The Best Short Stories of 1920 Part 15

Does it sound neurotic and silly? It wasn't. Conceive her if you can--Kathleen Somers, whom probably you never knew. From childhood she had nourished short hopes and straightened thoughts. At least: hopes that depend on the aesthetic pa.s.sion are short; and the long perspectives of civilized history are very narrow. Kathleen Somers had been fed with the Old World: that is to say, her adolescent feet had exercised themselves in picture-galleries and cathedrals and palaces; she had seen all the right views, all the right ceremonies, and all the censored picturesqueness. Don't get any Cook's tourist idea, please, about Miss Somers. Her mother had died young, and her gifted father had taken her to a hundred places that the school-teacher on a holiday never gets to and thinks of only in connection with geography lessons. She had followed the Great Wall of China, she had stood before the tomb of Tamburlaine, she had shaded her eyes from the glare of Karouan the Holy, she had chaffered in Tiflis and in Trebizond. All this before she was twenty-five. At that time her father's health broke, and they proceeded to live permanently in New York. Her wandering life had steeped her in delights, but kept her innocent of love-affairs. When you have fed on historic beauty, on the great plots of the past, the best tenor voices in the world, it is pretty hard to find a man who doesn't in his own person, leave out something essential to romance. She had herself no particular beauty, and therefore the male s.e.x could get on without her. A few fell in love with her, but she was too enchanted and amused with the world in general to set to work at the painful process of making a hero out of any one of them. She was a sweet-tempered creature; her mental sn.o.bbishness was not a pose, but perfectly inevitable; she had a great many friends. As she had a quick wit and the historic imagination, you can imagine--remembering her bringing up--that she was an entertaining person when she entered upon middle age: when, that is, she was proceeding from the earlier to the later thirties.

It was natural that Kathleen Somers and her father--who was a bit precious and pompous, in spite of his ironies--should gather about them a h.o.m.ogeneous group. The house was pleasant and comfortable--they were too sophisticated to be "periodic"--and there was always good talk going, if you happened to be the kind that could stand good talk. Of course you had to pa.s.s an examination first. You had at least to show that you "caught on." They were high-brow enough to permit themselves sudden enthusiasms that would have d.a.m.ned a low-brow. You mustn't like "Peter Pan," but you might go three nights running to see some really perfect clog-dancing at a vaudeville theatre. Do you see what I mean?

They were eclectic with a vengeance. It wouldn't do for you to cultivate the clog-dancer _and_ like "Peter Pan," because in that case you probably liked the clog-dancer for the wrong reason--for something other than that sublimated skill which is art. Of course this is only a wildly chosen example. I never heard either of them mention "Peter Pan." And the proper hatreds were ever more difficult than the proper devotions.

You might let Shakespeare get on your nerves, provided you really enjoyed Milton. I wonder if you do see what I mean? It must be perfect of its kind, its kind being anything under heaven; and it must never, never, never be sentimental. It must have art, and _parti pris_, and point of view, and individuality stamped over it. No, I can't explain.

If you have known people like that, you've known them. If you haven't, you can scarcely conceive them.

By this time you are probably hating the Somerses, father and daughter, and I can't help it--or rather, I've probably brought it about. But when I tell you that I'm not that sore myself, and that I loved them both dearly and liked immensely to be with them, you'll reconsider a little, I hope. They were sweet and straight and generous, both of them, and they knew all about the grand manner. The grand manner is the most comfortable thing to live with that I know. I used to go there a good deal, and Arnold Withrow went even more than I did, though he wasn't even hanging on to Art by the eyelids as I do. (I refer, of course, to my little habit of writing for the best magazines, whose public considers me intellectual. So I seem to myself, in the magazines ...

"but out in pantry, good Lord!" Anyhow, I generally knew at least what the Somerses were talking about--the dears!) Withrow was a stock-broker, and always spent his vacations in the veritable wilds, camping in virgin forests, or on the edge of glaciers, or in the dust of American deserts.

He had never been to Europe, but he had been to Buenos Aires. You can imagine what Kathleen Somers and her father felt about that: they thought him too quaint and barbaric for words; but still not barbaric enough to be really interesting.

I was just beginning to suspect that Withrow was in love with Kathleen Somers in the good old middle-cla.s.s way, with no drama in it but no end of devotion, when the crash came. Mr. Somers died, and within a month of his death the railroad the bonds of which had const.i.tuted his long-since diminished fortune went into the hands of a receiver. There were a pitiful hundreds a year left, besides the ancestral cottage--which had never even been worth selling. His daughter had an operation, and the shock of that, _plus_ the shock of his death, _plus_ the shock of her impoverishment, brought the curtain down with a tremendous rush that terrified the house. It may make my metaphor clearer if I put it that it was the asbestos curtain which fell suddenly and violently; not the great crimson drop that swings gracefully down at the end of a play. It did not mark the end; it marked a catastrophe in the wings to which the plot must give place.

Then they carried Kathleen Somers to the hills.

It was Mildred Thurston who told me about it first. Withrow would have rushed to the hills, I think, but he was in British Columbia on an extended trip. He had fought for three months and got them, and he started just before Kathleen Somers had her sudden operation. Mildred Thurston (Withrow's cousin, by the way) threw herself n.o.bly into the breach. I am not going into the question of Mildred Thurston here.

Perhaps if Withrow had been at home, she wouldn't have gone. I don't know. Anyhow, when she rushed to Kathleen Somers's desolate retreat she did it, apparently, from pure kindness. She was sure, like every one else, that Kathleen would die; and that belief purged her, for the time being, of selfishness and commonness and cheap gayety. I wouldn't take Mildred Thurston's word about a state of soul; but she was a good dictograph. She came back filled with pity; filled, at least, with the means of inspiring pity for the exile in others.

After I had satisfied myself that Kathleen Somers was physically on the mend, eating and sleeping fairly, and sitting up a certain amount, I proceeded to more interesting questions.

"What is it like?"

"It's dreadful."

"How dreadful?"

Mildred's large blue eyes popped at me with sincere sorrow.

"Well, there's no plumbing, and no furnace."

"Is it in a village?"

"It isn't 'in' anything. It's a mile and a half from a station called Hebron. You have to change three times to get there. It's half-way up a hill--the house is--and there are mountains all about, and the barn is connected with the house by a series of rickety woodsheds, and there are places where the water comes through the roof. They put pails under to catch it. There are queer little contraptions they call Franklin stoves in most of the rooms and a brick oven in the kitchen. When they want anything from the village, Joel Blake gets it, if he doesn't forget.

Ditto wood, ditto everything except meat. Some other hick brings that along when he has 'killed.' They can only see one house from the front yard, and that is precisely a mile away by the road. Joel Blake lives nearer, but you can't see his house. You can't see anything--except the woods and the 'crick' and the mountains. You can see the farmers when they are haying, but that doesn't last long."

"Is it a beautiful view?"

"My dear man, don't ask me what a beautiful view is. My education was neglected."

"Does Kathleen Somers think it beautiful?"

"She never looks at it, I believe. The place is all run down, and she sits and wonders when the wall-paper will drop off. At least, that is what she talks about, when she talks at all. That, and whether Joel Blake will remember to bring the groceries. The two women never speak to each other. Kathleen's awfully polite, but--well, you can't blame her.

And I was there in the spring. What it will be in the winter!--But Kathleen can hardly last so long, I should think."

"Who is the other woman?"

"An heirloom. Melora Meigs. _Miss_ Meigs, if you please. You know Mr.

Somers's aunt lived to an extreme old age in the place. Miss Meigs 'did'

for her. And since then she has been living on there. No one wanted the house--the poor Somerses!--and she was used to it. She's an old thing herself, and of course she hasn't the nerves of a sloth. Now she 'does'

for Kathleen. Of course later there'll have to be a nurse again.

Kathleen mustn't die with only Melora Meigs. I'm not sure, either, that Melora will last. She all crooked over with rheumatism."

That was the gist of what I got out of Mildred Thurston. Letters to Miss Somers elicited no real response--only a line to say that she wasn't strong enough to write. None of her other female friends could get any encouragement to visit her. It was perhaps due to Miss Thurston's mimicry of Melora Meigs--she made quite a "stunt" of it--that none of them pushed the matter beyond the first rebuff.

By summer-time I began to get worried myself. Perhaps I was a little worried, vicariously, for Withrow. Remember that I thought he cared for her. Miss Thurston's pity for Kathleen Somers was the kind that shuts the door on the pitied person. If she had thought Kathleen Somers had a future, she wouldn't have been so kind. I may give it to you as my private opinion that Mildred Thurston wanted Withrow herself. I can't swear to it, even now; but I suspected it sufficiently to feel that some one, for Withrow's sake had better see Kathleen besides his exuberant and slangy cousin. She danced a little too much on Kathleen Somers's grave. I determined to go myself, and not to take the trouble of asking vainly for an invitation. I left New York at the end of June.

With my perfectly ordinary notions of comfort in traveling, I found that it would take me two days to get to Hebron. It was beyond all the resorts that people flock to: beyond, and "cross country" at that. I must have journeyed on at least three small, one-track railroads after leaving the Pullman at some junction or other.

It was late afternoon when I reached Hebron; and nearly an hour later before I could get myself deposited at Kathleen Somers's door. There was no garden, no porch; only a long, weed-grown walk up to a stiff front door. An orchard of rheumatic apple-trees was cowering stiffly to the wind in a far corner of the roughly fenced-in lot; there was a windbreak of peris.h.i.+ng pines.

In the living-room Kathleen Somers lay on a cheap wicker chaise-longue, staring at a Hindu idol that she held in her thin hands. She did not stir to greet me; only transferred her stare from the gilded idol to dusty and ungilded me. She spoke, of course; the first time in my life, too, that I had ever heard her speak ungently.

"My good man, you had better go away. I can't put you up."

That was her greeting. Melora Meigs was snuffling in the hallway outside--listening, I suppose.

"Oh, yes, you can. If you can't I'm sure Joel Blake will. I've come to stay a while, Miss Somers."

"Can you eat porridge and salt pork for supper?"

"I can eat tenpenny nails, if necessary. Also I can sleep in the barn."

"Melora!" The old woman entered, crooked and grudging of aspect. "This friend of my father's and mine has come to see me. Can he sleep in the barn?"

I cannot describe the hostility with which Melora Meigs regarded me. It was not a pointed and pa.s.sionate hatred. That, one could have examined and dealt with. It was, rather, a vast disgust that happened to include me.

"There's nothing to sleep on. Barn's empty."

"He could move the nurse's cot out there, if he really wants to. And I think there's an extra washstand in the woodshed. You'll hardly need more than one chair, just for a night," she finished, turning to me.

"Not for any number of nights, of course," I agreed suavely. I was angry with Kathleen Somers, I didn't know quite why. I think it was the Hindu idol. Nor had she any right to address me with insolence, unless she were mad, and she was not that. Her eyes snapped very sanely. I don't think Kathleen Somers could have made her voice snap.

Melora Meigs grunted and left the room. The grunt was neither a.s.sent nor dissent; it was only the most inclusive disapproval: the snarl of an animal, proceeding from the topmost of many layers of dislike.

"I'll move the things before dark, I think." I was determined to be cheerful, even if I had to seem impertinent; though the notion of her sticking me out in the barn enraged me.

"You won't mind Melora's locking the door between, of course. We always do. I'm such a c.o.c.kney, I'm timid; and Melora's very sweet about it."

It was almost too much, but I stuck it out. Presently, indeed, I got my way; and moved--yes, actually lugged and lifted and dragged--the cot, the chair, and the stand out through the dusty, half-rotted corridors and sheds to the barn. I drew water at the tap in the yard and washed my perspiring face and neck. Then I had supper with Miss Somers and Melora Meigs.

After supper my hostess lighted a candle. "We go to bed very early," she informed me. "I know you'll be willing to smoke out-of-doors, it's so warm. I doubt if Melora could bear tobacco in the house. And you won't mind her locking up early. You can get into the barn from the yard any time, of course. Men are never timid, I believe; but there's a horn somewhere, if you'd like it. We have breakfast at six-thirty.

Good-night."

Yes, it was Kathleen Somers's own voice, saying these things to me. I was still enraged, but I must bide my time. I refused the horn, and went out into the rheumatic orchard to smoke in dappled moonlight. The pure air soothed me; the great silence restored my familiar scheme of things.

Before I went to bed in the barn, I could see the humor of this sour adventure. Oh, I would be up at six-thirty!

Of course I wasn't. I overslept; and by the time I approached the house (the woodshed door was still locked) their breakfast was long over. I fully expected to fast until the midday meal, but Kathleen Somers relented. With her own hands she made me coffee over a little alcohol lamp. Bread and b.u.t.ter had been austerely left on the table. Miss Somers fetched me eggs, which I ate raw. Then I went out into the orchard to smoke.