The Loot of Cities Being the Adventures of a Millionaire in Search of Joy (a Fantasia); and Other Stories — A Closer Reading
Edition facts
For The Loot of Cities Being the Adventures of a Millionaire in Search of Joy (a Fantasia); and Other Stories — A Closer Reading, the stored edition analysis reports 55,844 words, 4 hr 3 min estimated reading time, and 12 detected text sections.
The text analysis averages about 14.1 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “England -- Social life and customs -- Fiction,” connecting these edition facts with the source record’s subject description.
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Read the Text
“You’re wanted on the telephone, sir.”
Mr. Bruce Bowring, managing director of the Consolidated Mining and Investment Corporation, Limited (capital two millions, in one-pound shares, which stood at twenty-seven-and-six), turned and gazed querulously across the electric-lit spaces of his superb private office at the confidential clerk who addressed him. Mr. Bowring, in shirt-sleeves before a Florentine mirror, was brushing his hair with the solicitude of a mother who has failed to rear most of a large family.
“Who is it?” he asked, as if that demand for him were the last straw but one. “Nearly seven on Friday evening!” he added, martyrised.
“I think a friend, sir.”
The middle-aged financier dropped his gold-mounted brush and, wading through the deep pile of the Oriental carpet, passed into the telephone-cabinet and shut the door.
“Hallo!” he accosted the transmitter, resolved not to be angry with it. “Hal_lo_! Are you there? Yes, I’m Bowring. Who are you?”
“_Nrrrr_,” the faint, unhuman voice of the receiver whispered in his ear. “_Nrrrr. Cluck._ I’m a friend.”
“No name. I thought you might like to know that a determined robbery is going to be attempted to-night at your house in Lowndes Square, a robbery of cash--and before nine o’clock. _Nrrrr._ I thought you might like to know.”
“Ah!” said Mr. Bowring to the transmitter.
The feeble exclamation was all he could achieve at first. In the confined, hot silence of the telephone-cabinet this message, coming to him mysteriously out of the vast unknown of London, struck him with a sudden sick fear that perhaps his wondrously organised scheme might yet mis-carry, even at the final moment. Why that night of all nights? And why before nine o’clock? Could it be that the secret was out, then?
“Any further interesting details?” he inquired, bracing himself to an assumption of imperturbable and gay coolness.
But there was no answer. And when after some difficulty he got the exchange-girl to disclose the number which had rung him up, he found that his interlocutor had been using a public call-office in Oxford Street. He returned to his room, donned his frock-coat, took a large envelope from a locked drawer and put it in his pocket, and sat down to think a little.
At that time Mr. Bruce Bowring was one of the most famous conjurers in the City. He had begun, ten years earlier, with nothing but a silk hat; and out of that empty hat had been produced, first the Hoop-La Limited, a South African gold-mine of numerous stamps and frequent dividends, then the Hoop-La No. 2 Limited, a mine with as many reincarnations as Buddha, and then a dazzling succession of mines and combination of mines. The more the hat emptied itself, the more it was full; and the emerging objects (which now included the house in Lowndes Square and a perfect dream of a place in Hampshire) grew constantly larger, and the conjurer more impressive and persuasive, and the audience more enthusiastic in its applause. At last, with a unique flourish, and a new turning-up of sleeves to prove that there was no deception, had come out of the hat the C.M.I.C., a sort of incredibly enormous Union Jack, which enwrapped all the other objects in its splendid folds. The shares of the C.M.I.C. were affectionately known in the Kaffir circus as “Solids”; they yielded handsome though irregular dividends, earned chiefly by flotation and speculation; the circus believed in them. And in view of the annual meeting of shareholders to be held on the following Tuesday afternoon (the conjurer in the chair and his hat on the table), the market price, after a period of depression, had stiffened.
Mr. Bowring’s meditations were soon interrupted by a telegram. He opened it and read: “_Cook drunk again. Will dine with you Devonshire, seven-thirty. Impossible here. Have arranged about luggage.--Marie._” Marie was Mr. Bowring’s wife. He told himself that he felt greatly relieved by that telegram; he clutched at it; and his spirits seemed to rise. At any rate, since he would not now go near Lowndes Square, he could certainly laugh at the threatened robbery. He thought what a wonderful thing Providence was, after all.
“Just look at that,” he said to his clerk, showing the telegram with a humorous affectation of dismay.
“Tut, tut,” said the clerk, discreetly sympathetic towards his employer thus victimised by debauched cooks. “I suppose you’re going down to Hampshire to-night as usual, sir?”
Mr. Bowring replied that he was, and that everything appeared to be in order for the meeting, and that he should be back on Monday afternoon or at the latest very early on Tuesday.
The title story, The Loot of Cities, opens not with a millionaire but with a managing director, Bruce Bowring, brushing his hair in his office at nearly seven on a Friday evening. The telephone rings with an anonymous warning of a robbery at his home—before nine o'clock. Bennett immediately establishes a world of electric-lit offices, Florentine mirrors, and Oriental carpets, where wealth is both displayed and threatened. The millionaire in search of joy, Cecil, appears later in the collection, but the catalog subject 'Millionaires—Fiction' is only one thread; the excerpts show Bennett more interested in the mechanics of money and the performance of class than in simple riches.
The Telephone as Plot Engine
The anonymous telephone call in the first story is a striking structural device. The receiver whispers 'Nrrrr' and 'Cluck' before delivering its message—a detail that foregrounds the medium's strangeness. Bennett uses the telephone to inject mystery and urgency, but also to expose the fragility of Bowring's 'wondrously organised scheme.' The device recurs in other stories: in 'The Adventure of the Prima Donna,' a bet about obtaining opera tickets is set in motion by a newspaper advertisement, and the plot turns on a series of errands and telephone calls. Bennett treats communication technology as both a convenience and a source of anxiety, a theme that runs through several pieces.
Parisian Scenes and Social Currency
The excerpt from 'The Adventure of the Prima Donna' shifts the setting to Paris, where the characters discuss a gala performance at the Opéra. The talk is of ticket prices, rival sopranos, and a scandalous agency at 155, Rue de la Paix. Bennett reproduces a newspaper article verbatim, embedding a satirical commentary on the traffic in social distinction. The bet between Cecil and Belmont—a two-hundred-dollar dinner at Paillard's—turns on the ability to obtain seats through money and nerve. Here, the 'loot of cities' is not cash but access, and the millionaire's joy seems to lie in winning a game of social one-upmanship.
Servants and Squints: Minor Characters as Mirrors
Bennett gives minor characters memorable quirks. Lecky, Cecil's valet, 'squinted violently for a few seconds' before grasping his master's intention. His 'feeble French' is described as 'a delicate plant,' and he bows after giving up squinting. These details are not mere comic relief; they signal a world where servants must interpret their masters' whims with precision. In 'Mr. Penfound's Two Burglars' and 'The Police Station,' similar attention to the gestures and speech of clerks, waiters, and functionaries suggests that Bennett's real subject is the social ecosystem around wealth, not the millionaire alone.
Readers approaching Bennett's collection should attend to the interplay between the catalog subjects—'England—Social life and customs' and 'Short stories, English'—and the actual texture of the prose. The stories are less about millionaires than about the systems of money, status, and communication that surround them. Bennett's irony is dry, his details precise. The excerpts offer only fragments of each tale, but they reveal a writer more interested in the mechanics of a bet or the squint of a valet than in any grand adventure.
I finished The Loot of Cities feeling that odd ache for the things we chase, and how little they satisfy. That millionaire’s hunt, so empty despite all the glitter, stayed with me. It made me wonder about quieter paths, the ones not paved with gold. That’s what I find myself circling back to in Mr. Carteret and Others — Key Ideas to Explore, though I haven’t quite finished it yet.
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