realized what a curious, rounded tale it was. He saw dimly now that what had seemed to him only a fragment, a grotesque interlude, was really significant, complete. It was an interesting story; it was the story upon which turned the failure of his life. Abercrombie’s voice broke in upon his thoughts.
“You see, it’s so different from my story,” Abercrombie was saying. “It was an accident that you stayed—and it was an accident that I went away. You deserve more actual—actual credit, if there is such a thing in the world, for your intention of getting out and getting on. You see, I’d more or less gone wrong at seventeen. I was—well, what you call a Jelly-bean. All I wanted was to take it easy through life—and one day I just happened to see a sign up above my head that had on it: ‘Special rate to Atlanta, three dollars and forty-two cents.’ So I took out my change and counted it——”
Hemmick nodded. Still absorbed in his own story, he had forgotten the importance, the comparative magnificence of Abercrombie. Then suddenly he found himself listening sharply:
“I had just three dollars and forty-one cents in my pocket. But, you see, I was standing in line with a lot of other young fellows down by the Union Depot about to enlist in the army for three years. And I saw that extra penny on the walk not three feet away. I saw it because it was brand new and shining in the sun like gold.”
The Alabama night had settled over the street, and as the blue drew down upon the dust the outlines of the two men had become less distinct, so that it was not easy for any one who passed along the walk to tell that one of these men was of the few and the other of no importance. All the detail was gone—Abercrombie’s fine gold wrist watch, his collar, that he ordered by the , dozen from London, the dignity that sat upon him in his chair—all faded and were engulfed with Hemmick’s awkward suit and preposterous humped shoes into that pervasive depth of night that, like death, made nothing matter, nothing differentiate, nothing remain. And a little later on a passerby saw only the two glowing disks about the size of a penny that marked the rise and fall of their cigars.
— ◆ —
Dice, Brassknuckles & Guitar.
International (May 1923)
Parts of New Jersey, as you know, are under water, and other parts are under continual surveillance by the authorities. But here and there lie patches of garden country dotted with old-fashioned frame mansions, which have wide shady porches and a red swing on the lawn. And perhaps, on the widest and shadiest of the porches there is even a hammock left over from the hammock days, stirring gently in a mid-Victorian wind.
When tourists come to such last-century landmarks they stop their cars and gaze for a while and then mutter: “Well, thank God this age is joined on to something” or else they say: “Well, of course, that house is mostly halls and has a thousand rats and one bathroom, but there’s an atmosphere about it—”
The tourist doesn’t stay long. He drives on to his Elizabethan villa of pressed cardboard or his early Norman meat-market or his medieval Italian pigeon-coop—because this is the twentieth century and Victorian houses are as unfashionable as the works of Mrs. Humphry Ward.
He can’t see the hammock from the road—but sometimes there’s a girl in the hammock. There was this afternoon. She was asleep in it and apparently unaware of the esthetic horrors which surrounded her, the stone statue of Diana, for instance, which grinned idiotically under the sunlight on the lawn.
There was something enormously yellow about the whole scene—there was this sunlight, for instance, that was yellow, and the hammock was of the particularly hideous yellow peculiar to hammocks, and the girl’s yellow hair was spread out upon the hammock in a sort of invidious comparison.
She slept with her lips closed and her hands clasped behind her head, as it is proper for young girls to sleep. Her breast rose and fell slightly with no more emphasis than the sway of the hammock’s fringe.
Her name, Amanthis, was as old-fashioned as the house she lived in. I regret to say that her mid-Victorian connections ceased abruptly at this point.
Now if this were a moving picture (as, of course, I hope it will some day be) I would take as many thousand feet of her as I was allowed—then I would move the camera up close and show the yellow down on the back of her neck where her hair stopped and the warm color of her cheeks and arms, because I like to think of her sleeping there, as you yourself might have slept, back in your young days. Then I would hire a man named Israel Glucose to write some idiotic line of transition, and switch thereby to another scene that was taking place at no particular spot far down the road.
In a moving automobile sat a southern gentleman accompanied by his body-servant. He was on his way, after a fashion, to New York but he was somewhat hampered by the fact that the upper and lower portions of his automobile were no longer in exact juxtaposition. In fact from time to time the two riders would dismount, shove the body on to the chassis, corner to corner, and then continue onward, vibrating slightly in involuntary unison with the motor.
Except that it had no door in back the car might have been built early in the mechanical age. It was covered with the mud of eight states and adorned in front by an enormous but defunct motometer and behind by a mangy pennant bearing the legend “Tarleton, Ga.” In the dim past someone had begun to paint the hood yellow but unfortunately had been called away when but half through the task.
As the gentleman and his body-servant were passing the house where Amanthis lay beautifully asleep in the hammock, something happened—the body fell off the car. My only apology for stating this so suddenly is that it happened very suddenly indeed. When the noise had died down and the dust had drifted away master and man arose and inspected the two halves.
“Look-a-there,” said the gentleman in disgust, “the doggone thing got all separated that time.”
“She bust in two,” agreed the body-servant.
“Hugo,” said the gentleman, after some consideration, “we got to get a hammer an’ nails an’ tack it on.”
They glanced up at the Victorian house. On all sides faintly irregular fields stretched away to a faintly irregular unpopulated horizon. There was no choice, so the black Hugo opened the gate and followed his master up a gravel walk, casting only the blasé glances of a confirmed traveler at the red swing and the stone statue of Diana which turned on them a storm-crazed stare.
At the exact moment when they reached the porch Amanthis awoke, sat up suddenly and looked them over.
The gentleman was young, perhaps twenty-four, and his name was Jim Powell. He was dressed in a tight and dusty readymade suit which was evidently expected to take flight at a moment’s notice, for it was secured to his body by a line of six preposterous buttons.
There were supernumerary buttons upon the coat-sleeves also and Amanthis could not resist a glance to determine whether or not more buttons ran up the side of his trouser leg. But the trouser bottoms were distinguished only by their shape, which was that of a bell. His vest was cut low, barely restraining an amazing necktie from fluttering in the wind.
He bowed formally, dusting his knees with a thatched straw hat. Simultaneously he smiled, half shutting his faded blue eyes and displaying white and beautifully symmetrical teeth.
“Good evenin’,” he said in abandoned Georgian. “My automobile has met with an accident out yonder by your gate. I wondered if it wouldn’t be too much to ask you if I could have the use of a hammer and some tacks—nails, for a little while.”
