, with its quarter of a million inhabi- tants, still they did their best, and the children who ran in from the street, and even the dogs, went out again happier. A charming informality was one of the characteristics of this celebration. The men wore their hats, or, if they wished, they took them off, and their coats with them; they ate when and where they pleased, and moved as often as they pleased. There were to be speeches and singing, but no one had to listen who did not care to; if he wished, meantime, to speak or sing himself, he was perfectly free. The resulting medley of sound distracted no one, save possibly alone the babies, of which there were present a number equal to the total possessed by all the guests invited. There was no other place for the babies to be, and so part of the preparations for the evening consisted of a collection of cribs and carriages in one corner. In these the babies slept, three or four together, or wakened together, as the case might be. Those who were still older, and could reach the tables, marched about munching contentedly at meat-bones and bologna sausages.

The room is about thirty feet square, with whitewashed walls, bare save for a calendar, a picture of a race-horse, and a family tree in a gilded frame. To the right there is a door from the saloon, with a few loafers in the doorway, and in the corner beyond it a bar, with a presiding genius clad in soiled white, with waxed black mustaches and a carefully oiled curl plastered against one side of his forehead. In the opposite corner are two tables, filling a third of the room and laden with dishes and cold viands, which a few of the hungrier guests are already munching. At the head, where sits the bride, is a snow-white cake, with an Eiffel tower of constructed decoration, with sugar roses and two angels upon it, and a generous sprinkling of pink and green and yellow candies. Beyond opens a door into the kitchen, where there is a glimpse to be had of a range with much steam ascending from it, and many women, old and young, rushing hither and thither. In the corner to the left are the three musicians, upon a little platform, toiling heroically to make some impression upon the hubbub; also the babies, similarly occupied, and an open window whence the populace imbibes the sights and sounds and odors.

Suddenly some of the steam begins to advance, and, peering through it, you discern Aunt Elizabeth, Ona’s stepmother—Teta Elzbieta, as they call her—bearing aloft a great platter of stewed duck. Behind her is Kotrina, making her way cautiously, staggering beneath a similar burden; and half a minute later there appears old Grandmother Majauszkiene, with a big yellow bowl of smoking potatoes, nearly as big as herself. So, bit by bit, the feast takes form—there is a ham and a dish of sauerkraut, boiled rice, macaroni, bologna sausages, great piles of penny buns, bowls of milk, and foaming pitchers of beer. There is also, not six feet from your back, the bar, where you may order all you please and do not have to pay for it. “Eiksz! Graicziau!” screams Marija Berczynskas, and falls to work herself—for there is more upon the stove inside that will be spoiled if it be not eaten.

So, with laughter and shouts and endless badinage and merriment, the guests take their places. The young men, who for the most part have been huddled near the door, summon their resolution and advance; and the shrinking Jurgis is poked and scolded by the old folks until he consents to seat himself at the right hand of the bride. The two bridesmaids, whose insignia of office are paper wreaths, come next, and after them the rest of the guests, old and young, boys and girls. The spirit of the occasion takes hold of the stately bartender, who condescends to a plate of stewed duck; even the fat policeman—whose duty it will be, later in the evening, to break up the fights—draws up a chair to the foot of the table. And the children shout and the babies yell, and every one laughs and sings and chatters—while above all the deafening clamor Cousin Marija shouts orders to the musicians.

The musicians—how shall one begin to describe them? All this time they have been there, playing in a mad frenzy—all of this scene must be read, or said, or sung, to music. It is the music which makes it what it is; it is the music which changes the place from the rear-room of a saloon in back of the yards to a fairy place, a wonderland, a little corner of the high mansions of the sky.

The little person who leads this trio is an inspired man. His fiddle is out of tune, and there is no rosin on his bow, but still he is an inspired man—the hands of the muses have been laid upon him. He plays like one possessed by a demon, by a whole horde of demons. You can feel them in the air round about him, capering frenetically; with their invisible feet they set the pace, and the hair of the leader of the orchestra rises on end, and his eyeballs start from their sockets, as he toils to keep up with them.

Tamoszius Kuszleika is his name, and he has taught himself to play the violin by practising all night, after working all day on the “killing beds.” He is in his shirt sleeves, with a vest figured with faded gold horseshoes, and a pink-striped shirt, suggestive of peppermint candy. A pair of military trousers, light blue with a yellow stripe, serve to give that suggestion of authority proper to the leader of a band. He is only about five feet high, but even so these trousers are about eight inches short of the ground. You wonder where he can have gotten them—or rather you would wonder, if the excitement of being in his presence left you time to think of such things.

For he is an inspired man. Every inch of him is inspired—you might almost say inspired separately. He stamps with his feet, he tosses his head, he sways and swings to and fro; he has a wizened-up little face, irresistibly comical; and, when he executes a turn or a flourish, his brows knit and his lips work and his eyelids wink—the very ends of his necktie bristle out. And every now and then he turns upon his companions, nodding, signalling, beckoning frantically—with every inch of him appealing, imploring, in behalf of the muses and their call.

For they are hardly worthy of Tamoszius, the other two members of the orchestra. The second violin is a Slovak, a tall, gaunt man with black-rimmed spectacles and the mute and patient look of an overdriven mule; he responds to the whip but feebly, and then always falls back into his old rut. The third man is very fat, with a round, red, sentimental nose, and he plays with his eyes turned up to the sky and a look of infinite yearning. He is playing a bass part upon his ’cello, and so the excitement is nothing to him; no matter what happens in the treble, it is his task to saw out one long-drawn and lugubrious note after another, from four o’clock in the afternoon until nearly the same hour next morning, for his third of the total income of one dollar per hour.

Before the feast has been five minutes under way, Tamoszius Kuszleika has risen in his excitement; a minute or two more and you see that he is beginning to edge over toward the tables. His nostrils are dilated and his breath comes fast—his demons are driving him. He nods and shakes his head at his companions, jerking at them with his violin, until at last the long form of the second violinist also rises up. In the end all three of them begin advancing, step by step, upon the banqueters, Valentinavyczia, the ’cellist, bumping along with his instrument between notes. Finally all three are gathered at the foot of the tables, and there Tamoszius mounts upon a stool.

The Jungle

By Upton Sinclair

Random House

Chapter One

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1. Pronounced Yoorghis.

An ardent activist, champion of political reform, novelist, and progressive journalist, Upton Sinclair is perhaps best known today for The Jungle — his devastating exposé of the meat-packing industry. A protest novel he privately published in 1906, the book was a shocking revelation of intolerable labor practices and unsanitary working conditions in the Chicago stockyards. It quickly became a bestseller, arousing public sentiment and resulting in such federal legislation as the Pure Food and Drug Act.|The brutally grim story of a Slavic family who emigrates to America, The Jungle tells of their rapid and inexorable descent into numbing poverty, moral degradation, and social and economic despair. Vulnerable and isolated, the family of Jurgis Rudkus struggles — unsuccessfully — to survive in an urban jungle.
A powerful view of turn-of-the-century poverty, graft, and corruption, this fiercely realistic American classic is still required reading in many history and literature classes. It will continue to haunt readers long after they've finished the last page.

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It was four o’clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of Marija Berczynskas. The occasion rested heavily upon Marija’s broad shoulders—it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortège at each side street for half a mile.

This was unfortunate, for already there was a throng before the door. The music had started up, and half a block away you could hear the dull “broom, broom” of a ’cello, with the squeaking of two fiddles which vied with each other in intricate and altitudinous gymnastics. Seeing the throng, Marija abandoned precipitately the debate concerning the ancestors of her coachman, and, springing from the moving carriage, plunged in and proceeded to clear a way to the hall. Once within, she turned and began to push the other way, roaring, meantime, “Eik! Eik! Uzdaryk-duris!” in tones which made the orchestral uproar sound like fairy music.

“Z. Graiczunas, Pasilinksminimams darzas. Vynas. Sznapsas. Wines and Liquors. Union Headquarters”—that was the way the signs ran. The reader, who perhaps has never held much converse in the language of far-off Lithuania, will be glad of the explanation that the place was the rear-room of a saloon in that part of Chicago known as “back of the yards.” This information is definite and suited to the matter of fact; but how pitifully inadequate it would have seemed to one who understood that it was also the supreme hour of ecstasy in the life of one of God’s gentlest creatures, the scene of the wedding-feast and the joy-transfiguration of little Ona Lukoszaite!

She stood in the doorway, shepherded by Cousin Marija, breath- less from pushing through the crowd, and in her happiness painful to look upon. There was a light of wonder in her eyes and her lids trembled, and her otherwise wan little face was flushed. She wore a muslin dress, conspicuously white, and a stiff little veil coming to her shoulders. There were five pink paper-roses twisted in the veil, and eleven bright green rose-leaves. There were new white cotton gloves upon her hands, and as she stood staring about her she twisted them together feverishly. It was almost too much for her—you could see the pain of too great emotion in her face, and all the tremor of her form. She was so young—not quite sixteen—and small for her age, a mere child; and she had just been married—and married to Jurgis,1 of all men, to Jurgis Rudkus, he with the white flower in the buttonhole of his new black suit, he with the mighty shoulders and the giant hands.

1. Pronounced Yoorghis.

Ona was blue-eyed and fair, while Jurgis had great black eyes with beetling brows, and thick black hair that curled in waves about his ears—in short, they were one of those incongruous and impos- sible married couples with which Mother Nature so often wills to confound all prophets, before and after. Jurgis could take up a two-hundred-and-fifty-pound quarter of beef and carry it into a car without a stagger, or even a thought; and now he stood in a far corner, frightened as a hunted animal, and obliged to moisten his lips with his tongue each time before he could answer the congratulations of his friends.

Gradually there was effected a separation between the spectators and the guests—a separation at least sufficiently complete for working purposes. There was no time during the festivities which ensued when there were not groups of onlookers in the doorways and the corners; and if any one of these onlookers came sufficiently close, or looked sufficiently hungry, a chair was offered him, and he was invited to the feast. It was one of the laws of the veselija that no one goes hungry; and, while a rule made in the forests of Lithuania is hard to apply in the stockyards district of Chicago, with its quarter of a million inhabi- tants, still they did their best, and the children who ran in from the street, and even the dogs, went out again happier. A charming informality was one of the characteristics of this celebration. The men wore their hats, or, if they wished, they took them off, and their coats with them; they ate when and where they pleased, and moved as often as they pleased. There were to be speeches and singing, but no one had to listen who did not care to; if he wished, meantime, to speak or sing himself, he was perfectly free. The resulting medley of sound distracted no one, save possibly alone the babies, of which there were present a number equal to the total possessed by all the guests invited. There was no other place for the babies to be, and so part of the preparations for the evening consisted of a collection of cribs and carriages in one corner. In these the babies slept, three or four together, or wakened together, as the case might be. Those who were still older, and could reach the tables, marched about munching contentedly at meat-bones and bologna sausages.

The room is about thirty feet square, with whitewashed walls, bare save for a calendar, a picture of a race-horse, and a family tree in a gilded frame. To the right there is a door from the saloon, with a few loafers in the doorway, and in the corner beyond it a bar, with a presiding genius clad in soiled white, with waxed black mustaches and a carefully oiled curl plastered against one side of his forehead. In the opposite corner are two tables, filling a third of the room and laden with dishes and cold viands, which a few of the hungrier guests are already munching. At the head, where sits the bride, is a snow-white cake, with an Eiffel tower of constructed decoration, with sugar roses and two angels upon it, and a generous sprinkling of pink and green and yellow candies. Beyond opens a door into the kitchen, where there is a glimpse to be had of a range with much steam ascending from it, and many women, old and young, rushing hither and thither. In the corner to the left are the three musicians, upon a little platform, toiling heroically to make some impression upon the hubbub; also the babies, similarly occupied, and an open window whence the populace imbibes the sights and sounds and odors.

Suddenly some of the steam begins to advance, and, peering through it, you discern Aunt Elizabeth, Ona’s stepmother—Teta Elzbieta, as they call her—bearing aloft a great platter of stewed duck. Behind her is Kotrina, making her way cautiously, staggering beneath a similar burden; and half a minute later there appears old Grandmother Majauszkiene, with a big yellow bowl of smoking potatoes, nearly as big as herself. So, bit by bit, the feast takes form—there is a ham and a dish of sauerkraut, boiled rice, macaroni, bologna sausages, great piles of penny buns, bowls of milk, and foaming pitchers of beer. There is also, not six feet from your back, the bar, where you may order all you please and do not have to pay for it. “Eiksz! Graicziau!” screams Marija Berczynskas, and falls to work herself—for there is more upon the stove inside that will be spoiled if it be not eaten.

So, with laughter and shouts and endless badinage and merriment, the guests take their places. The young men, who for the most part have been huddled near the door, summon their resolution and advance; and the shrinking Jurgis is poked and scolded by the old folks until he consents to seat himself at the right hand of the bride. The two bridesmaids, whose insignia of office are paper wreaths, come next, and after them the rest of the guests, old and young, boys and girls. The spirit of the occasion takes hold of the stately bartender, who condescends to a plate of stewed duck; even the fat policeman—whose duty it will be, later in the evening, to break up the fights—draws up a chair to the foot of the table. And the children shout and the babies yell, and every one laughs and sings and chatters—while above all the deafening clamor Cousin Marija shouts orders to the musicians.

The musicians—how shall one begin to describe them? All this time they have been there, playing in a mad frenzy—all of this scene must be read, or said, or sung, to music. It is the music which makes it what it is; it is the music which changes the place from the rear-room of a saloon in back of the yards to a fairy place, a wonderland, a little corner of the high mansions of the sky.

The little person who leads this trio is an inspired man. His fiddle is out of tune, and there is no rosin on his bow, but still he is an inspired man—the hands of the muses have been laid upon him. He plays like one possessed by a demon, by a whole horde of demons. You can feel them in the air round about him, capering frenetically; with their invisible feet they set the pace, and the hair of the leader of the orchestra rises on end, and his eyeballs start from their sockets, as he toils to keep up with them.

Tamoszius Kuszleika is his name, and he has taught himself to play the violin by practising all night, after working all day on the “killing beds.” He is in his shirt sleeves, with a vest figured with faded gold horseshoes, and a pink-striped shirt, suggestive of peppermint candy. A pair of military trousers, light blue with a yellow stripe, serve to give that suggestion of authority proper to the leader of a band. He is only about five feet high, but even so these trousers are about eight inches short of the ground. You wonder where he can have gotten them—or rather you would wonder, if the excitement of being in his presence left you time to think of such things.

For he is an inspired man. Every inch of him is inspired—you might almost say inspired separately. He stamps with his feet, he tosses his head, he sways and swings to and fro; he has a wizened-up little face, irresistibly comical; and, when he executes a turn or a flourish, his brows knit and his lips work and his eyelids wink—the very ends of his necktie bristle out. And every now and then he turns upon his companions, nodding, signalling, beckoning frantically—with every inch of him appealing, imploring, in behalf of the muses and their call.

For they are hardly worthy of Tamoszius, the other two members of the orchestra. The second violin is a Slovak, a tall, gaunt man with black-rimmed spectacles and the mute and patient look of an overdriven mule; he responds to the whip but feebly, and then always falls back into his old rut. The third man is very fat, with a round, red, sentimental nose, and he plays with his eyes turned up to the sky and a look of infinite yearning. He is playing a bass part upon his ’cello, and so the excitement is nothing to him; no matter what happens in the treble, it is his task to saw out one long-drawn and lugubrious note after another, from four o’clock in the afternoon until nearly the same hour next morning, for his third of the total income of one dollar per hour.

Before the feast has been five minutes under way, Tamoszius Kuszleika has risen in his excitement; a minute or two more and you see that he is beginning to edge over toward the tables. His nostrils are dilated and his breath comes fast—his demons are driving him. He nods and shakes his head at his companions, jerking at them with his violin, until at last the long form of the second violinist also rises up. In the end all three of them begin advancing, step by step, upon the banqueters, Valentinavyczia, the ’cellist, bumping along with his instrument between notes. Finally all three are gathered at the foot of the tables, and there Tamoszius mounts upon a stool.\"},{\"id\":\"2636509T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"2\",\"text\":\" Chapter I

It was four o’clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of Marija Berczynskas. The occasion rested heavily upon Marija’s broad shoulders—it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortège at each side street for half a mile.

This was unfortunate, for already there was a throng before the door. The music had started up, and half a block away you could hear the dull “broom, broom” of a ’cello, with the squeaking of two fiddles which vied with each other in intricate and altitudinous gymnastics. Seeing the throng, Marija abandoned precipitately the debate concerning the ancestors of her coachman, and, springing from themoving carriage, plunged in and proceeded to clear a way to the hall. Once within, she turned and began to push the other way, roaring, meantime, “Eik! Eik! Uzdaryk-duris!” in tones which made the orchestral uproar sound like fairy music.

“Z. Graiczunas, Pasilinksminimams darzas. Vynas. Sznapsas. Wines and Liquors. Union Headquarters”—that was the way the signs ran. The reader, who perhaps has never held much converse in the language of far-off Lithuania, will be glad of the explanation that the place was the rear-room of a saloon in that part of Chicago known as “back of the yards.” This information is definite and suited to the matter of fact; but how pitifully inadequate it would have seemed to one who understood that it was also the supreme hour of ecstasy in the life of one of God’s gentlest creatures, the scene of the wedding-feast and the joy-transfiguration of little Ona Lukoszaite!

She stood in the doorway, shepherded by Cousin Marija, breath- less from pushing through the crowd, and in her happiness painful to look upon. There was a light of wonder in her eyes and her lids trembled, and her otherwise wan little face was flushed. She wore a muslin dress, conspicuously white, and a stiff little veil coming to her shoulders. There were five pink paper-roses twisted in the veil, and eleven bright green rose-leaves. There were new white cotton gloves upon her hands, and as she stood staring about her she twisted them together feverishly. It was almost too much for her—you could see the pain of too great emotion in her face, and all the tremor of her form. She was so young—not quite sixteen—and small for her age, a mere child; and she had just been married—and married to Jurgis,1 of all men, to Jurgis Rudkus, he with the white flower in the buttonhole of his new black suit, he with the mighty shoulders and the giant hands.

1. Pronounced Yoorghis.

Ona was blue-eyed and fair, while Jurgis had great black eyes with beetling brows, and thick black hair that curled in waves about his ears—in short, they were one of those incongruous and impos- sible married couples with which Mother Nature so often wills to confound all prophets, before and after. Jurgis could take up a two-hundred-and-fifty-pound quarter of beef and carry it into a car without a stagger, or even a thought; and now he stood in a far corner, frightened as a hunted animal, and obliged to moisten his lips with his tongue each time before he could answer the congratulations of his friends.

Gradually there was effected a separation between the spectators and the guests—a separation at least sufficiently complete for working purposes. There was no time during the festivities which ensued when there were not groups of onlookers in the doorways and the corners; and if any one of these onlookers came sufficiently close, or looked sufficiently hungry, a chair was offered him, and he was invited to the feast. It was one of the laws of the veselija that no one goes hungry; and, while a rule made in the forests of Lithuania is hard to apply in the stockyards district of Chicago, with its quarter of a million inhabi- tants, still they did their best, and the children who ran in from the street, and even the dogs, went out again happier. A charming informality was one of the characteristics of this celebration. The men wore their hats, or, if they wished, they took them off, and their coats with them; they ate when and where they pleased, and moved as often as they pleased. There were to be speeches and singing, but no one had to listen who did not care to; if he wished, meantime, to speak or sing himself, he was perfectly free. The resulting medley of sound distracted no one, save possibly alone the babies, of which there were present a number equal to the total possessed by all the guests invited. There was no other place for the babies to be, and so part of the preparations for the evening consisted of a collection of cribs and carriages in one corner. In these the babies slept, three or four together, or wakened together, as the case might be. Those who were still older, and could reach the tables, marched about munching contentedly at meat-bones and bologna sausages.

The room is about thirty feet square, with whitewashed walls, bare save for a calendar, a picture of a race-horse, and a family tree in a gilded frame. To the right there is a door from the saloon, with a few loafers in the doorway, and in the corner beyond it a bar, with a presiding genius clad in soiled white, with waxed black mustaches and a carefully oiled curl plastered against one side of his forehead. In the opposite corner are two tables, filling a third of the room and laden with dishes and cold viands, which a few of the hungrier guests are already munching. At the head, where sits the bride, is a snow-white cake, with an Eiffel tower of constructed decoration, with sugar roses and two angels upon it, and a generous sprinkling of pink and green and yellow candies. Beyond opens a door into the kitchen, where there is a glimpse to be had of a range with much steam ascending from it, and many women, old and young, rushing hither and thither. In the corner to the left are the three musicians, upon a little platform, toiling heroically to make some impression upon the hubbub; also the babies, similarly occupied, and an open window whence the populace imbibes the sights and sounds and odors.

Suddenly some of the steam begins to advance, and, peering through it, you discern Aunt Elizabeth, Ona’s stepmother—Teta Elzbieta, as they call her—bearing aloft a great platter of stewed duck. Behind her is Kotrina, making her way cautiously, staggering beneath a similar burden; and half a minute later there appears old Grandmother Majauszkiene, with a big yellow bowl of smoking potatoes, nearly as big as herself. So, bit by bit, the feast takes form—there is a ham and a dish of sauerkraut, boiled rice, macaroni, bologna sausages, great piles of penny buns, bowls of milk, and foaming pitchers of beer. There is also, not six feet from your back, the bar, where you may order all you please and do not have to pay for it. “Eiksz! Graicziau!” screams Marija Berczynskas, and falls to work herself—for there is more upon the stove inside that will be spoiled if it be not eaten.

So, with laughter and shouts and endless badinage and merriment, the guests take their places. The young men, who for the most part have been huddled near the door, summon their resolution and advance; and the shrinking Jurgis is poked and scolded by the old folks until he consents to seat himself at the right hand of the bride. The two bridesmaids, whose insignia of office are paper wreaths, come next, and after them the rest of the guests, old and young, boys and girls. The spirit of the occasion takes hold of the stately bartender, who condescends to a plate of stewed duck; even the fat policeman—whose duty it will be, later in the evening, to break up the fights—draws up a chair to the foot of the table. And the children shout and the babies yell, and every one laughs and sings and chatters—while above all the deafening clamor Cousin Marija shouts orders to the musicians.

The musicians—how shall one begin to describe them? All this time they have been there, playing in a mad frenzy—all of this scene must be read, or said, or sung, to music. It is the music which makes it what it is; it is the music which changes the place from the rear-room of a saloon in back of the yards to a fairy place, a wonderland, a little corner of the high mansions of the sky.

The little person who leads this trio is an inspired man. His fiddle is out of tune, and there is no rosin on his bow, but still he is an inspired man—the hands of the muses have been laid upon him. He plays like one possessed by a demon, by a whole horde of demons. You can feel them in the air round about him, capering frenetically; with their invisible feet they set the pace, and the hair of the leader of the orchestra rises on end, and his eyeballs start from their sockets, as he toils to keep up with them.

Tamoszius Kuszleika is his name, and he has taught himself to play the violin by practising all night, after working all day on the “killing beds.” He is in his shirt sleeves, with a vest figured with faded gold horseshoes, and a pink-striped shirt, suggestive of peppermint candy. A pair of military trousers, light blue with a yellow stripe, serve to give that suggestion of authority proper to the leader of a band. He is only about five feet high, but even so these trousers are about eight inches short of the ground. You wonder where he can have gotten them—or rather you would wonder, if the excitement of being in his presence left you time to think of such things.

For he is an inspired man. Every inch of him is inspired—you might almost say inspired separately. He stamps with his feet, he tosses his head, he sways and swings to and fro; he has a wizened-up little face, irresistibly comical; and, when he executes a turn or a flourish, his brows knit and his lips work and his eyelids wink—the very ends of his necktie bristle out. And every now and then he turns upon his companions, nodding, signalling, beckoning frantically—with every inch of him appealing, imploring, in behalf of the muses and their call.

For they are hardly worthy of Tamoszius, the other two members of the orchestra. The second violin is a Slovak, a tall, gaunt man with black-rimmed spectacles and the mute and patient look of an overdriven mule; he responds to the whip but feebly, and then always falls back into his old rut. The third man is very fat, with a round, red, sentimental nose, and he plays with his eyes turned up to the sky and a look of infinite yearning. He is playing a bass part upon his ’cello, and so the excitement is nothing to him; no matter what happens in the treble, it is his task to saw out one long-drawn and lugubrious note after another, from four o’clock in the afternoon until nearly the same hour next morning, for his third of the total income of one dollar per hour.

Before the feast has been five minutes under way, Tamoszius Kuszleika has risen in his excitement; a minute or two more and you see that he is beginning to edge over toward the tables. His nostrils are dilated and his breath comes fast—his demons are driving him. He nods and shakes his head at his companions, jerking at them with his violin, until at last the long form of the second violinist also rises up. In the end all three of them begin advancing, step by step, upon the banqueters, Valentinavyczia, the ’cellist, bumping along with his instrument between notes. Finally all three are gathered at the foot of the tables, and there Tamoszius mounts upon a stool.

The Jungle

By Upton Sinclair

Random House

Chapter One

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1. Pronounced Yoorghis.

Bill Savage is associate professor of instruction in the English Department at Northwestern University, where he teaches the course “The Chicago Way”: Urban Spaces and American Values. He researches and writes about how Americans construct identity in a dynamic interplay between groups and individuals in a variety of city spaces and places, from parks and beaches to factory floors and saloons. He has coedited two critical editions of works by Chicago writer Nelson Algren, the fiftieth anniversary critical edition of The Man with the Golden Arm, and the annotated Chicago: City on the Make.\"}]",{"_229":230,"_231":3027,"_221":6312},{"_229":230,"_231":262,"_221":175},{"_229":230,"_231":258,"_221":3032},{"_229":230,"_231":5745,"_221":3944},{"_229":230,"_231":3097,"_221":6227},{"_229":230,"_231":3100,"_221":6376},"[{\"categoryId\":\"2821887\",\"displayName\":\"Fiction\",\"displayWeight\":200,\"typeId\":128,\"isSignificant\":false},{\"categoryId\":\"914097\",\"displayName\":\"Fiction Subjects\",\"displayWeight\":190,\"typeId\":81,\"isSignificant\":false},{\"categoryId\":\"12\",\"displayName\":\"Character Types - Fiction\",\"displayWeight\":180,\"typeId\":82,\"isSignificant\":false},{\"categoryId\":\"61\",\"displayName\":\"Immigrants - Fiction\",\"displayWeight\":170,\"typeId\":83,\"isSignificant\":false},{\"categoryId\":\"8\",\"displayName\":\"Conflicts - Fiction\",\"displayWeight\":180,\"typeId\":82,\"isSignificant\":false},{\"categoryId\":\"817913\",\"displayName\":\"American Dream - 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a Lithuanian immigrant working in Chicago's infamous Packingtown. Instead of
finding the American Dream, Rudkus and his family inhabit a brutal, soul-crushing
urban jungle dominated by greedy bosses, pitiless con-men, and corrupt politicians.
While Sinclair's main target was the industry's appalling labor conditions,
the reading public was most outraged by the disgusting filth and contamination
in American food that his novel exposed. As a result, President Theodore Roosevelt
demanded an official investigation, which quickly led to the passage of the
Pure Food and Drug laws. For a work of fiction to have such an impact
outside its literary context is extremely rare. (At the time of The Jungle's
publication in 1906, the only novel to have led to social change on a similar
scale in America was Uncle Tom's Cabin.) Today, The Jungle remains a relevant
portrait of capitalism at its worst and an impassioned account of the human
spirit facing nearly insurmountable challenges.

Includes unique illustrations.","Upton Sinclair's muckraking masterpiece The Jungle centers on Jurgis Rudkus, a Lithuanian immigrant working in Chicago's infamous Packingtown. Instead of finding the American Dream, Rudkus and his family inhabit a brutal, soul-crushing urban jungle dominated by greedy bosses, pitiless con-men, and corrupt politicians. While Sinclair's main target was the industry's appalling labor conditions, the reading public was most outraged by the disgusting filth and contamination in American food that his novel exposed. As a result, President Theodore Roosevelt demanded an official investigation, which quickly led to the passage of the Pure Food and Drug laws. For a work of fiction to have such an impact outside its literary context is extremely rare. (At the time of The Jungle's publication in 1906, the only novel to have led to social change on a similar scale in America was Uncle Tom's Cabin.) 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Originally published in 1906, The Jungle sent shockwaves throughout the United States that resulted in cries for labor and agricultural reforms, and is widely credited with arousing so much public outrage that Congress quickly passed the first Pure Food and Drug Act, and the Meat Inspection Act, watersheds in consumer protection and government legislation.

This story of the immigrant experience in the hellish Chicago stockyards stands as a classic of twentieth-century American literature and social protest.

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New introductions commissioned from today's top writers and scholars
Biographies of the authors
Chronologies of contemporary historical, biographical, and cultural events
Footnotes and endnotes
Selective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the work
Comments by other famous authors
Study questions to challenge the reader's viewpoints and expectations
Bibliographies for further reading
Indices & Glossaries, when appropriate

All editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes & Noble Classics pulls together a constellation of influences—biographical, historical, and literary—to enrich each reader's understanding of these enduring works. Upton Sinclair’s muckraking masterpiece The Jungle centers on Jurgis Rudkus, a Lithuanian immigrant working in Chicago’s infamous Packingtown. Instead of finding the American Dream, Rudkus and his family inhabit a brutal, soul-crushing urban jungle dominated by greedy bosses, pitiless con-men, and corrupt politicians.

Today, The Jungle remains a relevant portrait of capitalism at its worst and an impassioned account of the human spirit facing nearly insurmountable challenges.

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Set in Chicago during the early 1900s, Upton Sinclair’s The Jungle portrays the hardships of the immigrant working class. The story begins with Lithuanian immigrant Jurgis Rudkus, who takes a job at Brown’s slaughterhouse to try to earn enough money to stay afloat. His life becomes a constant strugglehe, his young wife, Ona, and the rest of his family eventually falling victim to a slew of unfortunate circumstances including exploitation, abuse, and for some even death.

From unsanitary and unsafe working conditions to poverty wages, the novel revealed to the American public the struggles immigrants encountered in Chicago’s meatpacking industry. Sinclair, a muckraking journalist, penned the bestselling narrative in an attempt to expose the evils of capitalism, and bring to light the extreme adversity these people faced not just in Chicago, but in industrialized cities across the country. By detailing numerous health violations in these workplaces, Sinclair’s novel caused public outrage and eventually led to the passing of the Meat Inspection Act and the Pure Food and Drug Act.

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It is the dawn of the twentieth century. Two young Lithuanian immigrants, Jurgis and Ona, hold their wedding celebration in Packingtown, the heart of Chicago’s meat packing district. According to custom, departing guests should give money to help pay for the party and start the newlyweds off in life. But many guests walk out leaving nothing. Ona worries about the couple’s debts, but Jurgis calms her, saying, “I will work harder.”

Strong and confident, Jurgis begins a job in a meatpacking plant, where he bears the twelve-hour work days, the repellent and dangerous labor conditions, and the pitifully low pay. But when his family is cheated in a housing swindle, when his father is forced to turn over one-third of his pay to the man who hired him, and when a sprained ankle costs Jurgis his job, the American Dream that inspired him veers into nightmare. And worse is yet to come.

Upton Sinclair wrote The Jungle after working undercover in Chicago’s meatpacking district for seven weeks. His aim was to draw America’s attention to the plight of exploited immigrant workers and usher in a new age of socialism. Indeed, the public was horrified, but not by workers’ suffering. Rather, Sinclair’s graphic descriptions of the industry’s filthy conditions and use of diseased animals quickly led to passage of the Pure Food and Drug Act in 1906.

","It is the dawn of the twentieth century. Two young Lithuanian immigrants, Jurgis and Ona, hold their wedding celebration in Packingtown, the heart of Chicago’s meat packing district. According to custom, departing guests should give money to help pay for the party and start the newlyweds off in life. But many guests walk out leaving nothing. Ona worries about the couple’s debts, but Jurgis calms her, saying, “I will work harder.” Strong and confident, Jurgis begins a job in a meatpacking plant, where he bears the twelve-hour work days, the repellent and dangerous labor conditions, and the pitifully low pay. But when his family is cheated in a housing swindle, when his father is forced to turn over one-third of his pay to the man who hired him, and when a sprained ankle costs Jurgis his job, the American Dream that inspired him veers into nightmare. And worse is yet to come. Upton Sinclair wrote The Jungle after working undercover in Chicago’s meatpacking district for seven weeks. His aim was to draw America’s attention to the plight of exploited immigrant workers and usher in a new age of socialism. Indeed, the public was horrified, but not by workers’ suffering. Rather, Sinclair’s graphic descriptions of the industry’s filthy conditions and use of diseased animals quickly led to passage of the Pure Food and Drug Act in 1906.",[2968,2969],{"_191":7393,"_202":7394},{"_193":6536,"_195":196},{"_193":6536,"_195":196},{"_191":7396,"_202":7397},{"_193":201,"_195":196},{"_193":201,"_195":196},{"_206":7399},[],{"_206":7401},[],[7403],{"_219":220,"_3003":7404},[7405],{"_219":222,"_3006":7406,"_3016":-5},{"_197":105,"_210":-5,"_34":7407,"_158":-5,"_212":7408,"_214":7409,"_216":7410,"_223":7388,"_107":222,"_224":-5,"_3015":77},"gid://shopify/ProductVariant/47142028902640",{"_193":6536,"_195":196},{"_107":7387,"_176":7388},[7411],{"_219":220,"_221":222},{"_197":105,"_210":-5,"_34":7407,"_158":-5,"_212":7413,"_214":7414,"_216":7415,"_223":7388,"_107":222,"_224":-5,"_3015":77},{"_193":6536,"_195":196},{"_107":7387,"_176":7388},[7416],{"_219":220,"_221":222},[],{"_178":-5,"_107":-5},{"_221":7388},{"_221":175},{"_221":3032},{"_221":7423},"2012-11-01T04:00:00Z",{"_221":7425},"2012-10-28T04:00:00Z",{"_221":7427},"Barnes & Noble Signature Editions",{"_221":3926},{"_221":175},{"_221":3055},{"_221":7432},"505488",{"_221":7434},"[{\"contributorId\":171413,\"firstName\":\"Upton\",\"lastName\":\"Sinclair\",\"jobName\":\"Author\",\"jobPrimary\":true,\"jobType\":\"Creative\",\"sequenceNumber\":1},{\"contributorId\":15030461,\"firstName\":\"C. Michael\",\"lastName\":\"Hurst\",\"jobName\":\"Introduction\",\"jobPrimary\":false,\"jobType\":\"Creative\",\"sequenceNumber\":2}]",{"_221":3068},{"_221":5727},{"_3075":3076,"_221":5729},{"_3075":4317,"_221":7439},"[{\"Key\":\"BrowseMinutes\",\"Value\":\"60\"},{\"Key\":\"DCVendorName\",\"Value\":\"STERLING PUBLISHING\"},{\"Key\":\"DigitalSampleCode\",\"Value\":\"Y\"},{\"Key\":\"eGiftStatusCode\",\"Value\":\"Y\"},{\"Key\":\"FileSize\",\"Value\":\"4635070\"},{\"Key\":\"hasDRM\",\"Value\":\"1\"},{\"Key\":\"IngestionDCMerchNum\",\"Value\":\"66290\"},{\"Key\":\"isBrowsable\",\"Value\":\"1\"},{\"Key\":\"isEnhanced\",\"Value\":\"0\"},{\"Key\":\"isLoanable\",\"Value\":\"1\"},{\"Key\":\"LoanDays\",\"Value\":\"14\"},{\"Key\":\"MaxLoans\",\"Value\":\"1\"},{\"Key\":\"SampleEAN\",\"Value\":\"2981435141156\"},{\"Key\":\"SoldBy\",\"Value\":\"Barnes & Noble\"},{\"Key\":\"TextToSpeech\",\"Value\":\"1\"},{\"Key\":\"vendorId\",\"Value\":\"0025100206\"},{\"Key\":\"WebReadCode\",\"Value\":\"Y\"}]",[7441,7442,7443,7445,7446,7447,7448,7449,7451,7452,-5,-5,7453,-5,7455,7456,-5,-5,-5,7457,7459,-5,-5,-5,-5],{"_229":230,"_231":254,"_221":3068},{"_229":230,"_231":3070,"_221":5727},{"_229":230,"_231":232,"_221":7444},"[{\"contributorId\":171413,\"fullName\":\"Upton Sinclair\",\"jobName\":\"Author\",\"sequenceNumber\":1},{\"contributorId\":15030461,\"fullName\":\"C. Michael Hurst\",\"jobName\":\"Introduction\",\"sequenceNumber\":2}]",{"_229":230,"_231":236,"_221":175},{"_229":230,"_231":239,"_221":175},{"_229":230,"_231":242,"_221":130},{"_229":230,"_231":246,"_221":5740},{"_229":230,"_231":250,"_221":7450},"[{\"id\":\"34280635T\",\"type\":\"Fatbrain Author Description\",\"linkText\":\"Author Description\",\"typeId\":\"1102\",\"abbr\":\"FBA\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"Upton Sinclair was born in Baltimore in 1878. He enrolled at the College of the City of New York before his fourteenth birthday and began supporting himself through his writing only a few years later. A lifelong socialist, Sinclair ran for governor of California in 1934. His novel Dragon’s Teeth won the Pulitzer Prize for fiction in 1943. He died in Bound Brook, New Jersey, in 1968.
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A slaughterhouse worker from Lithuania, Jurgis Rudkus immigrated to turn-of-the-century Chicago believing that he would find freedom and prosperity. Instead, meager wages and a filthy, dangerous workplace drive him deep into debt and despair. Victimized, abused, and utterly alone, Jurgis and his wife, Ona, face a lifetime of never-ending struggle in a merciless urban jungle.

An extraordinary work of fiction based in cold, hard fact, The Jungle is one of the most influential novels ever written. Privately published in 1906, it quickly became an international bestseller, inspiring sweeping and essential changes, including the passage of the Pure Food and Drug Act. Powerful and provocative, poignant and horrifying, The Jungle is Upton Sinclair’s masterwork.

This ebook has been authorized by the estate of Upton Sinclair.","The classic protest novel that exposed harsh working conditions and unsanitary practices in the meatpacking industry A slaughterhouse worker from Lithuania, Jurgis Rudkus immigrated to turn-of-the-century Chicago believing that he would find freedom and prosperity. Instead, meager wages and a filthy, dangerous workplace drive him deep into debt and despair. Victimized, abused, and utterly alone, Jurgis and his wife, Ona, face a lifetime of never-ending struggle in a merciless urban jungle. An extraordinary work of fiction based in cold, hard fact, The Jungle is one of the most influential novels ever written. Privately published in 1906, it quickly became an international bestseller, inspiring sweeping and essential changes, including the passage of the Pure Food and Drug Act. Powerful and provocative, poignant and horrifying, The Jungle is Upton Sinclair’s masterwork. This ebook has been authorized by the estate of Upton Sinclair.",[2968,2969],{"_191":7533,"_202":7534},{"_193":6536,"_195":196},{"_193":6536,"_195":196},{"_191":7536,"_202":7537},{"_193":201,"_195":196},{"_193":201,"_195":196},{"_206":7539},[],{"_206":7541},[],[7543],{"_219":220,"_3003":7544},[7545],{"_219":222,"_3006":7546,"_3016":-5},{"_197":105,"_210":-5,"_34":7547,"_158":-5,"_212":7548,"_214":7549,"_216":7550,"_223":7528,"_107":222,"_224":-5,"_3015":77},"gid://shopify/ProductVariant/47145030746352",{"_193":6536,"_195":196},{"_107":7526,"_176":7528},[7551],{"_219":220,"_221":222},{"_197":105,"_210":-5,"_34":7547,"_158":-5,"_212":7553,"_214":7554,"_216":7555,"_223":7528,"_107":222,"_224":-5,"_3015":77},{"_193":6536,"_195":196},{"_107":7526,"_176":7528},[7556],{"_219":220,"_221":222},[],{"_178":-5,"_107":-5},{"_221":7528},{"_221":175},{"_221":3032},{"_221":7563},"2015-12-15T05:00:00Z",{"_221":7565},"2015-12-11T05:00:00Z",{"_221":4740},{"_221":175},{"_221":3055},{"_221":3308},{"_221":3063},{"_221":3068},{"_221":5727},{"_3075":3076,"_221":5729},{"_3075":4317,"_221":7575},"[{\"Key\":\"BrowseMinutes\",\"Value\":\"60\"},{\"Key\":\"DCVendorName\",\"Value\":\"OPEN ROAD INTEGRATED - EBKS\"},{\"Key\":\"DigitalSampleCode\",\"Value\":\"Y\"},{\"Key\":\"eGiftStatusCode\",\"Value\":\"Y\"},{\"Key\":\"FileSize\",\"Value\":\"1786017\"},{\"Key\":\"hasDRM\",\"Value\":\"1\"},{\"Key\":\"IngestionDCMerchNum\",\"Value\":\"11718\"},{\"Key\":\"isBrowsable\",\"Value\":\"1\"},{\"Key\":\"isEnhanced\",\"Value\":\"0\"},{\"Key\":\"isLoanable\",\"Value\":\"1\"},{\"Key\":\"LoanDays\",\"Value\":\"14\"},{\"Key\":\"MaxLoans\",\"Value\":\"1\"},{\"Key\":\"SampleEAN\",\"Value\":\"2981497672100\"},{\"Key\":\"SoldBy\",\"Value\":\"Barnes & Noble\"},{\"Key\":\"vendorId\",\"Value\":\"0025100573\"},{\"Key\":\"WebReadCode\",\"Value\":\"Y\"}]",[7577,7578,7579,7580,7581,7582,7583,7584,7586,7587,-5,-5,-5,-5,7588,7589,-5,-5,-5,7590,7592,-5,-5,-5,-5],{"_229":230,"_231":254,"_221":3068},{"_229":230,"_231":3070,"_221":5727},{"_229":230,"_231":232,"_221":3085},{"_229":230,"_231":236,"_221":175},{"_229":230,"_231":239,"_221":175},{"_229":230,"_231":242,"_221":130},{"_229":230,"_231":246,"_221":5740},{"_229":230,"_231":250,"_221":7585},"[{\"id\":\"46322671T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\"

The Jungle

A Novel

By Upton Sinclair

OPEN ROAD INTEGRATED MEDIA

CHAPTER 1

IT WAS FOUR O'CLOCK when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of Marija Berczynskas. The occasion rested heavily upon Marija's broad shoulders — it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling everyone out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortege at each side street for half a mile.

This was unfortunate, for already there was a throng before the door. The music had started up, and half a block away you could hear the dull \\\"broom, broom\\\" of a cello, with the squeaking of two fiddles which vied with each other in intricate and altitudinous gymnastics. Seeing the throng, Marija abandoned precipitately the debate concerning the ancestors of her coachman, and, springing from the moving carriage, plunged in and proceeded to clear a way to the hall. Once within, she turned and began to push the other way, roaring, meantime, \\\"Eik! Eik! Uzdaryk-duris!\\\" in tones which made the orchestral uproar sound like fairy music.

\\\"Z. Graiczunas, Pasilinksminimams Darzas. Vynas. Sznapsas. Wines and liquors. Union headquarters\\\" — that was the way the signs ran. The reader, who perhaps has never held much converse in the language of far-off Lithuania, will be glad of the explanation that the place was the rear room of a saloon in that part of Chicago known as \\\"back of the yards.\\\" This information is definite and suited to the matter of fact; but how pitifully inadequate it would have seemed to one who understood that it was also the supreme hour of ecstasy in the life of one of God's gentlest creatures, the scene of the wedding feast and the joy-transfiguration of little Ona Lukoszaite!

She stood in the doorway, shepherded by Cousin Marija, breathless from pushing through the crowd, and in her happiness painful to look upon. There was a light of wonder in her eyes and her lids trembled, and her otherwise wan little face was flushed. She wore a muslin dress, conspicuously white, and a stiff little veil coming to her shoulders. There were five pink paper roses twisted in the veil, and eleven bright green rose leaves. There were new white cotton gloves upon her hands, and as she stood staring about her she twisted them together feverishly. It was almost too much for her — you could see the pain of too great emotion in her face, and all the tremor of her form. She was so young — not quite sixteen — and small for her age, a mere child; and she had just been married — and married to Jurgis, of all men, to Jurgis Rudkus, he with the white flower in the buttonhole of his new black suit, he with the mighty shoulders and the giant hands.

Ona was blue-eyed and fair, while Jurgis had great black eyes with beetling brows, and thick black hair that curled in waves about his ears — in short, they were one of those incongruous and impossible married couples with which Mother Nature so often wills to confound all prophets, before and after. Jurgis could take up a two-hundred-and-fifty-pound quarter of beef and carry it into a car without a stagger, or even a thought; and now he stood in a far corner, frightened as a hunted animal, and obliged to moisten his lips with his tongue each time before he could answer the congratulations of his friends.

Gradually there was effected a separation between the spectators and the guests — a separation at least sufficiently complete for working purposes. There was no time during the festivities which ensued when there were not groups of onlookers in the doorways and the corners; and if any one of these onlookers came sufficiently close, or looked sufficiently hungry, a chair was offered him, and he was invited to the feast. It was one of the laws of the veselija that no one goes hungry; and, while a rule made in the forests of Lithuania is hard to apply in the stockyards district of Chicago, with its quarter of a million inhabitants, still they did their best, and the children who ran in from the street, and even the dogs, went out again happier. A charming informality was one of the characteristics of this celebration. The men wore their hats, or, if they wished, they took them off, and their coats with them; they ate when and where they pleased, and moved as often as they pleased. There were to be speeches and singing, but no one had to listen who did not care to; if he wished, meantime, to speak or sing himself, he was perfectly free. The resulting medley of sound distracted no one, save possibly alone the babies, of which there were present a number equal to the total possessed by all the guests invited. There was no other place for the babies to be, and so part of the preparations for the evening consisted of a collection of cribs and carriages in one corner. In these the babies slept, three or four together, or wakened together, as the case might be. Those who were still older, and could reach the tables, marched about munching contentedly at meat bones and bologna sausages.

The room is about thirty feet square, with whitewashed walls, bare save for a calendar, a picture of a racehorse, and a family tree in a gilded frame. To the uright there is a door from the saloon, with a few loafers in the doorway, and in the corner beyond it a bar, with a presiding genius clad in soiled white, with waxed black mustaches and a carefully oiled curl plastered against one side of his forehead. In the opposite corner are two tables, filling a third of the room and laden with dishes and cold viands, which a few of the hungrier guests are already munching. At the head, where sits the bride, is a snow-white cake, with an Eiffel tower of constructed decoration, with sugar roses and two angels upon it, and a generous sprinkling of pink and green and yellow candies. Beyond opens a door into the kitchen, where there is a glimpse to be had of a range with much steam ascending from it, and many women, old and young, rushing hither and thither. In the corner to the left are the three musicians, upon a little platform, toiling heroically to make some impression upon the hubbub; also the babies, similarly occupied, and an open window whence the populace imbibes the sights and sounds and odors.

Suddenly some of the steam begins to advance, and, peering through it, you discern Aunt Elizabeth, Ona's stepmother — Teta Elzbieta, as they call her — bearing aloft a great platter of stewed duck. Behind her is Kotrina, making her way cautiously, staggering beneath a similar burden; and half a minute later there appears old Grandmother Majauszkiene, with a big yellow bowl of smoking potatoes, nearly as big as herself. So, bit by bit, the feast takes form — there is a ham and a dish of sauerkraut, boiled rice, macaroni, bologna sausages, great piles of penny buns, bowls of milk, and foaming pitchers of beer. There is also, not six feet from your back, the bar, where you may order all you please and do not have to pay for it. \\\"Eiksz! Graicziau!\\\" screams Marija Berczynskas, and falls to work herself — for there is more upon the stove inside that will be spoiled if it be not eaten.

So, with laughter and shouts and endless badinage and merriment, the guests take their places. The young men, who for the most part have been huddled near the door, summon their resolution and advance; and the shrinking Jurgis is poked and scolded by the old folks until he consents to seat himself at the right hand of the bride. The two bridesmaids, whose insignia of office are paper wreaths, come next, and after them the rest of the guests, old and young, boys and girls. The spirit of the occasion takes hold of the stately bartender, who condescends to a plate of stewed duck; even the fat policeman — whose duty it will be, later in the evening, to break up the fights — draws up a chair to the foot of the table. And the children shout and the babies yell, and everyone laughs and sings and chatters — while above all the deafening clamor Cousin Marija shouts orders to the musicians.

The musicians — how shall one begin to describe them? All this time they have been there, playing in a mad frenzy — all of this scene must be read, or said, or sung, to music. It is the music which makes it what it is; it is the music which changes the place from the rear room of a saloon in back of the yards to a fairy place, a wonderland, a little corner of the high mansions of the sky.

The little person who leads this trio is an inspired man. His fiddle is out of tune, and there is no rosin on his bow, but still he is an inspired man — the hands of the muses have been laid upon him. He plays like one possessed by a demon, by a whole horde of demons. You can feel them in the air round about him, capering frenetically; with their invisible feet they set the pace, and the hair of the leader of the orchestra rises on end, and his eyeballs start from their sockets, as he toils to keep up with them.

Tamoszius Kuszleika is his name, and he has taught himself to play the violin by practicing all night, after working all day on the \\\"killing beds.\\\" He is in his shirt sleeves, with a vest figured with faded gold horseshoes, and a pink-striped shirt, suggestive of peppermint candy. A pair of military trousers, light blue with a yellow stripe, serve to give that suggestion of authority proper to the leader of a band. He is only about five feet high, but even so these trousers are about eight inches short of the ground. You wonder where he can have gotten them or rather you would wonder, if the excitement of being in his presence left you time to think of such things.

For he is an inspired man. Every inch of him is inspired — you might almost say inspired separately. He stamps with his feet, he tosses his head, he sways and swings to and fro; he has a wizened-up little face, irresistibly comical; and, when he executes a turn or a flourish, his brows knit and his lips work and his eyelids wink — the very ends of his necktie bristle out. And every now and then he turns upon his companions, nodding, signaling, beckoning frantically — with every inch of him appealing, imploring, in behalf of the muses and their call.

For they are hardly worthy of Tamoszius, the other two members of the orchestra. The second violin is a Slovak, a tall, gaunt man with black-rimmed spectacles and the mute and patient look of an overdriven mule; he responds to the whip but feebly, and then always falls back into his old rut. The third man is very fat, with a round, red, sentimental nose, and he plays with his eyes turned up to the sky and a look of infinite yearning. He is playing a bass part upon his cello, and so the excitement is nothing to him; no matter what happens in the treble, it is his task to saw out one long-drawn and lugubrious note after another, from four o'clock in the afternoon until nearly the same hour next morning, for his third of the total income of one dollar per hour.

Now he is in his glory, dominating the scene. Some of the people are eating, some are laughing and talking — but you will make a great mistake if you think there is one of them who does not hear him. His notes are never true, and his fiddle buzzes on the low ones and squeaks and scratches on the high; but these things they heed no more than they heed the dirt and noise and squalor about them — it is out of this material that they have to build their lives, with it that they have to utter their souls. And this is their utterance; merry and boisterous, or mournful and wailing, or passionate and rebellious, this music is their music, music of home. It stretches out its arms to them, they have only to give themselves up. Chicago and its saloons and its slums fade away — there are green meadows and sunlit rivers, mighty forests and snow-clad hills. They behold home landscapes and childhood scenes returning; old loves and friendships begin to waken, old joys and griefs to laugh and weep. Some fall back and close their eyes, some beat upon the table. Now and then one leaps up with a cry and calls for this song or that; and then the fire leaps brighter in Tamoszius's eyes, and he flings up his fiddle and shouts to his companions, and away they go in mad career. The company takes up the choruses, and men and women cry out like all possessed; some leap to their feet and stamp upon the floor, lifting their glasses and pledging each other. Before long it occurs to someone to demand an old wedding song, which celebrates the beauty of the bride and the joys of love. In the excitement of this masterpiece Tamoszius Kuszleika begins to edge in between the tables, making his way toward the head, where sits the bride. There is not a foot of space between the chairs of the guests, and Tamoszius is so short that he pokes them with his bow whenever he reaches over for the low notes; but still he presses in, and insists relentlessly that his companions must follow. During their progress, needless to say, the sounds of the cello are pretty well extinguished; but at last the three are at the head, and Tamoszius takes his station at the right hand of the bride and begins to pour out his soul in melting strains.

Little Ona is too excited to eat. Once in a while she tastes a little something, when Cousin Marija pinches her elbow and reminds her; but, for the most part, she sits gazing with the same fearful eyes of wonder. Teta Elzbieta is all in a flutter, like a hummingbird; her sisters, too, keep running up behind her, whispering, breathless. But Ona seems scarcely to hear them — the music keeps calling, and the far-off look comes back, and she sits with her hands pressed together over her heart. Then the tears begin to come into her eyes; and as she is ashamed to wipe them away, and ashamed to let them run down her cheeks, she turns and shakes her head a little, and then flushes red when she sees that Jurgis is watching her. When in the end Tamoszius Kuszleika has reached her side, and is waving his magic wand above her, Ona's cheeks are scarlet, and she looks as if she would have to get up and run away.

In this crisis, however, she is saved by Marija Berczynskas, whom the muses suddenly visit. Marija is fond of a song, a song of lovers' parting; she wishes to hear it, and, as the musicians do not know it, she has risen, and is proceeding to teach them. Marija is short, but powerful in build. She works in a canning factory, and all day long she handles cans of beef that weigh fourteen pounds. She has a broad Slavic face, with prominent red cheeks. When she opens her mouth, it is tragical, but you cannot help thinking of a horse. She wears a blue flannel shirtwaist, which is now rolled up at the sleeves, disclosing her brawny arms; she has a carving fork in her hand, with which she pounds on the table to mark the time. As she roars her song, in a voice of which it is enough to say that it leaves no portion of the room vacant, the three musicians follow her, laboriously and note by note, but averaging one note behind; thus they toil through stanza after stanza of a lovesick swain's lamentation:

    Sudiev' kvietkeli, tu brangiausis;
    Sudiev' ir laime, man biednam,
    Matau — paskyre teip Aukszcziausis,
    Jog vargt ant svieto reik vienam!

(Continues...)

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Check out ngims Publishing's other illustrated literary classics. The vast majority of our books have original illustrations, free audiobook download link at the end of the book, navigable Table of Contents, and are fully formatted. Browse our library collection by typing in ngims or ngims plus the title you're looking for, e.g. ngims Gulliver's Travels.

Free ebooks on the web are not organized for easy reading, littered with text errors and often have missing contents. You will not find another beautifully formatted classic literature ebook that is well-designed with amazing artworks and illustrations and a link to download free audiobook for a very low price like this one. Our ebooks are hand-coded by professional formatters and programmers. Ebook development and design are the core of what our engineers do. Our ebooks are not the cheap flat text kind, but are built from the ground up with emphasis on proper text formatting and integrity.

The Jungle is a 1906 novel written by the American journalist and novelist Upton Sinclair (1878–1968). Sinclair wrote the novel to portray the lives of immigrants in the United States. Many readers were most concerned with his exposure of practices in the American meatpacking industry during the early 20th century, based on an investigation he did for a socialist newspaper.

The book depicts poverty, the absence of social programs, unpleasant living and working conditions, and the hopelessness prevalent among the working class, which is contrasted with the deeply rooted corruption of people in power. Sinclair was considered a muckraker, or journalist who exposed corruption in government and business. (Wikipedia)","FEATURES: • Includes beautiful artworks and illustrations • A link of a FREE audio book to download at the end of the book • Active Table of Contents for an easy navigation within the book • Manually coded and crafted by professionals for highest formatting quality and standardsCheck out ngims Publishing's other illustrated literary classics. The vast majority of our books have original illustrations, free audiobook download link at the end of the book, navigable Table of Contents, and are fully formatted. Browse our library collection by typing in ngims or ngims plus the title you're looking for, e.g. ngims Gulliver's Travels.Free ebooks on the web are not organized for easy reading, littered with text errors and often have missing contents. You will not find another beautifully formatted classic literature ebook that is well-designed with amazing artworks and illustrations and a link to download free audiobook for a very low price like this one. Our ebooks are hand-coded by professional formatters and programmers. Ebook development and design are the core of what our engineers do. Our ebooks are not the cheap flat text kind, but are built from the ground up with emphasis on proper text formatting and integrity.The Jungle is a 1906 novel written by the American journalist and novelist Upton Sinclair (1878–1968). Sinclair wrote the novel to portray the lives of immigrants in the United States. Many readers were most concerned with his exposure of practices in the American meatpacking industry during the early 20th century, based on an investigation he did for a socialist newspaper.The book depicts poverty, the absence of social programs, unpleasant living and working conditions, and the hopelessness prevalent among the working class, which is contrasted with the deeply rooted corruption of people in power. Sinclair was considered a muckraker, or journalist who exposed corruption in government and business. 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Each book includes educational tools alongside the text, enabling students and readers alike to gain a deeper and more developed understanding of the writer and their work.

Upton Sinclair’s unflinching chronicle of crushing poverty and oppression set in Chicago in the early 1900s. A landmark work of social commentary, Sinclair’s work diligently exposes the inhumane and brutal sides of capitalism.

Enriched Classics enhance your engagement by introducing and explaining the historical and cultural significance of the work, the author’s personal history, and what impact this book had on subsequent scholarship. Each book includes discussion questions that help clarify and reinforce major themes and reading recommendations for further research.

Read with confidence.","Enriched Classics offer readers accessible editions of great works of literature enhanced by helpful notes and commentary. Each book includes educational tools alongside the text, enabling students and readers alike to gain a deeper and more developed understanding of the writer and their work.Upton Sinclair’s unflinching chronicle of crushing poverty and oppression set in Chicago in the early 1900s. A landmark work of social commentary, Sinclair’s work diligently exposes the inhumane and brutal sides of capitalism. Enriched Classics enhance your engagement by introducing and explaining the historical and cultural significance of the work, the author’s personal history, and what impact this book had on subsequent scholarship. Each book includes discussion questions that help clarify and reinforce major themes and reading recommendations for further research. Read with confidence.",[2968,2969],{"_191":8109,"_202":8110},{"_193":194,"_195":196},{"_193":194,"_195":196},{"_191":8112,"_202":8113},{"_193":201,"_195":196},{"_193":201,"_195":196},{"_206":8115},[8116],{"_34":8117,"_54":8118,"_188":-5,"_56":8119,"_50":272},"gid://shopify/ProductImage/47498367992048","https://cdn.shopify.com/s/files/1/0737/7593/9824/files/257310855.jpg?v=1743093504",1234,{"_206":8121},[8122],{"_34":8123,"_158":8124},"gid://shopify/MediaImage/39079181025520",{"_34":8125,"_54":8118,"_188":-5,"_56":8119,"_50":272},"gid://shopify/ImageSource/39099140079856",[8127],{"_219":220,"_3003":8128},[8129],{"_219":222,"_3006":8130,"_3016":-5},{"_197":105,"_210":-5,"_34":8131,"_158":8132,"_212":8133,"_214":8134,"_216":8135,"_223":8104,"_107":222,"_224":-5,"_3015":77},"gid://shopify/ProductVariant/47181864960240",{"_170":3010,"_34":8117,"_54":8118,"_188":-5,"_56":8119,"_50":272},{"_193":194,"_195":196},{"_107":3175,"_176":8104},[8136],{"_219":220,"_221":222},{"_197":105,"_210":-5,"_34":8131,"_158":8138,"_212":8139,"_214":8140,"_216":8141,"_223":8104,"_107":222,"_224":-5,"_3015":77},{"_170":3010,"_34":8117,"_54":8118,"_188":-5,"_56":8119,"_50":272},{"_193":194,"_195":196},{"_107":3175,"_176":8104},[8142],{"_219":220,"_221":222},[],{"_178":-5,"_107":-5},{"_221":8104},{"_221":175},{"_221":3032},{"_221":3670},{"_221":3672},{"_221":3674},{"_221":3676},{"_221":175},{"_221":3055},{"_221":8155},"1469864",{"_221":3063},{"_221":3068},{"_221":5727},{"_3075":3076,"_221":5729},{"_3075":4317,"_221":8161},"[{\"Key\":\"BrowseMinutes\",\"Value\":\"60\"},{\"Key\":\"DCVendorName\",\"Value\":\"SIMON & SCHUSTER\"},{\"Key\":\"DigitalSampleCode\",\"Value\":\"Y\"},{\"Key\":\"eGiftStatusCode\",\"Value\":\"Y\"},{\"Key\":\"FileSize\",\"Value\":\"604341\"},{\"Key\":\"hasDRM\",\"Value\":\"1\"},{\"Key\":\"IngestionDCMerchNum\",\"Value\":\"64188\"},{\"Key\":\"isBrowsable\",\"Value\":\"1\"},{\"Key\":\"isEnhanced\",\"Value\":\"0\"},{\"Key\":\"isLoanable\",\"Value\":\"0\"},{\"Key\":\"LoanDays\",\"Value\":\"0\"},{\"Key\":\"MaxLoans\",\"Value\":\"0\"},{\"Key\":\"SampleEAN\",\"Value\":\"2981416503027\"},{\"Key\":\"SoldBy\",\"Value\":\"SIMON & SCHUSTER\"},{\"Key\":\"vendorId\",\"Value\":\"0025100002\"},{\"Key\":\"WebReadCode\",\"Value\":\"Y\"}]",[8163,8164,8165,8166,8167,8168,8170,8171,8173,8174,-5,-5,8175,-5,8176,8177,-5,-5,-5,8178,8179,-5,-5,-5,-5],{"_229":230,"_231":254,"_221":3068},{"_229":230,"_231":3070,"_221":5727},{"_229":230,"_231":232,"_221":3085},{"_229":230,"_231":236,"_221":175},{"_229":230,"_231":239,"_221":175},{"_229":230,"_231":242,"_221":8169},"SIMON & SCHUSTER",{"_229":230,"_231":246,"_221":5740},{"_229":230,"_231":250,"_221":8172},"[{\"id\":\"2636509T\",\"type\":\"Excerpt\",\"linkText\":\"Read an Excerpt\",\"typeId\":\"1005\",\"abbr\":\"EXC\",\"maxToDisplay\":\"1\",\"displayOrder\":\"1\",\"text\":\" Chapter I

It was four o’clock when the ceremony was over and the carriages began to arrive. There had been a crowd following all the way, owing to the exuberance of Marija Berczynskas. The occasion rested heavily upon Marija’s broad shoulders—it was her task to see that all things went in due form, and after the best home traditions; and, flying wildly hither and thither, bowling every one out of the way, and scolding and exhorting all day with her tremendous voice, Marija was too eager to see that others conformed to the proprieties to consider them herself. She had left the church last of all, and, desiring to arrive first at the hall, had issued orders to the coachman to drive faster. When that personage had developed a will of his own in the matter, Marija had flung up the window of the carriage, and, leaning out, proceeded to tell him her opinion of him, first in Lithuanian, which he did not understand, and then in Polish, which he did. Having the advantage of her in altitude, the driver had stood his ground and even ventured to attempt to speak; and the result had been a furious altercation, which, continuing all the way down Ashland Avenue, had added a new swarm of urchins to the cortège at each side street for half a mile.

This was unfortunate, for already there was a throng before the door. The music had started up, and half a block away you could hear the dull “broom, broom” of a ’cello, with the squeaking of two fiddles which vied with each other in intricate and altitudinous gymnastics. Seeing the throng, Marija abandoned precipitately the debate concerning the ancestors of her coachman, and, springing from themoving carriage, plunged in and proceeded to clear a way to the hall. Once within, she turned and began to push the other way, roaring, meantime, “Eik! Eik! Uzdaryk-duris!” in tones which made the orchestral uproar sound like fairy music.

“Z. Graiczunas, Pasilinksminimams darzas. Vynas. Sznapsas. Wines and Liquors. Union Headquarters”—that was the way the signs ran. The reader, who perhaps has never held much converse in the language of far-off Lithuania, will be glad of the explanation that the place was the rear-room of a saloon in that part of Chicago known as “back of the yards.” This information is definite and suited to the matter of fact; but how pitifully inadequate it would have seemed to one who understood that it was also the supreme hour of ecstasy in the life of one of God’s gentlest creatures, the scene of the wedding-feast and the joy-transfiguration of little Ona Lukoszaite!

She stood in the doorway, shepherded by Cousin Marija, breath- less from pushing through the crowd, and in her happiness painful to look upon. There was a light of wonder in her eyes and her lids trembled, and her otherwise wan little face was flushed. She wore a muslin dress, conspicuously white, and a stiff little veil coming to her shoulders. There were five pink paper-roses twisted in the veil, and eleven bright green rose-leaves. There were new white cotton gloves upon her hands, and as she stood staring about her she twisted them together feverishly. It was almost too much for her—you could see the pain of too great emotion in her face, and all the tremor of her form. She was so young—not quite sixteen—and small for her age, a mere child; and she had just been married—and married to Jurgis,1 of all men, to Jurgis Rudkus, he with the white flower in the buttonhole of his new black suit, he with the mighty shoulders and the giant hands.

1. Pronounced Yoorghis.

Ona was blue-eyed and fair, while Jurgis had great black eyes with beetling brows, and thick black hair that curled in waves about his ears—in short, they were one of those incongruous and impos- sible married couples with which Mother Nature so often wills to confound all prophets, before and after. Jurgis could take up a two-hundred-and-fifty-pound quarter of beef and carry it into a car without a stagger, or even a thought; and now he stood in a far corner, frightened as a hunted animal, and obliged to moisten his lips with his tongue each time before he could answer the congratulations of his friends.

Gradually there was effected a separation between the spectators and the guests—a separation at least sufficiently complete for working purposes. There was no time during the festivities which ensued when there were not groups of onlookers in the doorways and the corners; and if any one of these onlookers came sufficiently close, or looked sufficiently hungry, a chair was offered him, and he was invited to the feast. It was one of the laws of the veselija that no one goes hungry; and, while a rule made in the forests of Lithuania is hard to apply in the stockyards district of Chicago, with its quarter of a million inhabi- tants, still they did their best, and the children who ran in from the street, and even the dogs, went out again happier. A charming informality was one of the characteristics of this celebration. The men wore their hats, or, if they wished, they took them off, and their coats with them; they ate when and where they pleased, and moved as often as they pleased. There were to be speeches and singing, but no one had to listen who did not care to; if he wished, meantime, to speak or sing himself, he was perfectly free. The resulting medley of sound distracted no one, save possibly alone the babies, of which there were present a number equal to the total possessed by all the guests invited. There was no other place for the babies to be, and so part of the preparations for the evening consisted of a collection of cribs and carriages in one corner. In these the babies slept, three or four together, or wakened together, as the case might be. Those who were still older, and could reach the tables, marched about munching contentedly at meat-bones and bologna sausages.

The room is about thirty feet square, with whitewashed walls, bare save for a calendar, a picture of a race-horse, and a family tree in a gilded frame. To the right there is a door from the saloon, with a few loafers in the doorway, and in the corner beyond it a bar, with a presiding genius clad in soiled white, with waxed black mustaches and a carefully oiled curl plastered against one side of his forehead. In the opposite corner are two tables, filling a third of the room and laden with dishes and cold viands, which a few of the hungrier guests are already munching. At the head, where sits the bride, is a snow-white cake, with an Eiffel tower of constructed decoration, with sugar roses and two angels upon it, and a generous sprinkling of pink and green and yellow candies. Beyond opens a door into the kitchen, where there is a glimpse to be had of a range with much steam ascending from it, and many women, old and young, rushing hither and thither. In the corner to the left are the three musicians, upon a little platform, toiling heroically to make some impression upon the hubbub; also the babies, similarly occupied, and an open window whence the populace imbibes the sights and sounds and odors.

Suddenly some of the steam begins to advance, and, peering through it, you discern Aunt Elizabeth, Ona’s stepmother—Teta Elzbieta, as they call her—bearing aloft a great platter of stewed duck. Behind her is Kotrina, making her way cautiously, staggering beneath a similar burden; and half a minute later there appears old Grandmother Majauszkiene, with a big yellow bowl of smoking potatoes, nearly as big as herself. So, bit by bit, the feast takes form—there is a ham and a dish of sauerkraut, boiled rice, macaroni, bologna sausages, great piles of penny buns, bowls of milk, and foaming pitchers of beer. There is also, not six feet from your back, the bar, where you may order all you please and do not have to pay for it. “Eiksz! Graicziau!” screams Marija Berczynskas, and falls to work herself—for there is more upon the stove inside that will be spoiled if it be not eaten.

So, with laughter and shouts and endless badinage and merriment, the guests take their places. The young men, who for the most part have been huddled near the door, summon their resolution and advance; and the shrinking Jurgis is poked and scolded by the old folks until he consents to seat himself at the right hand of the bride. The two bridesmaids, whose insignia of office are paper wreaths, come next, and after them the rest of the guests, old and young, boys and girls. The spirit of the occasion takes hold of the stately bartender, who condescends to a plate of stewed duck; even the fat policeman—whose duty it will be, later in the evening, to break up the fights—draws up a chair to the foot of the table. And the children shout and the babies yell, and every one laughs and sings and chatters—while above all the deafening clamor Cousin Marija shouts orders to the musicians.

The musicians—how shall one begin to describe them? All this time they have been there, playing in a mad frenzy—all of this scene must be read, or said, or sung, to music. It is the music which makes it what it is; it is the music which changes the place from the rear-room of a saloon in back of the yards to a fairy place, a wonderland, a little corner of the high mansions of the sky.

The little person who leads this trio is an inspired man. His fiddle is out of tune, and there is no rosin on his bow, but still he is an inspired man—the hands of the muses have been laid upon him. He plays like one possessed by a demon, by a whole horde of demons. You can feel them in the air round about him, capering frenetically; with their invisible feet they set the pace, and the hair of the leader of the orchestra rises on end, and his eyeballs start from their sockets, as he toils to keep up with them.

Tamoszius Kuszleika is his name, and he has taught himself to play the violin by practising all night, after working all day on the “killing beds.” He is in his shirt sleeves, with a vest figured with faded gold horseshoes, and a pink-striped shirt, suggestive of peppermint candy. A pair of military trousers, light blue with a yellow stripe, serve to give that suggestion of authority proper to the leader of a band. He is only about five feet high, but even so these trousers are about eight inches short of the ground. You wonder where he can have gotten them—or rather you would wonder, if the excitement of being in his presence left you time to think of such things.

For he is an inspired man. Every inch of him is inspired—you might almost say inspired separately. He stamps with his feet, he tosses his head, he sways and swings to and fro; he has a wizened-up little face, irresistibly comical; and, when he executes a turn or a flourish, his brows knit and his lips work and his eyelids wink—the very ends of his necktie bristle out. And every now and then he turns upon his companions, nodding, signalling, beckoning frantically—with every inch of him appealing, imploring, in behalf of the muses and their call.

For they are hardly worthy of Tamoszius, the other two members of the orchestra. The second violin is a Slovak, a tall, gaunt man with black-rimmed spectacles and the mute and patient look of an overdriven mule; he responds to the whip but feebly, and then always falls back into his old rut. The third man is very fat, with a round, red, sentimental nose, and he plays with his eyes turned up to the sky and a look of infinite yearning. He is playing a bass part upon his ’cello, and so the excitement is nothing to him; no matter what happens in the treble, it is his task to saw out one long-drawn and lugubrious note after another, from four o’clock in the afternoon until nearly the same hour next morning, for his third of the total income of one dollar per hour.

Before the feast has been five minutes under way, Tamoszius Kuszleika has risen in his excitement; a minute or two more and you see that he is beginning to edge over toward the tables. His nostrils are dilated and his breath comes fast—his demons are driving him. He nods and shakes his head at his companions, jerking at them with his violin, until at last the long form of the second violinist also rises up. In the end all three of them begin advancing, step by step, upon the banqueters, Valentinavyczia, the ’cellist, bumping along with his instrument between notes. Finally all three are gathered at the foot of the tables, and there Tamoszius mounts upon a stool.

The Jungle

By Upton Sinclair

Random House

Chapter One

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1. Pronounced Yoorghis.

The Jungle (Signature Classics)

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