Deeper Stories

About Deeper Stories

Stories and literary analysis by author Thaddeus Thomas. news.bookmotion.pro (https://news.bookmotion.pro?utm_medium=podcast)

Publisher

Thaddeus Thomas

Category

arts · fiction

Language

en

Explicit

No

First episode

18 Apr 2024

Latest episode

4 Jun 2024

Latest episodes

16 episodes in the feed.

1. 

   4 Jun 2024

   The Successful-Writer Personality Type

   We’ll get into some basic assumptions really quick but before we do, remember the bell curve. We’re talking about common cases here, and any one individual could fall anywhere on the curve. None of this is designed to limit you. Any emotional reaction to this information is suggestive, whether that’s because it feels right or because it goes against everything you believe in. Either way, that tells you something about yourself as a writer. Two Spectrums Personality types, at their most simplified, are about two spectrums: facts vs. relationships and introverted vs. extroverted. Introverted personalities see interiority as a strength and tend toward the conflicts of man against self or his environment. Extroverted personalities may be good at drawing clear personality distinctions between characters, and they’re drawn toward the conflict of man against man. They’re less into the milieu and more into the adventure and are the most likely to believe that interior is inferior and have their characters be defined by what they do. Fact-driven personalities are going to be drawn to hard science fiction, mysteries, and epic fantasy with lots of world building. Relationship-driven personalities will lean more toward suspense than a whodunit and more toward space opera than hard science fiction, but they’re equally likely to be involved in any of the genres, as well as contemporary and literary fiction. Naturally, they dominate the Romance genres. Fact-driven extroverts will likely find that stream of consciousness is not their friend, and they’re more likely to write erotica than Romance. Fact-driven introverts write Gone Girl. The Successful-Writer Personality Type Let’s jump right into it. Is there a personality type better suited to being an author? That depends on what you mean. Now, I’m about to say something I personally think it stupid and offensive, but it might still be true. Most bad storytellers are introverts. Now wait. Hold on. That doesn’t mean introverts are worse writers, but they’re more likely to write for reasons other than external success of the finished product. Unlike extroverts, they don’t have to be good storytellers to have to want to write. They’re also, therefore, more likely to stick with it and more likely to grow. Extroverts are more likely to require some external motivation to write, and being lauded for their talent as a storyteller is as good a reason as any. They’re also the most likely to let their writing talent go to waste. There is no one definition of a good writer. These are, however, the two main components, storytelling and prose. On average, extroverts will be the more practiced storytellers and introverts the ones to have spent more time developing their prose. Just remember that personality doesn’t determine talent, and anyone can want to write. Don’t just focus on the one area that come easier to you. We all need to grow in both. Fact-driven personalities have a few subgenres where they reign supreme, but the broadest scope of literature is largely the realm of the relationship-driven personality. What This Means for You If you’re extroverted and your gift is prose or introverted and your gift is storytelling, it may be less of a struggle to build up your weak points. Otherwise, like most of us, you’ve got some hard work to do. Is your choice of genre welcoming to your personal strengths and forgiving of your weaknesses? If not, ask yourself what drew you to that genre. Is it a personal interest or were you chasing what’s popular? In the end, write what you want to write, but if choices are open to you, a genre that better suits you will offer a better chance of success. But what if you don’t know if you’re fact or relationship / introverted or extroverted? I’m not going to link you to a personality test. If you want one, search it up. However, as a writer, I think you know the important things. I think you can probably self-deterine right now, and even if you’re wrong in the eyes of Myers-Briggs, you’ll probably be right enough about who you are as a writer. By the way, if you are aware of your Myers-Briggs, and if you’re an ENFP, that mostly counts as being introverted here, depsite that big E. Sorry, but, hey, you’re in good company. Deeper Stories with Thaddeus Thomas is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Deeper Stories with Thaddeus Thomas at www.thaddeusthomas.com/subscribe (https://www.thaddeusthomas.com/subscribe?utm_medium=podcast&utm_campaign=CTA_4)

2. 

   29 May 2024

   The Tell-Tale Heart

   True!—nervous—very, very dreadfully nervous I had been and am; but why will you say that I am mad? The disease had sharpened my senses—not destroyed—not dulled them. Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. How, then, am I mad? Hearken! and observe how healthily—how calmly I can tell you the whole story. It is impossible to say how first the idea entered my brain; but once conceived, it haunted me day and night. Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! yes, it was this! He had the eye of a vulture—a pale blue eye, with a film over it. Whenever it fell upon me, my blood ran cold; and so by degrees—very gradually—I made up my mind to take the life of the old man, and thus rid myself of the eye forever. Now this is the point. You fancy me mad. Madmen know nothing. But you should have seen me. You should have seen how wisely I proceeded—with what caution—with what foresight—with what dissimulation I went to work! I was never kinder to the old man than during the whole week before I killed him. And every night, about midnight, I turned the latch of his door and opened it—oh, so gently! And then, when I had made an opening sufficient for my head, I put in a dark lantern, all closed, closed, that no light shone out, and then I thrust in my head. Oh, you would have laughed to see how cunningly I thrust it in! I moved it slowly—very, very slowly, so that I might not disturb the old man’s sleep. It took me an hour to place my whole head within the opening so far that I could see him as he lay upon his bed. Ha!—would a madman have been so wise as this? And then, when my head was well in the room, I undid the lantern cautiously—oh, so cautiously—cautiously (for the hinges creaked)—I undid it just so much that a single thin ray fell upon the vulture eye. And this I did for seven long nights—every night just at midnight—but I found the eye always closed; and so it was impossible to do the work; for it was not the old man who vexed me, but his Evil Eye. And every morning, when the day broke, I went boldly into the chamber, and spoke courageously to him, calling him by name in a hearty tone, and inquiring how he has passed the night. So you see he would have been a very profound old man, indeed, to suspect that every night, just at twelve, I looked in upon him while he slept. Upon the eighth night I was more than usually cautious in opening the door. A watch’s minute hand moves more quickly than did mine. Never before that night had I felt the extent of my own powers—of my sagacity. I could scarcely contain my feelings of triumph. To think that there I was, opening the door, little by little, and he not even to dream of my secret deeds or thoughts. I fairly chuckled at the idea; and perhaps he heard me; for he moved on the bed suddenly, as if startled. Now you may think that I drew back—but no. His room was as black as pitch with the thick darkness, (for the shutters were close fastened, through fear of robbers,) and so I knew that he could not see the opening of the door, and I kept pushing it on steadily, steadily. I had my head in, and was about to open the lantern, when my thumb slipped upon the tin fastening, and the old man sprang up in bed, crying out—“Who’s there?” I kept quite still and said nothing. For a whole hour I did not move a muscle, and in the meantime I did not hear him lie down. He was still sitting up in the bed listening;—just as I have done, night after night, hearkening to the death watches in the wall. Presently I heard a slight groan, and I knew it was the groan of mortal terror. It was not a groan of pain or of grief—oh, no!—it was the low stifled sound that arises from the bottom of the soul when overcharged with awe. I knew the sound well. Many a night, just at midnight, when all the world slept, it has welled up from my own bosom, deepening, with its dreadful echo, the terrors that distracted me. I say I knew it well. I knew what the old man felt, and pitied him, although I chuckled at heart. I knew that he had been lying awake ever since the first slight noise, when he had turned in the bed. His fears had been ever since growing upon him. He had been trying to fancy them causeless, but could not. He had been saying to himself—“It is nothing but the wind in the chimney—it is only a mouse crossing the floor,” or “It is merely a cricket which has made a single chirp.” Yes, he had been trying to comfort himself with these suppositions: but he had found all in vain. All in vain; because Death, in approaching him had stalked with his black shadow before him, and enveloped the victim. And it was the mournful influence of the unperceived shadow that caused him to feel—although he neither saw nor heard—to feel the presence of my head within the room. When I had waited a long time, very patiently, without hearing him lie down, I resolved to open a little—a very, very little crevice in the lantern. So I opened it—you cannot imagine how stealthily, stealthily—until, at length a simple dim ray, like the thread of the spider, shot from out the crevice and fell full upon the vulture eye. It was open—wide, wide open—and I grew furious as I gazed upon it. I saw it with perfect distinctness—all a dull blue, with a hideous veil over it that chilled the very marrow in my bones; but I could see nothing else of the old man’s face or person: for I had directed the ray as if by instinct, precisely upon the damned spot. And have I not told you that what you mistake for madness is but over-acuteness of the sense?—now, I say, there came to my ears a low, dull, quick sound, such as a watch makes when enveloped in cotton. I knew that sound well, too. It was the beating of the old man’s heart. It increased my fury, as the beating of a drum stimulates the soldier into courage. But even yet I refrained and kept still. I scarcely breathed. I held the lantern motionless. I tried how steadily I could maintain the ray upon the eye. Meantime the hellish tattoo of the heart increased. It grew quicker and quicker, and louder and louder every instant. The old man’s terror must have been extreme! It grew louder, I say, louder every moment!—do you mark me well? I have told you that I am nervous: so I am. And now at the dead hour of the night, amid the dreadful silence of that old house, so strange a noise as this excited me to uncontrollable terror. Yet, for some minutes longer I refrained and stood still. But the beating grew louder, louder! I thought the heart must burst. And now a new anxiety seized me—the sound would be heard by a neighbour! The old man’s hour had come! With a loud yell, I threw open the lantern and leaped into the room. He shrieked once—once only. In an instant I dragged him to the floor, and pulled the heavy bed over him. I then smiled gaily, to find the deed so far done. But, for many minutes, the heart beat on with a muffled sound. This, however, did not vex me; it would not be heard through the wall. At length it ceased. The old man was dead. I removed the bed and examined the corpse. Yes, he was stone, stone dead. I placed my hand upon the heart and held it there many minutes. There was no pulsation. He was stone dead. His eye would trouble me no more. If still you think me mad, you will think so no longer when I describe the wise precautions I took for the concealment of the body. The night waned, and I worked hastily, but in silence. First of all I dismembered the corpse. I cut off the head and the arms and the legs. I then took up three planks from the flooring of the chamber, and deposited all between the scantlings. I then replaced the boards so cleverly, so cunningly, that no human eye—not even his—could have detected any thing wrong. There was nothing to wash out—no stain of any kind—no blood-spot whatever. I had been too wary for that. A tub had caught all—ha! ha! When I had made an end of these labors, it was four o’clock—still dark as midnight. As the bell sounded the hour, there came a knocking at the street door. I went down to open it with a light heart,—for what had I now to fear? There entered three men, who introduced themselves, with perfect suavity, as officers of the police. A shriek had been heard by a neighbour during the night; suspicion of foul play had been aroused; information had been lodged at the police office, and they (the officers) had been deputed to search the premises. I smiled,—for what had I to fear? I bade the gentlemen welcome. The shriek, I said, was my own in a dream. The old man, I mentioned, was absent in the country. I took my visitors all over the house. I bade them search—search well. I led them, at length, to his chamber. I showed them his treasures, secure, undisturbed. In the enthusiasm of my confidence, I brought chairs into the room, and desired them here to rest from their fatigues, while I myself, in the wild audacity of my perfect triumph, placed my own seat upon the very spot beneath which reposed the corpse of the victim. The officers were satisfied. My manner had convinced them. I was singularly at ease. They sat, and while I answered cheerily, they chatted of familiar things. But, ere long, I felt myself getting pale and wished them gone. My head ached, and I fancied a ringing in my ears: but still they sat and still chatted. The ringing became more distinct:—it continued and became more distinct: I talked more freely to get rid of the feeling: but it continued and gained definiteness—until, at length, I found that the noise was not within my ears. No doubt I now grew very pale;—but I talked more fluently, and with a heightened voice. Yet the sound increased—and what could I do? It was a low, dull, quick sound—much such a sound as a watch makes when enveloped in cotton. I gasped for breath—and yet the officers heard it not. I talked more quickly—more vehemently; but the noise steadily increased. I arose and argued about trifles, in a high key and with violent gesticulations; but the noise steadily increased. Why would they not be gone? I paced the floor to and fro with heavy strides, as if excited to fury by the observations of the men—but the noise steadily increased. Oh God! what could I do? I foamed—I raved—I swore! I swung the chair upon which I had been sitting, and grated it upon the boards, but the noise arose over all and continually increased. It grew louder—louder—louder! And still the men chatted pleasantly, and smiled. Was it possible they heard not? Almighty God!—no, no! They heard!—they suspected!—they knew!—they were making a mockery of my horror!—this I thought, and this I think. But anything was better than this agony! Anything was more tolerable than this derision! I could bear those hypocritical smiles no longer! I felt that I must scream or die! and now—again!—hark! louder! louder! louder! louder! “Villains!” I shrieked, “dissemble no more! I admit the deed!—tear up the planks!—here, here!—It is the beating of his hideous heart!” Thanks for reading Deeper Stories with Thaddeus Thomas! Subscribe for free to receive new posts and support my work. This is a public episode. 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3. 

   27 May 2024

   The Repairer of Reputations

   That which inspired H. P. Lovecraft and True Detective season 1 are the same, and there you will find Carcosa. “The King in Yellow” is said to be a play the reading of which will drive you mad, and it provides the background for the first half of the stories in Robert W. Chambers’s collection, The King in Yellow. Of those stories, the first is the most highly revered. For your reading enjoyment, should you dare, The Repairer of Reputations by Robert W. Chambers. Audio by Librivox. THE KING IN YELLOW BYROBERT W. CHAMBERSOriginal publication date: 1895 THE KING IN YELLOWIS DEDICATEDTOMY BROTHER Along the shore the cloud waves break, The twin suns sink behind the lake, The shadows lengthen In Carcosa. Strange is the night where black stars rise, And strange moons circle through the skies But stranger still is Lost Carcosa. Songs that the Hyades shall sing, Where flap the tatters of the King, Must die unheard in Dim Carcosa. Song of my soul, my voice is dead; Die thou, unsung, as tears unshed Shall dry and die in Lost Carcosa. Cassilda's Song in "The King in Yellow," Act i, Scene 2. THE REPAIRER OF REPUTATIONS I Toward the end of the year 1920 the Government of the United States had practically completed the programme, adopted during the last months of President Winthrop's administration. The country was apparently tranquil. Everybody knows how the Tariff and Labour questions were settled. The war with Germany, incident on that country's seizure of the Samoan Islands, had left no visible scars upon the republic, and the temporary occupation of Norfolk by the invading army had been forgotten in the joy over repeated naval victories, and the subsequent ridiculous plight of General Von Gartenlaube's forces in the State of New Jersey. The Cuban and Hawaiian investments had paid one hundred per cent and the territory of Samoa was well worth its cost as a coaling station. The country was in a superb state of defence. Every coast city had been well supplied with land fortifications; the army under the parental eye of the General Staff, organized according to the Prussian system, had been increased to 300,000 men, with a territorial reserve of a million; and six magnificent squadrons of cruisers and battle-ships patrolled the six stations of the navigable seas, leaving a steam reserve amply fitted to control home waters. The gentlemen from the West had at last been constrained to acknowledge that a college for the training of diplomats was as necessary as law schools are for the training of barristers; consequently we were no longer represented abroad by incompetent patriots. The nation was prosperous; Chicago, for a moment paralyzed after a second great fire, had risen from its ruins, white and imperial, and more beautiful than the white city which had been built for its plaything in 1893. Everywhere good architecture was replacing bad, and even in New York, a sudden craving for decency had swept away a great portion of the existing horrors. Streets had been widened, properly paved and lighted, trees had been planted, squares laid out, elevated structures demolished and underground roads built to replace them. The new government buildings and barracks were fine bits of architecture, and the long system of stone quays which completely surrounded the island had been turned into parks which proved a god-send to the population. The subsidizing of the state theatre and state opera brought its own reward. The United States National Academy of Design was much like European institutions of the same kind. Nobody envied the Secretary of Fine Arts, either his cabinet position or his portfolio. The Secretary of Forestry and Game Preservation had a much easier time, thanks to the new system of National Mounted Police. We had profited well by the latest treaties with France and England; the exclusion of foreign-born Jews as a measure of self-preservation, the settlement of the new independent negro state of Suanee, the checking of immigration, the new laws concerning naturalization, and the gradual centralization of power in the executive all contributed to national calm and prosperity. When the Government solved the Indian problem and squadrons of Indian cavalry scouts in native costume were substituted for the pitiable organizations tacked on to the tail of skeletonized regiments by a former Secretary of War, the nation drew a long sigh of relief. When, after the colossal Congress of Religions, bigotry and intolerance were laid in their graves and kindness and charity began to draw warring sects together, many thought the millennium had arrived, at least in the new world which after all is a world by itself. But self-preservation is the first law, and the United States had to look on in helpless sorrow as Germany, Italy, Spain and Belgium writhed in the throes of Anarchy, while Russia, watching from the Caucasus, stooped and bound them one by one. In the city of New York the summer of 1899 was signalized by the dismantling of the Elevated Railroads. The summer of 1900 will live in the memories of New York people for many a cycle; the Dodge Statue was removed in that year. In the following winter began that agitation for the repeal of the laws prohibiting suicide which bore its final fruit in the month of April, 1920, when the first Government Lethal Chamber was opened on Washington Square. I had walked down that day from Dr. Archer's house on Madison Avenue, where I had been as a mere formality. Ever since that fall from my horse, four years before, I had been troubled at times with pains in the back of my head and neck, but now for months they had been absent, and the doctor sent me away that day saying there was nothing more to be cured in me. It was hardly worth his fee to be told that; I knew it myself. Still I did not grudge him the money. What I minded was the mistake which he made at first. When they picked me up from the pavement where I lay unconscious, and somebody had mercifully sent a bullet through my horse's head, I was carried to Dr. Archer, and he, pronouncing my brain affected, placed me in his private asylum where I was obliged to endure treatment for insanity. At last he decided that I was well, and I, knowing that my mind had always been as sound as his, if not sounder, "paid my tuition" as he jokingly called it, and left. I told him, smiling, that I would get even with him for his mistake, and he laughed heartily, and asked me to call once in a while. I did so, hoping for a chance to even up accounts, but he gave me none, and I told him I would wait. The fall from my horse had fortunately left no evil results; on the contrary it had changed my whole character for the better. From a lazy young man about town, I had become active, energetic, temperate, and above all—oh, above all else—ambitious. There was only one thing which troubled me, I laughed at my own uneasiness, and yet it troubled me. During my convalescence I had bought and read for the first time, The King in Yellow. I remember after finishing the first act that it occurred to me that I had better stop. I started up and flung the book into the fireplace; the volume struck the barred grate and fell open on the hearth in the firelight. If I had not caught a glimpse of the opening words in the second act I should never have finished it, but as I stooped to pick it up, my eyes became riveted to the open page, and with a cry of terror, or perhaps it was of joy so poignant that I suffered in every nerve, I snatched the thing out of the coals and crept shaking to my bedroom, where I read it and reread it, and wept and laughed and trembled with a horror which at times assails me yet. This is the thing that troubles me, for I cannot forget Carcosa where black stars hang in the heavens; where the shadows of men's thoughts lengthen in the afternoon, when the twin suns sink into the lake of Hali; and my mind will bear for ever the memory of the Pallid Mask. I pray God will curse the writer, as the writer has cursed the world with this beautiful, stupendous creation, terrible in its simplicity, irresistible in its truth—a world which now trembles before the King in Yellow. When the French Government seized the translated copies which had just arrived in Paris, London, of course, became eager to read it. It is well known how the book spread like an infectious disease, from city to city, from continent to continent, barred out here, confiscated there, denounced by Press and pulpit, censured even by the most advanced of literary anarchists. No definite principles had been violated in those wicked pages, no doctrine promulgated, no convictions outraged. It could not be judged by any known standard, yet, although it was acknowledged that the supreme note of art had been struck in The King in Yellow, all felt that human nature could not bear the strain, nor thrive on words in which the essence of purest poison lurked. The very banality and innocence of the first act only allowed the blow to fall afterward with more awful effect. It was, I remember, the 13th day of April, 1920, that the first Government Lethal Chamber was established on the south side of Washington Square, between Wooster Street and South Fifth Avenue. The block which had formerly consisted of a lot of shabby old buildings, used as cafés and restaurants for foreigners, had been acquired by the Government in the winter of 1898. The French and Italian cafés and restaurants were torn down; the whole block was enclosed by a gilded iron railing, and converted into a lovely garden with lawns, flowers and fountains. In the centre of the garden stood a small, white building, severely classical in architecture, and surrounded by thickets of flowers. Six Ionic columns supported the roof, and the single door was of bronze. A splendid marble group of the "Fates" stood before the door, the work of a young American sculptor, Boris Yvain, who had died in Paris when only twenty-three years old. The inauguration ceremonies were in progress as I crossed University Place and entered the square. I threaded my way through the silent throng of spectators, but was stopped at Fourth Street by a cordon of police. A regiment of United States lancers were drawn up in a hollow square round the Lethal Chamber. On a raised tribune facing Washington Park stood the Governor of New York, and behind him were grouped the Mayor of New York and Brooklyn, the Inspector-General of Police, the Commandant of the state troops, Colonel Livingston, military aid to the President of the United States, General Blount, commanding at Governor's Island, Major-General Hamilton, commanding the garrison of New York and Brooklyn, Admiral Buffby of the fleet in the North River, Surgeon-General Lanceford, the staff of the National Free Hospital, Senators Wyse and Franklin of New York, and the Commissioner of Public Works. The tribune was surrounded by a squadron of hussars of the National Guard. The Governor was finishing his reply to the short speech of the Surgeon-General. I heard him say: "The laws prohibiting suicide and providing punishment for any attempt at self-destruction have been repealed. The Government has seen fit to acknowledge the right of man to end an existence which may have become intolerable to him, through physical suffering or mental despair. It is believed that the community will be benefited by the removal of such people from their midst. Since the passage of this law, the number of suicides in the United States has not increased. Now the Government has determined to establish a Lethal Chamber in every city, town and village in the country, it remains to be seen whether or not that class of human creatures from whose desponding ranks new victims of self-destruction fall daily will accept the relief thus provided." He paused, and turned to the white Lethal Chamber. The silence in the street was absolute. "There a painless death awaits him who can no longer bear the sorrows of this life. If death is welcome let him seek it there." Then quickly turning to the military aid of the President's household, he said, "I declare the Lethal Chamber open," and again facing the vast crowd he cried in a clear voice: "Citizens of New York and of the United States of America, through me the Government declares the Lethal Chamber to be open." The solemn hush was broken by a sharp cry of command, the squadron of hussars filed after the Governor's carriage, the lancers wheeled and formed along Fifth Avenue to wait for the commandant of the garrison, and the mounted police followed them. I left the crowd to gape and stare at the white marble Death Chamber, and, crossing South Fifth Avenue, walked along the western side of that thoroughfare to Bleecker Street. Then I turned to the right and stopped before a dingy shop which bore the sign: HAWBERK, ARMOURER. I glanced in at the doorway and saw Hawberk busy in his little shop at the end of the hall. He looked up, and catching sight of me cried in his deep, hearty voice, "Come in, Mr. Castaigne!" Constance, his daughter, rose to meet me as I crossed the threshold, and held out her pretty hand, but I saw the blush of disappointment on her cheeks, and knew that it was another Castaigne she had expected, my cousin Louis. I smiled at her confusion and complimented her on the banner she was embroidering from a coloured plate. Old Hawberk sat riveting the worn greaves of some ancient suit of armour, and the ting! ting! ting! of his little hammer sounded pleasantly in the quaint shop. Presently he dropped his hammer, and fussed about for a moment with a tiny wrench. The soft clash of the mail sent a thrill of pleasure through me. I loved to hear the music of steel brushing against steel, the mellow shock of the mallet on thigh pieces, and the jingle of chain armour. That was the only reason I went to see Hawberk. He had never interested me personally, nor did Constance, except for the fact of her being in love with Louis. This did occupy my attention, and sometimes even kept me awake at night. But I knew in my heart that all would come right, and that I should arrange their future as I expected to arrange that of my kind doctor, John Archer. However, I should never have troubled myself about visiting them just then, had it not been, as I say, that the music of the tinkling hammer had for me this strong fascination. I would sit for hours, listening and listening, and when a stray sunbeam struck the inlaid steel, the sensation it gave me was almost too keen to endure. My eyes would become fixed, dilating with a pleasure that stretched every nerve almost to breaking, until some movement of the old armourer cut off the ray of sunlight, then, still thrilling secretly, I leaned back and listened again to the sound of the polishing rag, swish! swish! rubbing rust from the rivets. Constance worked with the embroidery over her knees, now and then pausing to examine more closely the pattern in the coloured plate from the Metropolitan Museum. "Who is this for?" I asked. Hawberk explained, that in addition to the treasures of armour in the Metropolitan Museum of which he had been appointed armourer, he also had charge of several collections belonging to rich amateurs. This was the missing greave of a famous suit which a client of his had traced to a little shop in Paris on the Quai d'Orsay. He, Hawberk, had negotiated for and secured the greave, and now the suit was complete. He laid down his hammer and read me the history of the suit, traced since 1450 from owner to owner until it was acquired by Thomas Stainbridge. When his superb collection was sold, this client of Hawberk's bought the suit, and since then the search for the missing greave had been pushed until it was, almost by accident, located in Paris. "Did you continue the search so persistently without any certainty of the greave being still in existence?" I demanded. "Of course," he replied coolly. Then for the first time I took a personal interest in Hawberk. "It was worth something to you," I ventured. "No," he replied, laughing, "my pleasure in finding it was my reward." "Have you no ambition to be rich?" I asked, smiling. "My one ambition is to be the best armourer in the world," he answered gravely. Constance asked me if I had seen the ceremonies at the Lethal Chamber. She herself had noticed cavalry passing up Broadway that morning, and had wished to see the inauguration, but her father wanted the banner finished, and she had stayed at his request. "Did you see your cousin, Mr. Castaigne, there?" she asked, with the slightest tremor of her soft eyelashes. "No," I replied carelessly. "Louis' regiment is manœuvring out in Westchester County." I rose and picked up my hat and cane. "Are you going upstairs to see the lunatic again?" laughed old Hawberk. If Hawberk knew how I loathe that word "lunatic," he would never use it in my presence. It rouses certain feelings within me which I do not care to explain. However, I answered him quietly: "I think I shall drop in and see Mr. Wilde for a moment or two." "Poor fellow," said Constance, with a shake of the head, "it must be hard to live alone year after year poor, crippled and almost demented. It is very good of you, Mr. Castaigne, to visit him as often as you do." "I think he is vicious," observed Hawberk, beginning again with his hammer. I listened to the golden tinkle on the greave plates; when he had finished I replied: "No, he is not vicious, nor is he in the least demented. His mind is a wonder chamber, from which he can extract treasures that you and I would give years of our life to acquire."' Hawberk laughed. I continued a little impatiently: "He knows history as no one else could know it. Nothing, however trivial, escapes his search, and his memory is so absolute, so precise in details, that were it known in New York that such a man existed, the people could not honour him enough." "Nonsense," muttered Hawberk, searching on the floor for a fallen rivet. "Is it nonsense," I asked, managing to suppress what I felt, "is it nonsense when he says that the tassets and cuissards of the enamelled suit of armour commonly known as the 'Prince's Emblazoned' can be found among a mass of rusty theatrical properties, broken stoves and ragpicker's refuse in a garret in Pell Street?" Hawberk's hammer fell to the ground, but he picked it up and asked, with a great deal of calm, how I knew that the tassets and left cuissard were missing from the "Prince's Emblazoned." "I did not know until Mr. Wilde mentioned it to me the other day. He said they were in the garret of 998 Pell Street." "Nonsense," he cried, but I noticed his hand trembling under his leathern apron. "Is this nonsense too?" I asked pleasantly, "is it nonsense when Mr. Wilde continually speaks of you as the Marquis of Avonshire and of Miss Constance—" I did not finish, for Constance had started to her feet with terror written on every feature. Hawberk looked at me and slowly smoothed his leathern apron. "That is impossible," he observed, "Mr. Wilde may know a great many things—" "About armour, for instance, and the 'Prince's Emblazoned,'" I interposed, smiling. "Yes," he continued, slowly, "about armour also—may be—but he is wrong in regard to the Marquis of Avonshire, who, as you know, killed his wife's traducer years ago, and went to Australia where he did not long survive his wife." "Mr. Wilde is wrong," murmured Constance. Her lips were blanched, but her voice was sweet and calm. "Let us agree, if you please, that in this one circumstance Mr. Wilde is wrong," I said. II I climbed the three dilapidated flights of stairs, which I had so often climbed before, and knocked at a small door at the end of the corridor. Mr. Wilde opened the door and I walked in. When he had double-locked the door and pushed a heavy chest against it, he came and sat down beside me, peering up into my face with his little light-coloured eyes. Half a dozen new scratches covered his nose and cheeks, and the silver wires which supported his artificial ears had become displaced. I thought I had never seen him so hideously fascinating. He had no ears. The artificial ones, which now stood out at an angle from the fine wire, were his one weakness. They were made of wax and painted a shell pink, but the rest of his face was yellow. He might better have revelled in the luxury of some artificial fingers for his left hand, which was absolutely fingerless, but it seemed to cause him no inconvenience, and he was satisfied with his wax ears. He was very small, scarcely higher than a child of ten, but his arms were magnificently developed, and his thighs as thick as any athlete's. Still, the most remarkable thing about Mr. Wilde was that a man of his marvellous intelligence and knowledge should have such a head. It was flat and pointed, like the heads of many of those unfortunates whom people imprison in asylums for the weak-minded. Many called him insane, but I knew him to be as sane as I was. I do not deny that he was eccentric; the mania he had for keeping that cat and teasing her until she flew at his face like a demon, was certainly eccentric. I never could understand why he kept the creature, nor what pleasure he found in shutting himself up in his room with this surly, vicious beast. I remember once, glancing up from the manuscript I was studying by the light of some tallow dips, and seeing Mr. Wilde squatting motionless on his high chair, his eyes fairly blazing with excitement, while the cat, which had risen from her place before the stove, came creeping across the floor right at him. Before I could move she flattened her belly to the ground, crouched, trembled, and sprang into his face. Howling and foaming they rolled over and over on the floor, scratching and clawing, until the cat screamed and fled under the cabinet, and Mr. Wilde turned over on his back, his limbs contracting and curling up like the legs of a dying spider. He was eccentric. Mr. Wilde had climbed into his high chair, and, after studying my face, picked up a dog's-eared ledger and opened it. "Henry B. Matthews," he read, "book-keeper with Whysot Whysot and Company, dealers in church ornaments. Called April 3rd. Reputation damaged on the race-track. Known as a welcher. Reputation to be repaired by August 1st. Retainer Five Dollars." He turned the page and ran his fingerless knuckles down the closely-written columns. "P. Greene Dusenberry, Minister of the Gospel, Fairbeach, New Jersey. Reputation damaged in the Bowery. To be repaired as soon as possible. Retainer $100." He coughed and added, "Called, April 6th." "Then you are not in need of money, Mr. Wilde," I inquired. "Listen," he coughed again. "Mrs. C. Hamilton Chester, of Chester Park, New York City. Called April 7th. Reputation damaged at Dieppe, France. To be repaired by October 1st Retainer $500. "Note.—C. Hamilton Chester, Captain U.S.S. 'Avalanche', ordered home from South Sea Squadron October 1st." "Well," I said, "the profession of a Repairer of Reputations is lucrative." His colourless eyes sought mine, "I only wanted to demonstrate that I was correct. You said it was impossible to succeed as a Repairer of Reputations; that even if I did succeed in certain cases it would cost me more than I would gain by it. To-day I have five hundred men in my employ, who are poorly paid, but who pursue the work with an enthusiasm which possibly may be born of fear. These men enter every shade and grade of society; some even are pillars of the most exclusive social temples; others are the prop and pride of the financial world; still others, hold undisputed sway among the 'Fancy and the Talent.' I choose them at my leisure from those who reply to my advertisements. It is easy enough, they are all cowards. I could treble the number in twenty days if I wished. So you see, those who have in their keeping the reputations of their fellow-citizens, I have in my pay." "They may turn on you," I suggested. He rubbed his thumb over his cropped ears, and adjusted the wax substitutes. "I think not," he murmured thoughtfully, "I seldom have to apply the whip, and then only once. Besides they like their wages." "How do you apply the whip?" I demanded. His face for a moment was awful to look upon. His eyes dwindled to a pair of green sparks. "I invite them to come and have a little chat with me," he said in a soft voice. A knock at the door interrupted him, and his face resumed its amiable expression. "Who is it?" he inquired. "Mr. Steylette," was the answer. "Come to-morrow," replied Mr. Wilde. "Impossible," began the other, but was silenced by a sort of bark from Mr. Wilde. "Come to-morrow," he repeated. We heard somebody move away from the door and turn the corner by the stairway. "Who is that?" I asked. "Arnold Steylette, Owner and Editor in Chief of the great New York daily." He drummed on the ledger with his fingerless hand adding: "I pay him very badly, but he thinks it a good bargain." "Arnold Steylette!" I repeated amazed. "Yes," said Mr. Wilde, with a self-satisfied cough. The cat, which had entered the room as he spoke, hesitated, looked up at him and snarled. He climbed down from the chair and squatting on the floor, took the creature into his arms and caressed her. The cat ceased snarling and presently began a loud purring which seemed to increase in timbre as he stroked her. "Where are the notes?" I asked. He pointed to the table, and for the hundredth time I picked up the bundle of manuscript entitled— "THE IMPERIAL DYNASTY OF AMERICA." One by one I studied the well-worn pages, worn only by my own handling, and although I knew all by heart, from the beginning, "When from Carcosa, the Hyades, Hastur, and Aldebaran," to "Castaigne, Louis de Calvados, born December 19th, 1877," I read it with an eager, rapt attention, pausing to repeat parts of it aloud, and dwelling especially on "Hildred de Calvados, only son of Hildred Castaigne and Edythe Landes Castaigne, first in succession," etc., etc. When I finished, Mr. Wilde nodded and coughed. "Speaking of your legitimate ambition," he said, "how do Constance and Louis get along?" "She loves him," I replied simply. The cat on his knee suddenly turned and struck at his eyes, and he flung her off and climbed on to the chair opposite me. "And Dr. Archer! But that's a matter you can settle any time you wish," he added. "Yes," I replied, "Dr. Archer can wait, but it is time I saw my cousin Louis." "It is time," he repeated. Then he took another ledger from the table and ran over the leaves rapidly. "We are now in communication with ten thousand men," he muttered. "We can count on one hundred thousand within the first twenty-eight hours, and in forty-eight hours the state will rise en masse. The country follows the state, and the portion that will not, I mean California and the Northwest, might better never have been inhabited. I shall not send them the Yellow Sign." The blood rushed to my head, but I only answered, "A new broom sweeps clean." "The ambition of Caesar and of Napoleon pales before that which could not rest until it had seized the minds of men and controlled even their unborn thoughts," said Mr. Wilde. "You are speaking of the King in Yellow," I groaned, with a shudder. "He is a king whom emperors have served." "I am content to serve him," I replied. Mr. Wilde sat rubbing his ears with his crippled hand. "Perhaps Constance does not love him," he suggested. I started to reply, but a sudden burst of military music from the street below drowned my voice. The twentieth dragoon regiment, formerly in garrison at Mount St. Vincent, was returning from the manœuvres in Westchester County, to its new barracks on East Washington Square. It was my cousin's regiment. They were a fine lot of fellows, in their pale blue, tight-fitting jackets, jaunty busbys and white riding breeches with the double yellow stripe, into which their limbs seemed moulded. Every other squadron was armed with lances, from the metal points of which fluttered yellow and white pennons. The band passed, playing the regimental march, then came the colonel and staff, the horses crowding and trampling, while their heads bobbed in unison, and the pennons fluttered from their lance points. The troopers, who rode with the beautiful English seat, looked brown as berries from their bloodless campaign among the farms of Westchester, and the music of their sabres against the stirrups, and the jingle of spurs and carbines was delightful to me. I saw Louis riding with his squadron. He was as handsome an officer as I have ever seen. Mr. Wilde, who had mounted a chair by the window, saw him too, but said nothing. Louis turned and looked straight at Hawberk's shop as he passed, and I could see the flush on his brown cheeks. I think Constance must have been at the window. When the last troopers had clattered by, and the last pennons vanished into South Fifth Avenue, Mr. Wilde clambered out of his chair and dragged the chest away from the door. "Yes," he said, "it is time that you saw your cousin Louis." He unlocked the door and I picked up my hat and stick and stepped into the corridor. The stairs were dark. Groping about, I set my foot on something soft, which snarled and spit, and I aimed a murderous blow at the cat, but my cane shivered to splinters against the balustrade, and the beast scurried back into Mr. Wilde's room. Passing Hawberk's door again I saw him still at work on the armour, but I did not stop, and stepping out into Bleecker Street, I followed it to Wooster, skirted the grounds of the Lethal Chamber, and crossing Washington Park went straight to my rooms in the Benedick. Here I lunched comfortably, read the Herald and the Meteor, and finally went to the steel safe in my bedroom and set the time combination. The three and three-quarter minutes which it is necessary to wait, while the time lock is opening, are to me golden moments. From the instant I set the combination to the moment when I grasp the knobs and swing back the solid steel doors, I live in an ecstasy of expectation. Those moments must be like moments passed in Paradise. I know what I am to find at the end of the time limit. I know what the massive safe holds secure for me, for me alone, and the exquisite pleasure of waiting is hardly enhanced when the safe opens and I lift, from its velvet crown, a diadem of purest gold, blazing with diamonds. I do this every day, and yet the joy of waiting and at last touching again the diadem, only seems to increase as the days pass. It is a diadem fit for a King among kings, an Emperor among emperors. The King in Yellow might scorn it, but it shall be worn by his royal servant. I held it in my arms until the alarm in the safe rang harshly, and then tenderly, proudly, I replaced it and shut the steel doors. I walked slowly back into my study, which faces Washington Square, and leaned on the window sill. The afternoon sun poured into my windows, and a gentle breeze stirred the branches of the elms and maples in the park, now covered with buds and tender foliage. A flock of pigeons circled about the tower of the Memorial Church; sometimes alighting on the purple tiled roof, sometimes wheeling downward to the lotos fountain in front of the marble arch. The gardeners were busy with the flower beds around the fountain, and the freshly turned earth smelled sweet and spicy. A lawn mower, drawn by a fat white horse, clinked across the green sward, and watering-carts poured showers of spray over the asphalt drives. Around the statue of Peter Stuyvesant, which in 1897 had replaced the monstrosity supposed to represent Garibaldi, children played in the spring sunshine, and nurse girls wheeled elaborate baby carriages with a reckless disregard for the pasty-faced occupants, which could probably be explained by the presence of half a dozen trim dragoon troopers languidly lolling on the benches. Through the trees, the Washington Memorial Arch glistened like silver in the sunshine, and beyond, on the eastern extremity of the square the grey stone barracks of the dragoons, and the white granite artillery stables were alive with colour and motion. I looked at the Lethal Chamber on the corner of the square opposite. A few curious people still lingered about the gilded iron railing, but inside the grounds the paths were deserted. I watched the fountains ripple and sparkle; the sparrows had already found this new bathing nook, and the basins were covered with the dusty-feathered little things. Two or three white peacocks picked their way across the lawns, and a drab coloured pigeon sat so motionless on the arm of one of the "Fates," that it seemed to be a part of the sculptured stone. As I was turning carelessly away, a slight commotion in the group of curious loiterers around the gates attracted my attention. A young man had entered, and was advancing with nervous strides along the gravel path which leads to the bronze doors of the Lethal Chamber. He paused a moment before the "Fates," and as he raised his head to those three mysterious faces, the pigeon rose from its sculptured perch, circled about for a moment and wheeled to the east. The young man pressed his hand to his face, and then with an undefinable gesture sprang up the marble steps, the bronze doors closed behind him, and half an hour later the loiterers slouched away, and the frightened pigeon returned to its perch in the arms of Fate. I put on my hat and went out into the park for a little walk before dinner. As I crossed the central driveway a group of officers passed, and one of them called out, "Hello, Hildred," and came back to shake hands with me. It was my cousin Louis, who stood smiling and tapping his spurred heels with his riding-whip. "Just back from Westchester," he said; "been doing the bucolic; milk and curds, you know, dairy-maids in sunbonnets, who say 'haeow' and 'I don't think' when you tell them they are pretty. I'm nearly dead for a square meal at Delmonico's. What's the news?" "There is none," I replied pleasantly. "I saw your regiment coming in this morning." "Did you? I didn't see you. Where were you?" "In Mr. Wilde's window." "Oh, hell!" he began impatiently, "that man is stark mad! I don't understand why you—" He saw how annoyed I felt by this outburst, and begged my pardon. "Really, old chap," he said, "I don't mean to run down a man you like, but for the life of me I can't see what the deuce you find in common with Mr. Wilde. He's not well bred, to put it generously; he is hideously deformed; his head is the head of a criminally insane person. You know yourself he's been in an asylum—" "So have I," I interrupted calmly. Louis looked startled and confused for a moment, but recovered and slapped me heartily on the shoulder. "You were completely cured," he began; but I stopped him again. "I suppose you mean that I was simply acknowledged never to have been insane." "Of course that—that's what I meant," he laughed. I disliked his laugh because I knew it was forced, but I nodded gaily and asked him where he was going. Louis looked after his brother officers who had now almost reached Broadway. "We had intended to sample a Brunswick cocktail, but to tell you the truth I was anxious for an excuse to go and see Hawberk instead. Come along, I'll make you my excuse." We found old Hawberk, neatly attired in a fresh spring suit, standing at the door of his shop and sniffing the air. "I had just decided to take Constance for a little stroll before dinner," he replied to the impetuous volley of questions from Louis. "We thought of walking on the park terrace along the North River." At that moment Constance appeared and grew pale and rosy by turns as Louis bent over her small gloved fingers. I tried to excuse myself, alleging an engagement uptown, but Louis and Constance would not listen, and I saw I was expected to remain and engage old Hawberk's attention. After all it would be just as well if I kept my eye on Louis, I thought, and when they hailed a Spring Street horse-car, I got in after them and took my seat beside the armourer. The beautiful line of parks and granite terraces overlooking the wharves along the North River, which were built in 1910 and finished in the autumn of 1917, had become one of the most popular promenades in the metropolis. They extended from the battery to 190th Street, overlooking the noble river and affording a fine view of the Jersey shore and the Highlands opposite. Cafés and restaurants were scattered here and there among the trees, and twice a week military bands from the garrison played in the kiosques on the parapets. We sat down in the sunshine on the bench at the foot of the equestrian statue of General Sheridan. Constance tipped her sunshade to shield her eyes, and she and Louis began a murmuring conversation which was impossible to catch. Old Hawberk, leaning on his ivory headed cane, lighted an excellent cigar, the mate to which I politely refused, and smiled at vacancy. The sun hung low above the Staten Island woods, and the bay was dyed with golden hues reflected from the sun-warmed sails of the shipping in the harbour. Brigs, schooners, yachts, clumsy ferry-boats, their decks swarming with people, railroad transports carrying lines of brown, blue and white freight cars, stately sound steamers, déclassé tramp steamers, coasters, dredgers, scows, and everywhere pervading the entire bay impudent little tugs puffing and whistling officiously;—these were the craft which churned the sunlight waters as far as the eye could reach. In calm contrast to the hurry of sailing vessel and steamer a silent fleet of white warships lay motionless in midstream. Constance's merry laugh aroused me from my reverie. "What are you staring at?" she inquired. "Nothing—the fleet," I smiled. Then Louis told us what the vessels were, pointing out each by its relative position to the old Red Fort on Governor's Island. "That little cigar shaped thing is a torpedo boat," he explained; "there are four more lying close together. They are the Tarpon, the Falcon, the Sea Fox, and the Octopus. The gun-boats just above are the Princeton, the Champlain, the Still Water and the Erie. Next to them lie the cruisers Faragut and Los Angeles, and above them the battle ships California, and Dakota, and the Washington which is the flag ship. Those two squatty looking chunks of metal which are anchored there off Castle William are the double turreted monitors Terrible and Magnificent; behind them lies the ram, Osceola." Constance looked at him with deep approval in her beautiful eyes. "What loads of things you know for a soldier," she said, and we all joined in the laugh which followed. Presently Louis rose with a nod to us and offered his arm to Constance, and they strolled away along the river wall. Hawberk watched them for a moment and then turned to me. "Mr. Wilde was right," he said. "I have found the missing tassets and left cuissard of the 'Prince's Emblazoned,' in a vile old junk garret in Pell Street." "998?" I inquired, with a smile. "Yes." "Mr. Wilde is a very intelligent man," I observed. "I want to give him the credit of this most important discovery," continued Hawberk. "And I intend it shall be known that he is entitled to the fame of it." "He won't thank you for that," I answered sharply; "please say nothing about it." "Do you know what it is worth?" said Hawberk. "No, fifty dollars, perhaps." "It is valued at five hundred, but the owner of the 'Prince's Emblazoned' will give two thousand dollars to the person who completes his suit; that reward also belongs to Mr. Wilde." "He doesn't want it! He refuses it!" I answered angrily. "What do you know about Mr. Wilde? He doesn't need the money. He is rich—or will be—richer than any living man except myself. What will we care for money then—what will we care, he and I, when—when—" "When what?" demanded Hawberk, astonished. "You will see," I replied, on my guard again. He looked at me narrowly, much as Doctor Archer used to, and I knew he thought I was mentally unsound. Perhaps it was fortunate for him that he did not use the word lunatic just then. "No," I replied to his unspoken thought, "I am not mentally weak; my mind is as healthy as Mr. Wilde's. I do not care to explain just yet what I have on hand, but it is an investment which will pay more than mere gold, silver and precious stones. It will secure the happiness and prosperity of a continent—yes, a hemisphere!" "Oh," said Hawberk. "And eventually," I continued more quietly, "it will secure the happiness of the whole world." "And incidentally your own happiness and prosperity as well as Mr. Wilde's?" "Exactly," I smiled. But I could have throttled him for taking that tone. He looked at me in silence for a while and then said very gently, "Why don't you give up your books and studies, Mr. Castaigne, and take a tramp among the mountains somewhere or other? You used to be fond of fishing. Take a cast or two at the trout in the Rangelys." "I don't care for fishing any more," I answered, without a shade of annoyance in my voice. "You used to be fond of everything," he continued; "athletics, yachting, shooting, riding—" "I have never cared to ride since my fall," I said quietly. "Ah, yes, your fall," he repeated, looking away from me. I thought this nonsense had gone far enough, so I brought the conversation back to Mr. Wilde; but he was scanning my face again in a manner highly offensive to me. "Mr. Wilde," he repeated, "do you know what he did this afternoon? He came downstairs and nailed a sign over the hall door next to mine; it read: MR. WILDE,REPAIRER OF REPUTATIONS.Third Bell. "Do you know what a Repairer of Reputations can be?" "I do," I replied, suppressing the rage within. "Oh," he said again. Louis and Constance came strolling by and stopped to ask if we would join them. Hawberk looked at his watch. At the same moment a puff of smoke shot from the casemates of Castle William, and the boom of the sunset gun rolled across the water and was re-echoed from the Highlands opposite. The flag came running down from the flag-pole, the bugles sounded on the white decks of the warships, and the first electric light sparkled out from the Jersey shore. As I turned into the city with Hawberk I heard Constance murmur something to Louis which I did not understand; but Louis whispered "My darling," in reply; and again, walking ahead with Hawberk through the square I heard a murmur of "sweetheart," and "my own Constance," and I knew the time had nearly arrived when I should speak of important matters with my cousin Louis. III One morning early in May I stood before the steel safe in my bedroom, trying on the golden jewelled crown. The diamonds flashed fire as I turned to the mirror, and the heavy beaten gold burned like a halo about my head. I remembered Camilla's agonized scream and the awful words echoing through the dim streets of Carcosa. They were the last lines in the first act, and I dared not think of what followed—dared not, even in the spring sunshine, there in my own room, surrounded with familiar objects, reassured by the bustle from the street and the voices of the servants in the hallway outside. For those poisoned words had dropped slowly into my heart, as death-sweat drops upon a bed-sheet and is absorbed. Trembling, I put the diadem from my head and wiped my forehead, but I thought of Hastur and of my own rightful ambition, and I remembered Mr. Wilde as I had last left him, his face all torn and bloody from the claws of that devil's creature, and what he said—ah, what he said. The alarm bell in the safe began to whirr harshly, and I knew my time was up; but I would not heed it, and replacing the flashing circlet upon my head I turned defiantly to the mirror. I stood for a long time absorbed in the changing expression of my own eyes. The mirror reflected a face which was like my own, but whiter, and so thin that I hardly recognized it. And all the time I kept repeating between my clenched teeth, "The day has come! the day has come!" while the alarm in the safe whirred and clamoured, and the diamonds sparkled and flamed above my brow. I heard a door open but did not heed it. It was only when I saw two faces in the mirror:—it was only when another face rose over my shoulder, and two other eyes met mine. I wheeled like a flash and seized a long knife from my dressing-table, and my cousin sprang back very pale, crying: "Hildred! for God's sake!" then as my hand fell, he said: "It is I, Louis, don't you know me?" I stood silent. I could not have spoken for my life. He walked up to me and took the knife from my hand. "What is all this?" he inquired, in a gentle voice. "Are you ill?" "No," I replied. But I doubt if he heard me. "Come, come, old fellow," he cried, "take off that brass crown and toddle into the study. Are you going to a masquerade? What's all this theatrical tinsel anyway?" I was glad he thought the crown was made of brass and paste, yet I didn't like him any the better for thinking so. I let him take it from my hand, knowing it was best to humour him. He tossed the splendid diadem in the air, and catching it, turned to me smiling. "It's dear at fifty cents," he said. "What's it for?" I did not answer, but took the circlet from his hands, and placing it in the safe shut the massive steel door. The alarm ceased its infernal din at once. He watched me curiously, but did not seem to notice the sudden ceasing of the alarm. He did, however, speak of the safe as a biscuit box. Fearing lest he might examine the combination I led the way into my study. Louis threw himself on the sofa and flicked at flies with his eternal riding-whip. He wore his fatigue uniform with the braided jacket and jaunty cap, and I noticed that his riding-boots were all splashed with red mud. "Where have you been?" I inquired. "Jumping mud creeks in Jersey," he said. "I haven't had time to change yet; I was rather in a hurry to see you. Haven't you got a glass of something? I'm dead tired; been in the saddle twenty-four hours." I gave him some brandy from my medicinal store, which he drank with a grimace. "Damned bad stuff," he observed. "I'll give you an address where they sell brandy that is brandy." "It's good enough for my needs," I said indifferently. "I use it to rub my chest with." He stared and flicked at another fly. "See here, old fellow," he began, "I've got something to suggest to you. It's four years now that you've shut yourself up here like an owl, never going anywhere, never taking any healthy exercise, never doing a damn thing but poring over those books up there on the mantelpiece." He glanced along the row of shelves. "Napoleon, Napoleon, Napoleon!" he read. "For heaven's sake, have you nothing but Napoleons there?" "I wish they were bound in gold," I said. "But wait, yes, there is another book, The King in Yellow." I looked him steadily in the eye. "Have you never read it?" I asked. "I? No, thank God! I don't want to be driven crazy." I saw he regretted his speech as soon as he had uttered it. There is only one word which I loathe more than I do lunatic and that word is crazy. But I controlled myself and asked him why he thought The King in Yellow dangerous. "Oh, I don't know," he said, hastily. "I only remember the excitement it created and the denunciations from pulpit and Press. I believe the author shot himself after bringing forth this monstrosity, didn't he?" "I understand he is still alive," I answered. "That's probably true," he muttered; "bullets couldn't kill a fiend like that." "It is a book of great truths," I said. "Yes," he replied, "of 'truths' which send men frantic and blast their lives. I don't care if the thing is, as they say, the very supreme essence of art. It's a crime to have written it, and I for one shall never open its pages." "Is that what you have come to tell me?" I asked. "No," he said, "I came to tell you that I am going to be married." I believe for a moment my heart ceased to beat, but I kept my eyes on his face. "Yes," he continued, smiling happily, "married to the sweetest girl on earth." "Constance Hawberk," I said mechanically. "How did you know?" he cried, astonished. "I didn't know it myself until that evening last April, when we strolled down to the embankment before dinner." "When is it to be?" I asked. "It was to have been next September, but an hour ago a despatch came ordering our regiment to the Presidio, San Francisco. We leave at noon to-morrow. To-morrow," he repeated. "Just think, Hildred, to-morrow I shall be the happiest fellow that ever drew breath in this jolly world, for Constance will go with me." I offered him my hand in congratulation, and he seized and shook it like the good-natured fool he was—or pretended to be. "I am going to get my squadron as a wedding present," he rattled on. "Captain and Mrs. Louis Castaigne, eh, Hildred?" Then he told me where it was to be and who were to be there, and made me promise to come and be best man. I set my teeth and listened to his boyish chatter without showing what I felt, but— I was getting to the limit of my endurance, and when he jumped up, and, switching his spurs till they jingled, said he must go, I did not detain him. "There's one thing I want to ask of you," I said quietly. "Out with it, it's promised," he laughed. "I want you to meet me for a quarter of an hour's talk to-night." "Of course, if you wish," he said, somewhat puzzled. "Where?" "Anywhere, in the park there." "What time, Hildred?" "Midnight." "What in the name of—" he began, but checked himself and laughingly assented. I watched him go down the stairs and hurry away, his sabre banging at every stride. He turned into Bleecker Street, and I knew he was going to see Constance. I gave him ten minutes to disappear and then followed in his footsteps, taking with me the jewelled crown and the silken robe embroidered with the Yellow Sign. When I turned into Bleecker Street, and entered the doorway which bore the sign— MR. WILDE,REPAIRER OF REPUTATIONS.Third Bell. I saw old Hawberk moving about in his shop, and imagined I heard Constance's voice in the parlour; but I avoided them both and hurried up the trembling stairways to Mr. Wilde's apartment. I knocked and entered without ceremony. Mr. Wilde lay groaning on the floor, his face covered with blood, his clothes torn to shreds. Drops of blood were scattered about over the carpet, which had also been ripped and frayed in the evidently recent struggle. "It's that cursed cat," he said, ceasing his groans, and turning his colourless eyes to me; "she attacked me while I was asleep. I believe she will kill me yet." This was too much, so I went into the kitchen, and, seizing a hatchet from the pantry, started to find the infernal beast and settle her then and there. My search was fruitless, and after a while I gave it up and came back to find Mr. Wilde squatting on his high chair by the table. He had washed his face and changed his clothes. The great furrows which the cat's claws had ploughed up in his face he had filled with collodion, and a rag hid the wound in his throat. I told him I should kill the cat when I came across her, but he only shook his head and turned to the open ledger before him. He read name after name of the people who had come to him in regard to their reputation, and the sums he had amassed were startling. "I put on the screws now and then," he explained. "One day or other some of these people will assassinate you," I insisted. "Do you think so?" he said, rubbing his mutilated ears. It was useless to argue with him, so I took down the manuscript entitled Imperial Dynasty of America, for the last time I should ever take it down in Mr. Wilde's study. I read it through, thrilling and trembling with pleasure. When I had finished Mr. Wilde took the manuscript and, turning to the dark passage which leads from his study to his bed-chamber, called out in a loud voice, "Vance." Then for the first time, I noticed a man crouching there in the shadow. How I had overlooked him during my search for the cat, I cannot imagine. "Vance, come in," cried Mr. Wilde. The figure rose and crept towards us, and I shall never forget the face that he raised to mine, as the light from the window illuminated it. "Vance, this is Mr. Castaigne," said Mr. Wilde. Before he had finished speaking, the man threw himself on the ground before the table, crying and grasping, "Oh, God! Oh, my God! Help me! Forgive me! Oh, Mr. Castaigne, keep that man away. You cannot, you cannot mean it! You are different—save me! I am broken down—I was in a madhouse and now—when all was coming right—when I had forgotten the King—the King in Yellow and—but I shall go mad again—I shall go mad—" His voice died into a choking rattle, for Mr. Wilde had leapt on him and his right hand encircled the man's throat. When Vance fell in a heap on the floor, Mr. Wilde clambered nimbly into his chair again, and rubbing his mangled ears with the stump of his hand, turned to me and asked me for the ledger. I reached it down from the shelf and he opened it. After a moment's searching among the beautifully written pages, he coughed complacently, and pointed to the name Vance. "Vance," he read aloud, "Osgood Oswald Vance." At the sound of his name, the man on the floor raised his head and turned a convulsed face to Mr. Wilde. His eyes were injected with blood, his lips tumefied. "Called April 28th," continued Mr. Wilde. "Occupation, cashier in the Seaforth National Bank; has served a term of forgery at Sing Sing, from whence he was transferred to the Asylum for the Criminal Insane. Pardoned by the Governor of New York, and discharged from the Asylum, January 19, 1918. Reputation damaged at Sheepshead Bay. Rumours that he lives beyond his income. Reputation to be repaired at once. Retainer $1,500. "Note.—Has embezzled sums amounting to $30,000 since March 20, 1919, excellent family, and secured present position through uncle's influence. Father, President of Seaforth Bank." I looked at the man on the floor. "Get up, Vance," said Mr. Wilde in a gentle voice. Vance rose as if hypnotized. "He will do as we suggest now," observed Mr. Wilde, and opening the manuscript, he read the entire history of the Imperial Dynasty of America. Then in a kind and soothing murmur he ran over the important points with Vance, who stood like one stunned. His eyes were so blank and vacant that I imagined he had become half-witted, and remarked it to Mr. Wilde who replied that it was of no consequence anyway. Very patiently we pointed out to Vance what his share in the affair would be, and he seemed to understand after a while. Mr. Wilde explained the manuscript, using several volumes on Heraldry, to substantiate the result of his researches. He mentioned the establishment of the Dynasty in Carcosa, the lakes which connected Hastur, Aldebaran and the mystery of the Hyades. He spoke of Cassilda and Camilla, and sounded the cloudy depths of Demhe, and the Lake of Hali. "The scolloped tatters of the King in Yellow must hide Yhtill forever," he muttered, but I do not believe Vance heard him. Then by degrees he led Vance along the ramifications of the Imperial family, to Uoht and Thale, from Naotalba and Phantom of Truth, to Aldones, and then tossing aside his manuscript and notes, he began the wonderful story of the Last King. Fascinated and thrilled I watched him. He threw up his head, his long arms were stretched out in a magnificent gesture of pride and power, and his eyes blazed deep in their sockets like two emeralds. Vance listened stupefied. As for me, when at last Mr. Wilde had finished, and pointing to me, cried, "The cousin of the King!" my head swam with excitement. Controlling myself with a superhuman effort, I explained to Vance why I alone was worthy of the crown and why my cousin must be exiled or die. I made him understand that my cousin must never marry, even after renouncing all his claims, and how that least of all he should marry the daughter of the Marquis of Avonshire and bring England into the question. I showed him a list of thousands of names which Mr. Wilde had drawn up; every man whose name was there had received the Yellow Sign which no living human being dared disregard. The city, the state, the whole land, were ready to rise and tremble before the Pallid Mask. The time had come, the people should know the son of Hastur, and the whole world bow to the black stars which hang in the sky over Carcosa. Vance leaned on the table, his head buried in his hands. Mr. Wilde drew a rough sketch on the margin of yesterday's Herald with a bit of lead pencil. It was a plan of Hawberk's rooms. Then he wrote out the order and affixed the seal, and shaking like a palsied man I signed my first writ of execution with my name Hildred-Rex. Mr. Wilde clambered to the floor and unlocking the cabinet, took a long square box from the first shelf. This he brought to the table and opened. A new knife lay in the tissue paper inside and I picked it up and handed it to Vance, along with the order and the plan of Hawberk's apartment. Then Mr. Wilde told Vance he could go; and he went, shambling like an outcast of the slums. I sat for a while watching the daylight fade behind the square tower of the Judson Memorial Church, and finally, gathering up the manuscript and notes, took my hat and started for the door. Mr. Wilde watched me in silence. When I had stepped into the hall I looked back. Mr. Wilde's small eyes were still fixed on me. Behind him, the shadows gathered in the fading light. Then I closed the door behind me and went out into the darkening streets. I had eaten nothing since breakfast, but I was not hungry. A wretched, half-starved creature, who stood looking across the street at the Lethal Chamber, noticed me and came up to tell me a tale of misery. I gave him money, I don't know why, and he went away without thanking me. An hour later another outcast approached and whined his story. I had a blank bit of paper in my pocket, on which was traced the Yellow Sign, and I handed it to him. He looked at it stupidly for a moment, and then with an uncertain glance at me, folded it with what seemed to me exaggerated care and placed it in his bosom. The electric lights were sparkling among the trees, and the new moon shone in the sky above the Lethal Chamber. It was tiresome waiting in the square; I wandered from the Marble Arch to the artillery stables and back again to the lotos fountain. The flowers and grass exhaled a fragrance which troubled me. The jet of the fountain played in the moonlight, and the musical splash of falling drops reminded me of the tinkle of chained mail in Hawberk's shop. But it was not so fascinating, and the dull sparkle of the moonlight on the water brought no such sensations of exquisite pleasure, as when the sunshine played over the polished steel of a corselet on Hawberk's knee. I watched the bats darting and turning above the water plants in the fountain basin, but their rapid, jerky flight set my nerves on edge, and I went away again to walk aimlessly to and fro among the trees. The artillery stables were dark, but in the cavalry barracks the officers' windows were brilliantly lighted, and the sallyport was constantly filled with troopers in fatigue, carrying straw and harness and baskets filled with tin dishes. Twice the mounted sentry at the gates was changed while I wandered up and down the asphalt walk. I looked at my watch. It was nearly time. The lights in the barracks went out one by one, the barred gate was closed, and every minute or two an officer passed in through the side wicket, leaving a rattle of accoutrements and a jingle of spurs on the night air. The square had become very silent. The last homeless loiterer had been driven away by the grey-coated park policeman, the car tracks along Wooster Street were deserted, and the only sound which broke the stillness was the stamping of the sentry's horse and the ring of his sabre against the saddle pommel. In the barracks, the officers' quarters were still lighted, and military servants passed and repassed before the bay windows. Twelve o'clock sounded from the new spire of St. Francis Xavier, and at the last stroke of the sad-toned bell a figure passed through the wicket beside the portcullis, returned the salute of the sentry, and crossing the street entered the square and advanced toward the Benedick apartment house. "Louis," I called. The man pivoted on his spurred heels and came straight toward me. "Is that you, Hildred?" "Yes, you are on time." I took his offered hand, and we strolled toward the Lethal Chamber. He rattled on about his wedding and the graces of Constance, and their future prospects, calling my attention to his captain's shoulder-straps, and the triple gold arabesque on his sleeve and fatigue cap. I believe I listened as much to the music of his spurs and sabre as I did to his boyish babble, and at last we stood under the elms on the Fourth Street corner of the square opposite the Lethal Chamber. Then he laughed and asked me what I wanted with him. I motioned him to a seat on a bench under the electric light, and sat down beside him. He looked at me curiously, with that same searching glance which I hate and fear so in doctors. I felt the insult of his look, but he did not know it, and I carefully concealed my feelings. "Well, old chap," he inquired, "what can I do for you?" I drew from my pocket the manuscript and notes of the Imperial Dynasty of America, and looking him in the eye said: "I will tell you. On your word as a soldier, promise me to read this manuscript from beginning to end, without asking me a question. Promise me to read these notes in the same way, and promise me to listen to what I have to tell later." "I promise, if you wish it," he said pleasantly. "Give me the paper, Hildred." He began to read, raising his eyebrows with a puzzled, whimsical air, which made me tremble with suppressed anger. As he advanced his, eyebrows contracted, and his lips seemed to form the word "rubbish." Then he looked slightly bored, but apparently for my sake read, with an attempt at interest, which presently ceased to be an effort. He started when in the closely written pages he came to his own name, and when he came to mine he lowered the paper, and looked sharply at me for a moment. But he kept his word, and resumed his reading, and I let the half-formed question die on his lips unanswered. When he came to the end and read the signature of Mr. Wilde, he folded the paper carefully and returned it to me. I handed him the notes, and he settled back, pushing his fatigue cap up to his forehead, with a boyish gesture, which I remembered so well in school. I watched his face as he read, and when he finished I took the notes with the manuscript, and placed them in my pocket. Then I unfolded a scroll marked with the Yellow Sign. He saw the sign, but he did not seem to recognize it, and I called his attention to it somewhat sharply. "Well," he said, "I see it. What is it?" "It is the Yellow Sign," I said angrily. "Oh, that's it, is it?" said Louis, in that flattering voice, which Doctor Archer used to employ with me, and would probably have employed again, had I not settled his affair for him. I kept my rage down and answered as steadily as possible, "Listen, you have engaged your word?" "I am listening, old chap," he replied soothingly. I began to speak very calmly. "Dr. Archer, having by some means become possessed of the secret of the Imperial Succession, attempted to deprive me of my right, alleging that because of a fall from my horse four years ago, I had become mentally deficient. He presumed to place me under restraint in his own house in hopes of either driving me insane or poisoning me. I have not forgotten it. I visited him last night and the interview was final." Louis turned quite pale, but did not move. I resumed triumphantly, "There are yet three people to be interviewed in the interests of Mr. Wilde and myself. They are my cousin Louis, Mr. Hawberk, and his daughter Constance." Louis sprang to his feet and I arose also, and flung the paper marked with the Yellow Sign to the ground. "Oh, I don't need that to tell you what I have to say," I cried, with a laugh of triumph. "You must renounce the crown to me, do you hear, to me." Louis looked at me with a startled air, but recovering himself said kindly, "Of course I renounce the—what is it I must renounce?" "The crown," I said angrily. "Of course," he answered, "I renounce it. Come, old chap, I'll walk back to your rooms with you." "Don't try any of your doctor's tricks on me," I cried, trembling with fury. "Don't act as if you think I am insane." "What nonsense," he replied. "Come, it's getting late, Hildred." "No," I shouted, "you must listen. You cannot marry, I forbid it. Do you hear? I forbid it. You shall renounce the crown, and in reward I grant you exile, but if you refuse you shall die." He tried to calm me, but I was roused at last, and drawing my long knife barred his way. Then I told him how they would find Dr. Archer in the cellar with his throat open, and I laughed in his face when I thought of Vance and his knife, and the order signed by me. "Ah, you are the King," I cried, "but I shall be King. Who are you to keep me from Empire over all the habitable earth! I was born the cousin of a king, but I shall be King!" Louis stood white and rigid before me. Suddenly a man came running up Fourth Street, entered the gate of the Lethal Temple, traversed the path to the bronze doors at full speed, and plunged into the death chamber with the cry of one demented, and I laughed until I wept tears, for I had recognized Vance, and knew that Hawberk and his daughter were no longer in my way. "Go," I cried to Louis, "you have ceased to be a menace. You will never marry Constance now, and if you marry any one else in your exile, I will visit you as I did my doctor last night. Mr. Wilde takes charge of you to-morrow." Then I turned and darted into South Fifth Avenue, and with a cry of terror Louis dropped his belt and sabre and followed me like the wind. I heard him close behind me at the corner of Bleecker Street, and I dashed into the doorway under Hawberk's sign. He cried, "Halt, or I fire!" but when he saw that I flew up the stairs leaving Hawberk's shop below, he left me, and I heard him hammering and shouting at their door as though it were possible to arouse the dead. Mr. Wilde's door was open, and I entered crying, "It is done, it is done! Let the nations rise and look upon their King!" but I could not find Mr. Wilde, so I went to the cabinet and took the splendid diadem from its case. Then I drew on the white silk robe, embroidered with the Yellow Sign, and placed the crown upon my head. At last I was King, King by my right in Hastur, King because I knew the mystery of the Hyades, and my mind had sounded the depths of the Lake of Hali. I was King! The first grey pencillings of dawn would raise a tempest which would shake two hemispheres. Then as I stood, my every nerve pitched to the highest tension, faint with the joy and splendour of my thought, without, in the dark passage, a man groaned. I seized the tallow dip and sprang to the door. The cat passed me like a demon, and the tallow dip went out, but my long knife flew swifter than she, and I heard her screech, and I knew that my knife had found her. For a moment I listened to her tumbling and thumping about in the darkness, and then when her frenzy ceased, I lighted a lamp and raised it over my head. Mr. Wilde lay on the floor with his throat torn open. At first I thought he was dead, but as I looked, a green sparkle came into his sunken eyes, his mutilated hand trembled, and then a spasm stretched his mouth from ear to ear. For a moment my terror and despair gave place to hope, but as I bent over him his eyeballs rolled clean around in his head, and he died. Then while I stood, transfixed with rage and despair, seeing my crown, my empire, every hope and every ambition, my very life, lying prostrate there with the dead master, they came, seized me from behind, and bound me until my veins stood out like cords, and my voice failed with the paroxysms of my frenzied screams. But I still raged, bleeding and infuriated among them, and more than one policeman felt my sharp teeth. Then when I could no longer move they came nearer; I saw old Hawberk, and behind him my cousin Louis' ghastly face, and farther away, in the corner, a woman, Constance, weeping softly. "Ah! I see it now!" I shrieked. "You have seized the throne and the empire. Woe! woe to you who are crowned with the crown of the King in Yellow!" [EDITOR'S NOTE.—Mr. Castaigne died yesterday in the Asylum for Criminal Insane.] This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thaddeusthomas.com (https://www.thaddeusthomas.com?utm_medium=podcast&utm_campaign=CTA_1)

4. 

   26 May 2024

   Notes on the Writing of Weird Fiction

   My first inclination was to rewrite Lovecraft’s “Notes on Writing Weird Fiction,” using a flow of text that my contemporary mind could better grasp. I began to do just that, but as Lovecraft got going, his language settled into something that didn’t need any modification, even to my ears. Purists won’t like the changes, but they extend only 3.5 lines deep before it’s all Lovecraft. Notes on Writing Weird Fiction I write to see clearly the impressions of wonder that art and literature convey, and I choose weird fiction because it suits me best. My wish to violate the limitations of space-time and the natural laws which imprison us is granted in these stories, where we can find the freedom of our curiosity about the infinite cosmic space beyond the radius of our sight and analysis. Fear is our deepest and strongest emotion, and the one which best lends itself to the creation of these nature-defying illusions. Horror and the unknown or the strange are always closely connected, so that it is hard to create a convincing picture of shattered natural law or cosmic alienage or “outsideness” without laying stress on the emotion of fear. The reason why time plays a great part in so many of my tales is that this element looms up in my mind as the most profoundly dramatic and grimly terrible thing in the universe. Conflict with time seems to me the most potent and fruitful theme in all human expression. While my chosen form of story-writing is obviously a special and perhaps a narrow one, it is none the less a persistent and permanent type of expression, as old as literature itself. There will always be a small percentage of persons who feel a burning curiosity about unknown outer space, and a burning desire to escape from the prison-house of the known and the real into those enchanted lands of incredible adventure and infinite possibilities which dreams open up to us, and which things like deep woods, fantastic urban towers, and flaming sunsets momentarily suggest. These persons include great authors as well as insignificant amateurs like myself—Dunsany, Poe, Arthur Machen, M. R. James, Algernon Blackwood, and Walter de la Mare being typical masters in this field. As to how I write a story—there is no one way. Each one of my tales has a different history. Once or twice I have literally written out a dream; but usually I start with a mood or idea or image which I wish to express, and revolve it in my mind until I can think of a good way of embodying it in some chain of dramatic occurrences capable of being recorded in concrete terms. I tend to run through a mental list of the basic conditions or situations best adapted to such a mood or idea or image, and then begin to speculate on logical and naturally motivated explanations of the given mood or idea or image in terms of the basic condition or situation chosen. The actual process of writing is of course as varied as the choice of theme and initial conception; but if the history of all my tales were analysed, it is just possible that the following set of rules might be deduced from the average procedure: (1) Prepare a synopsis or scenario of events in the order of their absolute occurrence —not the order of their narration. Describe with enough fullness to cover all vital points and motivate all incidents planned. Details, comments, and estimates of consequences are sometimes desirable in this temporary framework. (2) Prepare a second synopsis or scenario of events—this one in order of narration (not actual occurrence), with ample fullness and detail, and with notes as to changing perspective, stresses, and climax. Change the original synopsis to fit if such a change will increase the dramatic force or general effectiveness of the story. Interpolate or delete incidents at will—never being bound by the original conception even if the ultimate result be a tale wholly different from that first planned. Let additions and alterations be made whenever suggested by anything in the formulating process. (3) Write out the story—rapidly, fluently, and not too critically—following the second or narrative-order synopsis. Change incidents and plot whenever the developing process seems to suggest such change, never being bound by any previous design. If the development suddenly reveals new opportunities for dramatic effect or vivid storytelling, add whatever is thought advantageous—going back and reconciling the early parts to the new plan. Insert and delete whole sections if necessary or desirable, trying different beginnings and endings until the best arrangement is found. But be sure that all references throughout the story are thoroughly reconciled with the final design. Remove all possible superfluities—words, sentences, paragraphs, or whole episodes or elements—observing the usual precautions about the reconciling of all references. (4) Revise the entire text, paying attention to vocabulary, syntax, rhythm of prose, proportioning of parts, niceties of tone, grace and convincingness or transitions (scene to scene, slow and detailed action to rapid and sketchy time-covering action and vice versa. . . . etc., etc., etc.), effectiveness of beginning, ending, climaxes, etc., dramatic suspense and interest, plausibility and atmosphere, and various other elements. (5) Prepare a neatly typed copy—not hesitating to add final revisory touches where they seem in order. The first of these stages is often purely a mental one—a set of conditions and happenings being worked out in my head, and never set down until I am ready to prepare a detailed synopsis of events in order of narration. Then, too, I sometimes begin even the actual writing before I know how I shall develop the idea—this beginning forming a problem to be motivated and exploited. There are, I think, four distinct types of weird story; one expressing a mood or feeling, another expressing a pictorial conception, a third expressing a general situation, condition, legend, or intellectual conception, and a fourth explaining a definite tableau or specific dramatic situation or climax. In another way, weird tales may be grouped into two rough categories—those in which the marvel or horror concerns some condition or phenomenon, and those in which it concerns some action of persons in connection with a bizarre condition or phenomenon. Each weird story—to speak more particularly of the horror type—seems to involve five definite elements: (a) some basic, underlying horror or abnormality—condition, entity, etc.—, (b) the general effects or bearings of the horror, (c) the mode of manifestation—object embodying the horror and phenomena observed—, (d) the types of fear-reaction pertaining to the horror, and (e) the specific effects of the horror in relation to the given set of conditions. In writing a weird story I always try very carefully to achieve the right mood and atmosphere, and place the emphasis where it belongs. One cannot, except in immature pulp charlatan–fiction, present an account of impossible, improbable, or inconceivable phenomena as a commonplace narrative of objective acts and conventional emotions. Inconceivable events and conditions have a special handicap to overcome, and this can be accomplished only through the maintenance of a careful realism in every phase of the story except that touching on the one given marvel. This marvel must be treated very impressively and deliberately—with a careful emotional “build-up”—else it will seem flat and unconvincing. Being the principal thing in the story, its mere existence should overshadow the characters and events. But the characters and events must be consistent and natural except where they touch the single marvel. In relation to the central wonder, the characters should show the same overwhelming emotion which similar characters would show toward such a wonder in real life. Never have a wonder taken for granted. Even when the characters are supposed to be accustomed to the wonder I try to weave an air of awe and impressiveness corresponding to what the reader should feel. A casual style ruins any serious fantasy. Atmosphere, not action, is the great desideratum of weird fiction. Indeed, all that a wonder story can ever be is a vivid picture of a certain type of human mood. The moment it tries to be anything else it becomes cheap, puerile, and unconvincing. Prime emphasis should be given to subtle suggestion—imperceptible hints and touches of selective associative detail which express shadings of moods and build up a vague illusion of the strange reality of the unreal. Avoid bald catalogues of incredible happenings which can have no substance or meaning apart from a sustaining cloud of colour and symbolism. These are the rules or standards which I have followed—consciously or unconsciously—ever since I first attempted the serious writing of fantasy. That my results are successful may well be disputed—but I feel at least sure that, had I ignored the considerations mentioned in the last few paragraphs, they would have been much worse than they are. H.P. Lovecraft (modifications in italics) This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thaddeusthomas.com (https://www.thaddeusthomas.com?utm_medium=podcast&utm_campaign=CTA_1)

5. 

   22 May 2024

   A Girl Dreams of Another World

   This is Deeper Stories, and I’m Thaddeus Thomas. If you enjoy this podcast, visit me at thaddeusthomas.com and gain access to my entire library at books.thaddeusthomas.com. Today, we continue our analysis of the stories in Dubliners. I enjoy Carl Jung more as an idea than a reality, and that attitude reflects my issues with literary analysis as well. Imagine the Judge from Blood Meridian, jotting down all the wonders of the world in his little notebook to claim ownership over them, writing down unique discoveries only to destroy the original so only his interpretation remains. It may not be fair, but I get that feeling with Jung categorizing the unconscious and with many critics analyzing literature. It takes something expansive and makes it small, definite, and easy to control. The color brown symbolizes the drabness of Dublin and the empty house, lost dreams. It all sounds like Jung prescribing archetypes and letting all the wonder out of the balloon of possibility. It’s not fair of me. I know. It’s an emotional reaction. I’ve talked before about how I want to approach the analysis of literature, and that is pulling out the themes and meaning of the text and then discussing how the symbolism bolsters that meaning. Outside of that frame work, assigning meaning to symbols feels prescriptive instead of descriptive. Look back at our study of Virginia Woolf’s story, A Haunted House. Both analyses I listened to focused on the eternal nature of love as the story’s theme, and I’m not saying they were wrong. That’s as good an approach to the story as any, but they never demonstrated a reasoning for that meaning within the narrative. They see the two ghostly lovers, and that MUST be the meaning. It simply is. Now, you may entirely disagree with my conclusions, but you’ll know how I got there. Speaking of A Haunted House, whenever possible, I include an audio of the stories. The Librivox for these stories has been wonderful, so I’ve gone with that. One day, I’ll need to start recording them, myself, but I’m delaying that as much as possible. As far as textual readings, I include the text as posts hear on my site, but there’s another option. Web-based books for everything we analyze here can be found in the Deeper Stories Library, as long as we’re analyzing something in the public domain. It’s a really good reading experience, if you’re going to read online, and so I encourage you to visit books.thaddeusthomas.com and see for yourself. But what about Araby? Last time I broke Araby down into a structure that began with the boys’ “othering” play in their neighborhood; continued with the trip to the market, where the narrator imagines he’s protecting the treasure of the girl’s name from a throng of enemies, as if she were the Chalice of Christ; and ended with boy’s delayed departure and disappointed arrival to the Araby. In between the play and the market place, the girl is introduced: Or if Mangan's sister came out on the doorstep to call her brother in to his tea we watched her from our shadow peer up and down the street. We waited to see whether she would remain or go in and, if she remained, we left our shadow and walked up to Mangan's steps resignedly. She was waiting for us, her figure defined by the light from the half-opened door. Her brother always teased her before he obeyed and I stood by the railings looking at her. Her dress swung as she moved her body and the soft rope of her hair tossed from side to side. Every morning I lay on the floor in the front parlour watching her door. The blind was pulled down to within an inch of the sash so that I could not be seen. When she came out on the doorstep my heart leaped. I ran to the hall, seized my books and followed her. I kept her brown figure always in my eye and, when we came near the point at which our ways diverged, I quickened my pace and passed her. This happened morning after morning. I had never spoken to her, except for a few casual words, and yet her name was like a summons to all my foolish blood. Key symbolic moments that jump out at me: * I kept her brown figure always in my eye * her name was like a summons to all my foolish blood I hinted earlier that the repeated use of the word “brown” is seen as part of the disparaging way Joyce depicts Dublin. Later, Joyce will write: I may have stood there for an hour, seeing nothing but the brown-clad figure cast by my imagination, touched discreetly by the lamplight at the curved neck, at the hand upon the railings and at the border below the dress. Mangan’s sister is dressed in brown. The houses on their street “gazed at one another with brown imperturbable faces.” And that’s it. In the whole of the story, the word “brown” is used three times, once for the houses, and twice for the girl over whom the narrator is infatuated. An uninhabited house of two storeys stood at the blind end, detached from its neighbours in a square ground The other houses of the street, conscious of decent lives within them, gazed at one another with brown imperturbable faces. The house at the end of the street is empty, but the other houses are aware of the “decent lives within them.” Decent lives. We know so much about Joyce, I believe there’s a tendency to assign his displeasure to every story attribute. The word brown here is a choice. The house on the end of the street, the dead end, the blind street, is the only detached house, and it stands empty. These things are symbolic but also real (excluding it standing empty. I don’t know about that.) It’s a red-brick house that stands alone at the end of the street, separate from the brown-brick terraces on either side of the road—and the terraces face each other directly, looking very much as if the buildings are staring at each other. Reality can hold meaning, but this description is true-to-life. This brings me back to the object of our narrator’s affection. If she wore brown because the renters on the street dressed in the colors they could afford, and if this was historically accurate, it’s still a choice to repeat the word. I’m going to reject the “dull” or “drab” interpretation, however. No, I’m going to suggest that the repeated use of the word connects the girl to the houses in which they live. She is a part of this world, but when she stops to address him, she asks about the Araby, something suggestive of another world entirely. At last she spoke to me. When she addressed the first words to me I was so confused that I did not know what to answer. She asked me was I going to Araby. I forgot whether I answered yes or no. It would be a splendid bazaar, she said she would love to go. "And why can't you?" I asked. While she spoke she turned a silver bracelet round and round her wrist. She could not go, she said, because there would be a retreat that week in her convent. Her brother and two other boys were fighting for their caps and I was alone at the railings. She held one of the spikes, bowing her head towards me. The light from the lamp opposite our door caught the white curve of her neck, lit up her hair that rested there and, falling, lit up the hand upon the railing. It fell over one side of her dress and caught the white border of a petticoat, just visible as she stood at ease. "It's well for you," she said. "If I go," I said, "I will bring you something." This is a story of the the things that hold us back, and the illusory nature of the things we desire. The girl is held back by the religious retreat. The boy is held back from the Araby by his uncle’s thoughtlessness. He’s held back from the girl by his own youth and inexperience. The Araby isn’t what he dreamed it would be, which can suggest… Last time I said: What this vanity is, we’re not explicitly told, but I don’t see this as a realization about the nature of his relationship with the girl. He was infatuated, paralyzed by his own youthful fear, unable to approach, and this bazaar became his way to interact and win her favor. With that frustrated, his hopes are dashed. This isn’t an adult insight into the shallowness of his desire but a confrontation with the indifference of home and the misrepresented nature of the broader world. Nor is he now regretting his neglect of his studies. He is, however, seeing his own impotence and the disappointing reality of the bazaar he’d built up so much in his mind. He’d once imagined himself as the guardian of his true love’s name, carrying it faithfully through a throng of foes, but all he finds are indifferent English teenagers. Everything else is cut off from him, and there’s nothing left but to go home. “I don’t see this as a realization about the nature of his relationship with the girl.” Yet, now, I’ve said that this is a story about the things which hold us back and the illusory nature of that which we desire. This is true of the Araby, and we, as readers, understand the truth as it applies to his infatuation. We’ve been through that stage of life, and we know this realization he has now in part he will soon have in whole. In the last analysis, I mentioned the symbolism of the cross in the section where he talks to the girl while the other boys gamble. It would tie in to the religious nature of the event that holds the girl back, but if it’s there, it is cloaked in the youthful love of the movement. Those details may suggest angelic motifs, but our narrator is entirely enraptured with her beauty. This is a sublime moment, set on the stairs of the terraces where Joyce lived in his youth. The importance of this moment to me isn’t the possible religious symbolism but the way the girl is elevated in his eyes, much as is the Araby, both temporarily covered in a fading halo. The resonance of the story isn’t in its symbolism but in the emotions captured as the boy wrestles with his infatuation, impatience, and disappointment. Readers identify with this moment in his life, and if you’re looking to understand the meaning of the work, begin there. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thaddeusthomas.com (https://www.thaddeusthomas.com?utm_medium=podcast&utm_campaign=CTA_1)

6. 

   20 May 2024

   First Thoughts on Theme

   What makes a story stick? As you walk through tall grass, burrs stick to your socks, hooking into you by a dozen, different, woody spikes; that’s what the stories do that mean the most to a reader. They hook you on multiple levels. They are the seed pods that cling to you, forcing you to carry them with you, scattering their seed whenever you tell others about this wonderful story you've found. One of the most important words we have for those hooks is theme. Themes are the universal ideas at the heart of your story, and it is through these themes that the story conveys its truths about the human experience. You may argue that a book's humanity is found in its characters, their growth, desires, and fears, and that all of this is portrayed to us through action, dialogue, thought, and symbolism. You’re right, to a point. Without theme, all those pieces would do as well at presenting a unified message of the human experience as the social media you scroll through with a growing sense of alienation and despair, every fractured facet reflecting some universal truth, but the entirety of the experience offering nothing but chaos and noise. No two genres have the same demands or the same strength, and each speaks to the human experience in its own way, but they all speak. A story devoid of intelligent life still reveals the human experience, as do stories about aliens, animals, or anaerobic bacteria. This will be true until it's no longer a human writing the book and no longer a human reading it. Themes are more than the connective tissue that holds a story’s components together. Theme will be the communication of one soul to another for as long as humanity keeps telling stories. What is the theme of Shakespeare’s “Romeo and Juliet” or Jane Austen’s “Pride and Prejudice”? What do Mary Shelley’s “Frankenstein” or Gabriel García Márquez’s “One Hundred Years of Solitude” have to say about life and death? What about identity and the self is revealed by Hermann Hesse’s “Siddhartha” or James Joyce’s “A Portrait of the Artist as a Young Man”? What warnings linger with us after reading George Orwell’s “1984” or William Golding’s “Lord of the Flies”? What hope, despite the darkness, do we find in Margaret Atwood’s “The Handmaid’s Tale” or Ray Bradbury’s “Fahrenheit 451”? What facet of our lives is explored in J.D. Salinger’s “The Catcher in the Rye” or Harper Lee’s “To Kill a Mockingbird”? Our stories carry betrayal and loyalty. Isolation and alienation. Hope and despair. The layers run two or three deep and take some consideration to ponder out, and this is the way it should be. Our books don’t wear a name badge that says, “Hi, May Theme Is…” Revelation comes through repeated exposure in all the various aspects of storytelling; it’s a pattern, a drumbeat, the unified experience of the whole. A dozen little hooks on a seedpod you didn’t even know was there until it had you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thaddeusthomas.com (https://www.thaddeusthomas.com?utm_medium=podcast&utm_campaign=CTA_1)

7. 

   15 May 2024

   Araby: Analysis

   Maybe I’m easily disturbed by the poppycock that can parade as analysis, or maybe Araby is impossible to analyze in any way that pulls meaning out of the story instead of piling our assumption onto it. Let’s find out. Our narrator lives on a dead-end street in a house where a priest died. The street is quiet except when the school lets out, and in the waste room, the boy finds paperback books that have gone yellow with age. In the home’s unmanicured back yard, there stands an apple tree at its center. The boy and his friend, Mangan, would play after dinner in the street and in the alleys behind the houses, and in winter that meant playing in the cold and dark. The breadth of their play brought them in contact with the rough people who lived in the cottages, to the back of dark and wet yards where the stench of things burned lingered, and to the stables where coachmen tended the horses. Joyce repeats references to odors and to the darkness of these places, which would seem a given as he’s explained it was after sunset on evenings in winter. When he and Mangan returned from the dark areas of their playful adventures into their lamp-lit street, if they saw members of their family out-and-about, they’d hide in the shadows until the authority figures were inside, thereby prolonging their period of play. This is the setup of the story before we’re introduced to the girl with whom our narrator is infatuated, and this beginning develops a theme that resonates with the story’s ending. It establishes themes that we recognized on subsequent readings and which laid a quiet foundation at the first. The details and wordplay help establish these themes and motifs. They don’t just come out of nowhere. Let’s take a look at the role of religion. The boys go to the Christian Brothers’ School and a priest lived and died in the boy’s house before his family moved in. This is the world he comes from. The books he finds reflect both that reality and the boyish vision of the world we see in his play. The Abbot is a historical novel with a religious context. The Devout Communicant is a devotional, but The Memoirs of Vodocq claims to be the true story of a police commissioner who was also a master thief. This summarizes first the Irish Catholic world in which he’s growing up, and second the imagination of boy on the cusp of leaving childhood. The Araby of the title is a bazaar, given its name in a case of Orientalism that lends it a dash of intrigue and exoticism. By its name, everything the bazaar claims to be stands in contrast to the world the boy knows. In his imagination, it would belong to the dark and dripping gardens and the rough tribes he and his friend encounter in the neighboring streets, which is the great and exotic other of childhood. You see? That wasn’t so hard. Forgive me. I‘m frustrated because I have very little patience with… poppycock. I’ll say poppycock. My mother reads these articles, and that’s strong enough language for her ears. When Joyce wants to talk about religion, he does so and with many words, and he has much to say. It may be that he’d write a story about Catholic school being a prison for children, but this does not become that story because the school sets the boys free. That phrase can’t carry so much weight on its own. Disagree with me and be in good company, but this is what I demand of my analysis. Meaning will be supported by the context of the story, and it should be presented as such so that a reader understands the context that confirms the symbolism. That’s my rule. The experts don’t have to follow it, but I do. Honestly, I know the people who frustrate me know what they’re talking about. We just have different approaches, and my impatience doesn’t mean they’re in error. I will argue their approach is wrong and leads us to that meme of the blue curtains, but we’ll just have to agree to disagree on methodology. Deep breaths. Much of the story focuses on our narrator’s infatuation, and maybe I’ll return to that for the Digging Deeper article. For now, I want to build on what we’ve done so far and reveal the structure I see present in Araby. As I said, we open in the Irish Catholic street where boys stray from home in their play, visiting the rough, dark, and wild places of a child’s version of the other. We know the story ends with the trip to the bazaar where he arrives late, sees only one booth run by an English teenager, and then the lights go out. It’s over. In between, he accompanies his aunt to the market. Her image accompanied me even in places the most hostile to romance. On Saturday evenings when my aunt went marketing I had to go to carry some of the parcels. We walked through the flaring streets, jostled by drunken men and bargaining women, amid the curses of labourers, the shrill litanies of shop-boys who stood on guard by the barrels of pigs' cheeks, the nasal chanting of street-singers, who sang a come-all-you about O'Donovan Rossa, or a ballad about the troubles in our native land. These noises converged in a single sensation of life for me: I imagined that I bore my chalice safely through a throng of foes. Her name sprang to my lips at moments in strange prayers and praises which I myself did not understand. The market was life, a teeming wild form of life through which he carried the thought of his beloved like a crusader protecting the Holy Grail from the so-called “enemies of Christ.” This is the Orientalism and the othering we would connect with the Araby, which has not yet even entered the consciousness of the tale. That happens next, when the object of his infatuation stops and initiates the conversation he himself cannot bring himself to begin and does so by asking if he’s going to the Araby. That image is already painted for us by the boy’s imaginative interpretation of a very Irish market. She can’t go because her school is holding its retreat, something a contemporary evangelical (or exvangelical) might know better as a revival. We now have the contrast of her wanting to go to an apparent Arab bazaar but she’s held back by an obligation to the church. Onto that context add all of Joyce’s subtle religious symbolism. The boys gamble like the soldiers at the cross. She clings to the spikes, which are argued to represent the nails of the crucifixion much as the light upon her hair becomes a halo. I believe in symbolism, but unless you’re Samuel Beckett, that symbolism will support a meaning found within the context. Now, if we’ve established the role the Catholic school has in keeping the girl from going to the bazaar, then we can point back to the beginning and discuss the wording of the Christian Brothers’ school setting the boys free. Suddenly we have a theme of imprisonment that’s motivated by the context of the story and emphasized through symbolism. This theme is ultimately paid off with the narrator being at his uncle’s mercy to attend the Araby. He’s imprisoned by the man’s forgetfulness and disregard for the narrator’s desires, being unaware of the underlying motivation for the trip. That this theme culminates in the home and not the church should determine how we judge its meaning. The focus isn’t fully on the restrictive nature of religion but on this Irish Catholic street and the home which becomes a stand-in for Ireland itself. In reality, all the realm of their play is Ireland, but it is made otherwise through their childish othering, and if the home and its street stand for Ireland (or in a smaller sense, Dublin) then the choice of words used to describe them become important. The street is blind, in a sense we usually only hear in regard to a blind alley. It’s a cul-de-sac. The imagery of this blindness is extended in the dark imagery of their evening play. They’re blind to the world around them, and this inability to see beyond the limits of home isn’t stripped away at the end. The climax of the story is that narrator’s realization of his own blindness as he arrives too late at the destination of his dreams and is plunged into darkness. One of the reasons this analytic method is important to me is that I can easily be disproved if I’m wrong. I’ve provided my contextual reasoning for understanding the story and the symbolism which supports it, and that context allows a reader to judge my interpretation. Symbolism interpreted without contextual evidence is beyond judgement, and being neither right nor wrong, but merely an assertion; it becomes poppycock. The desire to travel and see this exotic world of the bazaar comes when our narrator tells the girl he’ll buy her something if he goes to the Araby, and from then on, he can think of nothing else. The syllables of the word Araby were called to me through the silence in which my soul luxuriated and cast an Eastern enchantment over me. At his uncle’s tardiness, our narrator paces like a caged animal. A dinner guest goes home because the meal’s been so long delayed and the night air is bad for her health, and then his aunt says something that, in the context of all we’ve discussed, becomes important: "I'm afraid you may put off your bazaar for this night of Our Lord." Mind you, religion has no true role in this delay. Diegetically, the phrasing is something said from habit. When the uncle protests that it’s too late, the aunt pleads in the boy’s defense. Instead, the phrase gives religious weight to the careless hindrances of daily living. The boy is paralyzed by his uncle’s disregard, which becomes symbolic for Dublin and for Ireland paralyzing its citizens and cloaking that disregard in the guise of religion. Books are mentioned in the beginning of the story, and now a poem closes it, one last delay by the uncle. The Arab’s Farewell to His Steed is about a boy who sells his horse only to change his mind and claim him back again. Today, we don’t make that connection, but presumably, contemporary readers of Joyce would have. If the poem has any meaning here beyond the superficial connection that inspires the uncle’s recitation, then is our narrator selling something he’ll soon regret? Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger. The boy in the poem initially turns his back on his horse, choosing the gold instead. If there is any connection here, the boy has sold his interest in school and for all that his life is in that moment for his interest in this girl. That infatuation then transfers to the Araby which is his means of speaking to her again and impressing her with a gift purchased in this exotic place she herself cannot visit. Does he end up regretting that infatuation as the boy of the poem regrets his gold? Does he run back to his previous life like the boy who runs back to his horse? No. Absolutely not. The poem would set up certain expectations in the mind of the reader, but the story’s payoff is more nuanced. What this vanity is, we’re not explicitly told, but I don’t see this as a realization about the nature of his relationship with the girl. He was infatuated, paralyzed by his own youthful fear, unable to approach, and this bazaar became his way to interact and win her favor. With that frustrated, his hopes are dashed. This isn’t an adult insight into the shallowness of his desire but a confrontation with the indifference of home and the misrepresented nature of the broader world. Nor is he now regretting his neglect of his studies. He is, however, seeing his own impotence and the disappointing reality of the bazaar he’d built up so much in his mind. He’d once imagined himself a the guardian of his true love’s name, carrying it faithfully through a throng of foes, but all he finds are indifferent English teenagers. Everything else is cut off from him, and there’s nothing left but to go home. END Also see: My Fiction & Non-Analysis Articles (https://thaddeusthomas.substack.com/p/hidden-pages) This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thaddeusthomas.com (https://www.thaddeusthomas.com?utm_medium=podcast&utm_campaign=CTA_1)

8. 

   13 May 2024

   Araby: Audiobook and Text

   NORTH RICHMOND STREET being blind, was a quiet street except at the hour when the Christian Brothers' School set the boys free. An uninhabited house of two storeys stood at the blind end, detached from its neighbours in a square ground The other houses of the street, conscious of decent lives within them, gazed at one another with brown imperturbable faces. The former tenant of our house, a priest, had died in the back drawing-room. Air, musty from having been long enclosed, hung in all the rooms, and the waste room behind the kitchen was littered with old useless papers. Among these I found a few paper-covered books, the pages of which were curled and damp: The Abbot, by Walter Scott, The Devout Communnicant and The Memoirs of Vidocq. I liked the last best because its leaves were yellow. The wild garden behind the house contained a central apple-tree and a few straggling bushes under one of which I found the late tenant's rusty bicycle-pump. He had been a very charitable priest; in his will he had left all his money to institutions and the furniture of his house to his sister. When the short days of winter came dusk fell before we had well eaten our dinners. When we met in the street the houses had grown sombre. The space of sky above us was the colour of ever-changing violet and towards it the lamps of the street lifted their feeble lanterns. The cold air stung us and we played till our bodies glowed. Our shouts echoed in the silent street. The career of our play brought us through the dark muddy lanes behind the houses where we ran the gauntlet of the rough tribes from the cottages, to the back doors of the dark dripping gardens where odours arose from the ashpits, to the dark odorous stables where a coachman smoothed and combed the horse or shook music from the buckled harness. When we returned to the street light from the kitchen windows had filled the areas. If my uncle was seen turning the corner we hid in the shadow until we had seen him safely housed. Or if Mangan's sister came out on the doorstep to call her brother in to his tea we watched her from our shadow peer up and down the street. We waited to see whether she would remain or go in and, if she remained, we left our shadow and walked up to Mangan's steps resignedly. She was waiting for us, her figure defined by the light from the half-opened door. Her brother always teased her before he obeyed and I stood by the railings looking at her. Her dress swung as she moved her body and the soft rope of her hair tossed from side to side. Every morning I lay on the floor in the front parlour watching her door. The blind was pulled down to within an inch of the sash so that I could not be seen. When she came out on the doorstep my heart leaped. I ran to the hall, seized my books and followed her. I kept her brown figure always in my eye and, when we came near the point at which our ways diverged, I quickened my pace and passed her. This happened morning after morning. I had never spoken to her, except for a few casual words, and yet her name was like a summons to all my foolish blood. Her image accompanied me even in places the most hostile to romance. On Saturday evenings when my aunt went marketing I had to go to carry some of the parcels. We walked through the flaring streets, jostled by drunken men and bargaining women, amid the curses of labourers, the shrill litanies of shop-boys who stood on guard by the barrels of pigs' cheeks, the nasal chanting of street-singers, who sang a come-all-you about O'Donovan Rossa, or a ballad about the troubles in our native land. These noises converged in a single sensation of life for me: I imagined that I bore my chalice safely through a throng of foes. Her name sprang to my lips at moments in strange prayers and praises which I myself did not understand. My eyes were often full of tears (I could not tell why) and at times a flood from my heart seemed to pour itself out into my bosom. I thought little of the future. I did not know whether I would ever speak to her or not or, if I spoke to her, how I could tell her of my confused adoration. But my body was like a harp and her words and gestures were like fingers running upon the wires. One evening I went into the back drawing-room in which the priest had died. It was a dark rainy evening and there was no sound in the house. Through one of the broken panes I heard the rain impinge upon the earth, the fine incessant needles of water playing in the sodden beds. Some distant lamp or lighted window gleamed below me. I was thankful that I could see so little. All my senses seemed to desire to veil themselves and, feeling that I was about to slip from them, I pressed the palms of my hands together until they trembled, murmuring: "O love! O love!" many times. At last she spoke to me. When she addressed the first words to me I was so confused that I did not know what to answer. She asked me was I going to Araby. I forgot whether I answered yes or no. It would be a splendid bazaar, she said she would love to go. "And why can't you?" I asked. While she spoke she turned a silver bracelet round and round her wrist. She could not go, she said, because there would be a retreat that week in her convent. Her brother and two other boys were fighting for their caps and I was alone at the railings. She held one of the spikes, bowing her head towards me. The light from the lamp opposite our door caught the white curve of her neck, lit up her hair that rested there and, falling, lit up the hand upon the railing. It fell over one side of her dress and caught the white border of a petticoat, just visible as she stood at ease. "It's well for you," she said. "If I go," I said, "I will bring you something." What innumerable follies laid waste my waking and sleeping thoughts after that evening! I wished to annihilate the tedious intervening days. I chafed against the work of school. At night in my bedroom and by day in the classroom her image came between me and the page I strove to read. The syllables of the word Araby were called to me through the silence in which my soul luxuriated and cast an Eastern enchantment over me. I asked for leave to go to the bazaar on Saturday night. My aunt was surprised and hoped it was not some Freemason affair. I answered few questions in class. I watched my master's face pass from amiability to sternness; he hoped I was not beginning to idle. I could not call my wandering thoughts together. I had hardly any patience with the serious work of life which, now that it stood between me and my desire, seemed to me child's play, ugly monotonous child's play. On Saturday morning I reminded my uncle that I wished to go to the bazaar in the evening. He was fussing at the hallstand, looking for the hat-brush, and answered me curtly: "Yes, boy, I know." As he was in the hall I could not go into the front parlour and lie at the window. I left the house in bad humour and walked slowly towards the school. The air was pitilessly raw and already my heart misgave me. When I came home to dinner my uncle had not yet been home. Still it was early. I sat staring at the clock for some time and. when its ticking began to irritate me, I left the room. I mounted the staircase and gained the upper part of the house. The high cold empty gloomy rooms liberated me and I went from room to room singing. From the front window I saw my companions playing below in the street. Their cries reached me weakened and indistinct and, leaning my forehead against the cool glass, I looked over at the dark house where she lived. I may have stood there for an hour, seeing nothing but the brown-clad figure cast by my imagination, touched discreetly by the lamplight at the curved neck, at the hand upon the railings and at the border below the dress. When I came downstairs again I found Mrs. Mercer sitting at the fire. She was an old garrulous woman, a pawnbroker's widow, who collected used stamps for some pious purpose. I had to endure the gossip of the tea-table. The meal was prolonged beyond an hour and still my uncle did not come. Mrs. Mercer stood up to go: she was sorry she couldn't wait any longer, but it was after eight o'clock and she did not like to be out late as the night air was bad for her. When she had gone I began to walk up and down the room, clenching my fists. My aunt said: "I'm afraid you may put off your bazaar for this night of Our Lord." At nine o'clock I heard my uncle's latchkey in the halldoor. I heard him talking to himself and heard the hallstand rocking when it had received the weight of his overcoat. I could interpret these signs. When he was midway through his dinner I asked him to give me the money to go to the bazaar. He had forgotten. "The people are in bed and after their first sleep now," he said. I did not smile. My aunt said to him energetically: "Can't you give him the money and let him go? You've kept him late enough as it is." My uncle said he was very sorry he had forgotten. He said he believed in the old saying: "All work and no play makes Jack a dull boy." He asked me where I was going and, when I had told him a second time he asked me did I know The Arab's Farewell to his Steed. When I left the kitchen he was about to recite the opening lines of the piece to my aunt. I held a florin tightly in my hand as I strode down Buckingham Street towards the station. The sight of the streets thronged with buyers and glaring with gas recalled to me the purpose of my journey. I took my seat in a third-class carriage of a deserted train. After an intolerable delay the train moved out of the station slowly. It crept onward among ruinous house and over the twinkling river. At Westland Row Station a crowd of people pressed to the carriage doors; but the porters moved them back, saying that it was a special train for the bazaar. I remained alone in the bare carriage. In a few minutes the train drew up beside an improvised wooden platform. I passed out on to the road and saw by the lighted dial of a clock that it was ten minutes to ten. In front of me was a large building which displayed the magical name. I could not find any sixpenny entrance and, fearing that the bazaar would be closed, I passed in quickly through a turnstile, handing a shilling to a weary-looking man. I found myself in a big hall girdled at half its height by a gallery. Nearly all the stalls were closed and the greater part of the hall was in darkness. I recognised a silence like that which pervades a church after a service. I walked into the centre of the bazaar timidly. A few people were gathered about the stalls which were still open. Before a curtain, over which the words Cafe Chantant were written in coloured lamps, two men were counting money on a salver. I listened to the fall of the coins. Remembering with difficulty why I had come I went over to one of the stalls and examined porcelain vases and flowered tea- sets. At the door of the stall a young lady was talking and laughing with two young gentlemen. I remarked their English accents and listened vaguely to their conversation. "O, I never said such a thing!" "O, but you did!" "O, but I didn't!" "Didn't she say that?" "Yes. I heard her." "0, there's a ... fib!" Observing me the young lady came over and asked me did I wish to buy anything. The tone of her voice was not encouraging; she seemed to have spoken to me out of a sense of duty. I looked humbly at the great jars that stood like eastern guards at either side of the dark entrance to the stall and murmured: "No, thank you." The young lady changed the position of one of the vases and went back to the two young men. They began to talk of the same subject. Once or twice the young lady glanced at me over her shoulder. I lingered before her stall, though I knew my stay was useless, to make my interest in her wares seem the more real. Then I turned away slowly and walked down the middle of the bazaar. I allowed the two pennies to fall against the sixpence in my pocket. I heard a voice call from one end of the gallery that the light was out. The upper part of the hall was now completely dark. Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger. END Also see: My Fiction & Non-Analysis Articles (https://thaddeusthomas.substack.com/p/hidden-pages) This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thaddeusthomas.com (https://www.thaddeusthomas.com?utm_medium=podcast&utm_campaign=CTA_1)

9. 

   8 May 2024

   Digging Deeper: A Haunted House

   Read or listen to the story here. (https://thaddeusthomas.substack.com/p/audiobook-and-text-a-haunted-house) My analysis of the story. (https://thaddeusthomas.substack.com/p/audio-analysis-a-haunted-house) Digging Deeper: I went looking, and to my relief, I’m not the only one who saw commonalities between The Tell-Tale Heart and A Haunted House. In the analysis, I note a link between The Tell-Tale Heart and Macbeth, a link suggested only by the shared phrase “damned spot” and which could entirely be happenstance. This doesn’t invalidate the link between the two. The intentions of the author are less important than the work itself, and meaning exists whether or not the writer was aware. Yet, the issue of House and Heart feels different to me. The comparisons appear orchestrated by the author, with the conversation between the stories meant as a part of the meaning. As in my analysis I’ve covered the shared elements of the stories that are used to highlight their differences, my focus here is on how Woolf’s modernist approach is (or is not) present in her story and how that compares to Poe’s Dark Romanticism. We’ll begin with that darkness and how it produces the greatest commonality between A Haunted House and the Romantic era, and that is its optimism. Modernist fiction grew out of the first world war and the failure of all the modes of thought that led into it; the very philosophies people believed would save humanity brought upon it death and destruction. Just as Romanticism was born out of the French Revolution and proclaimed The Age of Enlightenment a failure, so Modernism turned its back on both. It attempts to look at the world clearly and is pessimistic, its authors having been jaded by the harsh realities the world had witnessed. Here, however, as Woolf turns Poe on his head, the horror and dread of Heart becomes the joy and safety of House. Likewise, though they are both set within a house, Woolf is much more interested in the nature seen beyond the window panes, and the weather acts as a ghostly phenomenon and plays upon the narrator’s mind. Woolf is a modernist writer, but there are arguments to be made for the Romanticism of this story, all perhaps necessitated by her reaction to Poe’s story or perhaps part of her growth as a writer into modernism. The key to the story’s modernism is its experimentation. Poe build his Tale in a traditional form, while Woolf moves away from our expectations of story structure and genre trappings. Indeed, she invokes the tropes only to invert them, and it’s one of the reasons I don’t interpret the story’s meaning as relevant to the ghosts themselves or to the everlasting nature of love. In fact, the very argument the story makes for the house as a keepsake for the memories of love lost, it also challenges. I’ll explain. The ghostly couple find memories of joy in the house, and so it’s tempting to cling to this as a point of meaning. However, after the wife’s death, the husband found no comfort in a house of memories. He left and traveled the world, and only later did his thoughts return to that place. In a presumed old age, he returns to the house he left and finds that sense of safety, love, and joy restored. The house with all its memories is the salve of an old man, not a replacement for living in the days that remain. He finds the house “dropped beneath the Downs.” It’s situated at the foot of gently rolling hills, but the language feels subterranean, like the grave, but not in a chilling, foreboding sense. It’s a promise of an earthly heaven and not a supernatural hell. “Safe, safe, safe,” the pulse of the house beat gladly. “The Treasure yours.” The desire to interpret the meaning of the story through the love of a ghostly couple that’s survived even death is to interpret it through the lens of Romanticism, and I cannot say that is entirely inappropriate. However, as Modernist story, the actions of the ghostly couple becomes the narrator’s stream of consciousness, inspired by natural events and the history of an old but lovely house in the country. Her life is idyllic, but she’s searching for something she cannot name. What she finds is joy in the moments, those memories she’s building together with the person she loves. Contrast this with the darkness of Poe’s narrator, inspired by his paranoia that feeds an animosity to the old man. None of the narrator’s imaginings were literally true but rather reflected the quality of his heart. The same is true of A Haunted House, only her heart is full of light. Also see: News . My Stories . My Books . Bookshop (https://thaddeusthomas.substack.com/p/hidden-pages) Deeper Stories: episode by episode (https://thaddeusthomas.substack.com/p/deeper-stories-episode-by-episode) This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thaddeusthomas.com (https://www.thaddeusthomas.com?utm_medium=podcast&utm_campaign=CTA_1)

10. 

    6 May 2024

    Analysis: A Haunted House

    Read or listen to the story here. (https://thaddeusthomas.substack.com/p/audiobook-and-text-a-haunted-house) A number of different approaches present themselves when we analyze a ghost story. Are the ghosts literal or a projection of the mind? If the ghosts are literal, is their meaning literal? This is not the same question but rather asks if the meaning of the story pertains to persistence of the soul. Either way, the ghosts can also have a metaphorical meaning, as is very much the case here, and while most ghost stories focus on negative emotions, loss and longing, hatred and envy, Virginia Woolf’s ghost story is all about love. Note: you can read or listen to the story here. I don’t approach my analysis of A Haunted House assuming a literal meaning for the ghosts. It can be and has been done, with arguments made for the eternal love of the ghostly couple over the centuries, but I feel the focus is the living narrator and the ghosts are a vehicle for her journey. Perhaps similar questions have to be asked of the house in a haunted house story. Within the context of the story is the house literally cursed, or blessed, as in this case. If so, what does that mean for the house’s pulse sounding, safe, safe, safe? A compelling argument could be made for the importance of the house, but my analysis will suggest the opposite. A Haunted House is Virginia Woolf’s response to Poe’s “Tell-Tale Heart” (1843). That’s a grandiose claim that should be stated with far more uncertainty, but that’s not how they teach us to write. I see strong and persistent parallels, and perhaps, perhaps, perhaps, we have this as the third in a line of obsessive tales. Out, damned spot! out, I say!--One: two: why,then, 'tis time to do't.--Hell is murky!--Fie, mylord, fie! a soldier, and afeard? What need wefear who knows it, when none can call our power toaccount?--Yet who would have thought the old manto have had so much blood in him. —Shakespeare, Macbeth. Just as Lady Macbeth reflects on urging her husband to murder while she’s unable to cleanse herself of the blood, so Poe’s narrator has come to kill an old man. In a moment important to our current analysis, he cracks opens his lantern and the light falls upon the hideous eye. It was open — wide, wide open — and I grew furious as I gazed upon it. I saw it with perfect distinctness — all a dull blue, with a hideous veil over it that chilled the very marrow in my bones; but I could see nothing else of the old man’s face or person: for I had directed the ray as if by instinct, precisely upon the damned spot. — Edgar Allan Poe, The Tell-Tale Heart One damned spot to another. Louder! louder! louder! beat the heart of the dead man beneath the floorboards, “much such a sound a watch makes when enveloped in cotton.” But, our haunted house’s heart beats gladly and speaks not of a buried horror ready to be discovered but of a treasure ready to be found. Virginia Woolf’s narrator is reading a book, while around the house, windows open in the wind and curtains move, a ghostly couple in search of buried treasure. She continues reading until she’s certain the ghosts must have found the quarry. She rises and looks for herself, but all is as it should be. “What did I come in here for? What did I want to find?” My hands were empty. “Perhaps it’s upstairs then?” The apples were in the loft. And so down again, the garden still as ever, only the book had slipped into the grass. She’s believes they’re in the drawing room, and sees the apple’s yellow side as her proof of their passing. She feels they’ve found what they’re looking for. Yet, the moment after, if the door was opened, spread about the floor, hung upon the walls, pendant from the ceiling—what? My hands were empty. Our narrator feels the presence of the ghostly couple. This buried treasure they pursue, they have found; it’s here. But what is it? She looks from floor to wall to ceiling and finds nothing. Her hands are empty. A wood pigeon sounds, and with it, the pulse of the house beats softly. “Safe, safe, safe.” The light fades from the room, and she supposes they’ve moved their search to the garden. But the trees spun darkness for a wandering beam of sun. So fine, so rare, coolly sunk beneath the surface the beam I sought always burnt behind the glass. A shadow fell beneath a ray of light, the light she always sought and which burned beyond the glass. “Death was the glass,” she writes, the separation between light and dark. Death came between her and the ghostly couple, and it divided the couple, too, taking the wife first. …hundreds of years ago, leaving the house, sealing all the windows; the rooms were darkened. He left it, left her, went North, went East, saw the stars turned in the Southern sky; sought the house, found it dropped beneath the Downs. “Safe, safe, safe,” the pulse of the house beat gladly. “The Treasure yours.” All this insight from the play of shadows upon the glass. Wind and rain comes during the night. Windows open, but it’s not the wind. Doors shut. Lovers whisper through halls, looking. The narrator and her husband sleep as the storm dies down, and the ghosts come spying, like Poe’s narrator at the door of the old man’s room. The end of Woolf’s story echoes both Poe’s point before the murder and the confession to the officers. His hands shield the lantern. “Look,” he breathes. “Sound asleep. Love upon their lips.” Stooping, holding their silver lamp above us, long they look and deeply. Long they pause. The wind drives straightly; the flame stoops slightly. Wild beams of moonlight cross both floor and wall, and, meeting, stain the faces bent; the faces pondering; the faces that search the sleepers and seek their hidden joy. “Safe, safe, safe,” the heart of the house beats proudly. “Long years—” he sighs. “Again you found me.” “Here,” she murmurs, “sleeping; in the garden reading; laughing, rolling apples in the loft. Here we left our treasure—” Stooping, their light lifts the lids upon my eyes. “Safe! safe! safe!” the pulse of the house beats wildly. Waking, I cry “Oh, is this your buried treasure? The light in the heart.” Poe’s madness is here transformed to joy and love. Woolf’s narrator awakens, having witnessed the ghosts in a dream, perhaps, and she understands the treasure. It was found before by those who loved one another in times past, and its hers now to hold onto while life lingers. It’s not the house. The ghosts have searched the house, and but for the memory of a live loving one another, they find the treasure present and immediate, only, in these two, together. The heart of the house speaks of safety because of the love of those within its walls. Deeper Stories is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Remember: you can read or listen to the story here. My (https://thaddeusthomas.substack.com/p/digging-deeper-a-haunted-house)Digging Deeper analysis of A Haunted House (https://thaddeusthomas.substack.com/p/digging-deeper-a-haunted-house). Also see: News . My Stories . My Books . Bookshop (https://thaddeusthomas.substack.com/p/hidden-pages) Deeper Stories: episode by episode (https://thaddeusthomas.substack.com/p/deeper-stories-episode-by-episode) This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thaddeusthomas.com (https://www.thaddeusthomas.com?utm_medium=podcast&utm_campaign=CTA_1)

11. 

    1 May 2024

    Audiobook and Text: A Haunted House

    Whatever hour you woke there was a door shunting. From room to room they went, hand in hand, lifting here, opening there, making sure—a ghostly couple. “Here we left it,” she said. And he added, “Oh, but here too!” “It’s upstairs,” she murmured. “And in the garden,” he whispered “Quietly,” they said, “or we shall wake them.” But it wasn’t that you woke us. Oh, no. “They’re looking for it; they’re drawing the curtain, one might say, and so read on a page or two. “Now they’ve found it,” one would be certain, stopping the pencil on the margin. And then, tired of reading, one might rise and see for oneself, the house all empty, the doors standing open, only the wood pigeons bubbling with content and the hum of the threshing machine sounding from the farm. “What did I come in here for? What did I want to find?” My hands were empty. “Perhaps it’s upstairs then?” The apples were in the loft. And so down again, the garden still as ever, only the book had slipped into the grass. But they had found it in the drawing room. Not that one could ever see them. The window panes reflected apples, reflected roses; all the leaves were green in the glass. If they moved in the drawing room, the apple only turned its yellow side. Yet, the moment after, if the door was opened, spread about the floor, hung upon the walls, pendant from the ceiling—what? My hands were empty. The shadow of a thrush crossed the carpet; from the deepest wells of silence the wood pigeon drew its bubble of sound. “Safe, safe, safe,” the pulse of the house beat softly. “The treasure buried; the room…” the pulse stopped short. Oh, was that the buried treasure? A moment later the light had faded. Out in the garden then? But the trees spun darkness for a wandering beam of sun. So fine, so rare, coolly sunk beneath the surface the beam I sought always burnt behind the glass. Death was the glass; death was between us; coming to the woman first, hundreds of years ago, leaving the house, sealing all the windows; the rooms were darkened. He left it, left her, went North, went East, saw the stars turned in the Southern sky; sought the house, found it dropped beneath the Downs. “Safe, safe, safe,” the pulse of the house beat gladly. “The Treasure yours.” The wind roars up the avenue. Trees stoop and bend this way and that. Moonbeams splash and spill wildly in the rain. But the beam of the lamp falls straight from the window. The candle burns stiff and still. Wandering through the house, opening the windows, whispering not to wake us, the ghostly couple seek their joy. “Here we slept,” she says. And he adds, “Kisses without number.” “Waking in the morning—” “Silver between the trees—” “Upstairs—” “In the garden—” “When summer came—” “In winter snowtime—” The doors go shutting far in the distance, gently knocking like the pulse of a heart. Nearer they come; cease at the doorway. The wind falls, the rain slides silver down the glass. Our eyes darken; we hear no steps beside us; we see no lady spread her ghostly cloak. His hands shield the lantern. “Look,” he breathes. “Sound asleep. Love upon their lips.” Stooping, holding their silver lamp above us, long they look and deeply. Long they pause. The wind drives straightly; the flame stoops slightly. Wild beams of moonlight cross both floor and wall, and, meeting, stain the faces bent; the faces pondering; the faces that search the sleepers and seek their hidden joy. “Safe, safe, safe,” the heart of the house beats proudly. “Long years—” he sighs. “Again you found me.” “Here,” she murmurs, “sleeping; in the garden reading; laughing, rolling apples in the loft. Here we left our treasure—” Stooping, their light lifts the lids upon my eyes. “Safe! safe! safe!” the pulse of the house beats wildly. Waking, I cry “Oh, is this your buried treasure? The light in the heart.” This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thaddeusthomas.com (https://www.thaddeusthomas.com?utm_medium=podcast&utm_campaign=CTA_1)

12. 

    26 Apr 2024

    Audio Analysis: An Encounter by James Joyce

    The Stephen King of James Joyce Stories. Deeper Stories is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Also see: Text: Analysis: An Encounter, 1914 (https://thaddeusthomas.substack.com/p/analysis-an-encounter) News . My Stories . My Books . Bookshop (https://thaddeusthomas.substack.com/p/hidden-pages) Deeper Stories: episode by episode (https://thaddeusthomas.substack.com/p/deeper-stories-episode-by-episode) This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thaddeusthomas.com (https://www.thaddeusthomas.com?utm_medium=podcast&utm_campaign=CTA_1)

13. 

    25 Apr 2024

    Audiobook and Text: An Encounter

    It was Joe Dillon who introduced the Wild West to us. He had a little library made up of old numbers of The Union Jack, Pluck and The Halfpenny Marvel. Every evening after school we met in his back garden and arranged Indian battles. He and his fat young brother Leo, the idler, held the loft of the stable while we tried to carry it by storm; or we fought a pitched battle on the grass. But, however well we fought, we never won siege or battle and all our bouts ended with Joe Dillon's war dance of victory. His parents went to eight-o'clock mass every morning in Gardiner Street and the peaceful odour of Mrs. Dillon was prevalent in the hall of the house. But he played too fiercely for us who were younger and more timid. He looked like some kind of an Indian when he capered round the garden, an old tea-cosy on his head, beating a tin with his fist and yelling: “Ya! yaka, yaka, yaka!” Everyone was incredulous when it was reported that he had a vocation for the priesthood. Nevertheless it was true. A spirit of unruliness diffused itself among us and, under its influence, differences of culture and constitution were waived. We banded ourselves together, some boldly, some in jest and some almost in fear: and of the number of these latter, the reluctant Indians who were afraid to seem studious or lacking in robustness, I was one. The adventures related in the literature of the Wild West were remote from my nature but, at least, they opened doors of escape. I liked better some American detective stories which were traversed from time to time by unkempt fierce and beautiful girls. Though there was nothing wrong in these stories and though their intention was sometimes literary they were circulated secretly at school. One day when Father Butler was hearing the four pages of Roman History clumsy Leo Dillon was discovered with a copy of The Halfpenny Marvel. “This page or this page? This page Now, Dillon, up! ‘Hardly had the day’…Go on! What day? ‘Hardly had the day dawned’…Have you studied it? What have you there in your pocket?” Everyone's heart palpitated as Leo Dillon handed up the paper and everyone assumed an innocent face. Father Butler turned over the pages, frowning. “What is this rubbish?” he said. “The Apache Chief! Is this what you read instead of studying your Roman History? Let me not find any more of this wretched stuff in this college. The man who wrote it, I suppose, was some wretched fellow who writes these things for a drink. I'm surprised at boys like you, educated, reading such stuff. I could understand it if you were…National School boys. Now, Dillon, I advise you strongly, get at your work or…” This rebuke during the sober hours of school paled much of the glory of the Wild West for me and the confused puffy face of Leo Dillon awakened one of my consciences. But when the restraining influence of the school was at a distance I began to hunger again for wild sensations, for the escape which those chronicles of disorder alone seemed to offer me. The mimic warfare of the evening became at last as wearisome to me as the routine of school in the morning because I wanted real adventures to happen to myself. But real adventures, I reflected, do not happen to people who remain at home: they must be sought abroad. The summer holidays were near at hand when I made up my mind to break out of the weariness of school life for one day at least. With Leo Dillon and a boy named Mahony I planned a day's miching. Each of us saved up sixpence. We were to meet at ten in the morning on the Canal Bridge. Mahony's big sister was to write an excuse for him and Leo Dillon was to tell his brother to say he was sick. We arranged to go along the Wharf Road until we came to the ships, then to cross in the ferryboat and walk out to see the Pigeon House. Leo Dillon was afraid we might meet Father Butler or someone out of the college; but Mahony asked, very sensibly, what would Father Butler be doing out at the Pigeon House. We were reassured: and I brought the first stage of the plot to an end by collecting sixpence from the other two, at the same time showing them my own sixpence. When we were making the last arrangements on the eve we were all vaguely excited. We shook hands, laughing, and Mahony said: “Till to-morrow, mates!” That night I slept badly. In the morning I was firstcomer to the bridge as I lived nearest. I hid my books in the long grass near the ashpit at the end of the garden where nobody ever came and hurried along the canal bank. It was a mild sunny morning in the first week of June. I sat up on the coping of the bridge admiring my frail canvas shoes which I had diligently pipeclayed overnight and watching the docile horses pulling a tramload of business people up the hill. All the branches of the tall trees which lined the mall were gay with little light green leaves and the sunlight slanted through them on to the water. The granite stone of the bridge was beginning to be warm and I began to pat it with my hands in time to an air in my head. I was very happy. When I had been sitting there for five or ten minutes I saw Mahony's grey suit approaching. He came up the hill, smiling, and clambered up beside me on the bridge. While we were waiting he brought out the catapult which bulged from his inner pocket and explained some improvements which he had made in it. I asked him why he had brought it and he told me he had brought it to have some gas with the birds. Mahony used slang freely, and spoke of Father Butler as Old Bunser. We waited on for a quarter of an hour more but still there was no sign of Leo Dillon. Mahony, at last, jumped down and said: “Come along. I knew Fatty'd funk it.” “And his sixpence…?” I said. “That's forfeit,” said Mahony. “And so much the better for us—a bob and a tanner instead of a bob.” We walked along the North Strand Road till we came to the Vitriol Works and then turned to the right along the Wharf Road. Mahony began to play the Indian as soon as we were out of public sight. He chased a crowd of ragged girls, brandishing his unloaded catapult and, when two ragged boys began, out of chivalry, to fling stones at us, he proposed that we should charge them. I objected that the boys were too small and so we walked on, the ragged troop screaming after us: “Swaddlers! Swaddlers!” thinking that we were Protestants because Mahony, who was dark-complexioned, wore the silver badge of a cricket club in his cap. When we came to the Smoothing Iron we arranged a siege; but it was a failure because you must have at least three. We revenged ourselves on Leo Dillon by saying what a funk he was and guessing how many he would get at three o'clock from Mr. Ryan. We came then near the river. We spent a long time walking about the noisy streets flanked by high stone walls, watching the working of cranes and engines and often being shouted at for our immobility by the drivers of groaning carts. It was noon when we reached the quays and as all the labourers seemed to be eating their lunches, we bought two big currant buns and sat down to eat them on some metal piping beside the river. We pleased ourselves with the spectacle of Dublin's commerce—the barges signaled from far away by their curls of woolly smoke, the brown fishing fleet beyond Ringsend, the big white sailing vessel which was being discharged on the opposite quay. Mahony said it would be right skit to run away to sea on one of those big ships and even I, looking at the high masts, saw, or imagined, the geography which had been scantily dosed to me at school gradually taking substance under my eyes. School and home seemed to recede from us and their influences upon us seemed to wane. We crossed the Liffey in the ferryboat, paying our toll to be transported in the company of two labourers and a little Jew with a bag. We were serious to the point of solemnity, but once during the short voyage our eyes met and we laughed. When we landed we watched the discharging of the graceful three-master which we had observed from the other quay. Some bystander said that she was a Norwegian vessel. I went to the stern and tried to decipher the legend upon it but, failing to do so, I came back and examined the foreign sailors to see had any of them green eyes for I had some confused notion…The sailors' eyes were blue and grey and even black. The only sailor whose eyes could have been called green was a tall man who amused the crowd on the quay by calling out cheerfully every time the planks fell: “All right! All right!” When we were tired of this sight we wandered slowly into Ringsend. The day had grown sultry, and in the windows of the grocers' shops musty biscuits lay bleaching. We bought some biscuits and chocolate which we ate sedulously as we wandered through the squalid streets where the families of the fishermen live. We could find no dairy and so we went into a huckster's shop and bought a bottle of raspberry lemonade each. Refreshed by this, Mahony chased a cat down a lane, but the cat escaped into a wide field. We both felt rather tired and when we reached the field we made at once for a sloping bank over the ridge of which we could see the Dodder. It was too late and we were too tired to carry out our project of visiting the Pigeon House. We had to be home before four o'clock lest our adventure should be discovered. Mahony looked regretfully at his catapult and I had to suggest going home by train before he regained any cheerfulness. The sun went in behind some clouds and left us to our jaded thoughts and the crumbs of our provisions. There was nobody but ourselves in the field. When we had lain on the bank for some time without speaking I saw a man approaching from the far end of the field. I watched him lazily as I chewed one of those green stems on which girls tell fortunes. He came along by the bank slowly. He walked with one hand upon his hip and in the other hand he held a stick with which he tapped the turf lightly. He was shabbily dressed in a suit of greenish-black and wore what we used to call a jerry hat with a high crown. He seemed to be fairly old for his moustache was ashen-grey. When he passed at our feet he glanced up at us quickly and then continued his way. We followed him with our eyes and saw that when he had gone on for perhaps fifty paces he turned about and began to retrace his steps. He walked towards us very slowly, always tapping the ground with his stick, so slowly that I thought he was looking for something in the grass. He stopped when he came level with us and bade us good-day. We answered him and he sat down beside us on the slope slowly and with great care. He began to talk of the weather, saying that it would be a very hot summer and adding that the seasons had changed greatly since he was a boy—a long time ago. He said that the happiest time of one's life was undoubtedly one's schoolboy days and that he would give anything to be young again. While he expressed these sentiments which bored us a little we kept silent. Then he began to talk of school and of books. He asked us whether we had read the poetry of Thomas Moore or the works of Sir Walter Scott and Lord Lytton. I pretended that I had read every book he mentioned so that in the end he said: “Ah, I can see you are a bookworm like myself. Now,” he added, pointing to Mahony who was regarding us with open eyes, “he is different; he goes in for games.” He said he had all Sir Walter Scott's works and all Lord Lytton's works at home and never tired of reading them. “Of course,” he said, “there were some of Lord Lytton's works which boys couldn't read.” Mahony asked why couldn't boys read them—a question which agitated and pained me because I was afraid the man would think I was as stupid as Mahony. The man, however, only smiled. I saw that he had great gaps in his mouth between his yellow teeth. Then he asked us which of us had the most sweethearts. Mahony mentioned lightly that he had three totties. The man asked me how many I had. I answered that I had none. He did not believe me and said he was sure I must have one. I was silent. “Tell us,” said Mahony pertly to the man, “how many have you yourself?” The man smiled as before and said that when he was our age he had lots of sweethearts. “Every boy,” he said, “has a little sweetheart.” His attitude on this point struck me as strangely liberal in a man of his age. In my heart I thought that what he said about boys and sweethearts was reasonable. But I disliked the words in his mouth and I wondered why he shivered once or twice as if he feared something or felt a sudden chill. As he proceeded I noticed that his accent was good. He began to speak to us about girls, saying what nice soft hair they had and how soft their hands were and how all girls were not so good as they seemed to be if one only knew. There was nothing he liked, he said, so much as looking at a nice young girl, at her nice white hands and her beautiful soft hair. He gave me the impression that he was repeating something which he had learned by heart or that, magnetised by some words of his own speech, his mind was slowly circling round and round in the same orbit. At times he spoke as if he were simply alluding to some fact that everybody knew, and at times he lowered his voice and spoke mysteriously as if he were telling us something secret which he did not wish others to overhear. He repeated his phrases over and over again, varying them and surrounding them with his monotonous voice. I continued to gaze towards the foot of the slope, listening to him. After a long while his monologue paused. He stood up slowly, saying that he had to leave us for a minute or so, a few minutes, and, without changing the direction of my gaze, I saw him walking slowly away from us towards the near end of the field. We remained silent when he had gone. After a silence of a few minutes I heard Mahony exclaim: “I say! Look what he's doing!” As I neither answered nor raised my eyes Mahony exclaimed again: “I say…He's a queer old josser!” “In case he asks us for our names,” I said, “let you be Murphy and I'll be Smith.” We said nothing further to each other. I was still considering whether I would go away or not when the man came back and sat down beside us again. Hardly had he sat down when Mahony, catching sight of the cat which had escaped him, sprang up and pursued her across the field. The man and I watched the chase. The cat escaped once more and Mahony began to throw stones at the wall she had escaladed. Desisting from this, he began to wander about the far end of the field, aimlessly. After an interval the man spoke to me. He said that my friend was a very rough boy and asked did he get whipped often at school. I was going to reply indignantly that we were not National School boys to be whipped, as he called it; but I remained silent. He began to speak on the subject of chastising boys. His mind, as if magnetised again by his speech, seemed to circle slowly round and round its new centre. He said that when boys were that kind they ought to be whipped and well whipped. When a boy was rough and unruly there was nothing would do him any good but a good sound whipping. A slap on the hand or a box on the ear was no good: what he wanted was to get a nice warm whipping. I was surprised at this sentiment and involuntarily glanced up at his face. As I did so I met the gaze of a pair of bottle-green eyes peering at me from under a twitching forehead. I turned my eyes away again. The man continued his monologue. He seemed to have forgotten his recent liberalism. He said that if ever he found a boy talking to girls or having a girl for a sweetheart he would whip him and whip him; and that would teach him not to be talking to girls. And if a boy had a girl for a sweetheart and told lies about it then he would give him such a whipping as no boy ever got in this world. He said that there was nothing in this world he would like so well as that. He described to me how he would whip such a boy as if he were unfolding some elaborate mystery. He would love that, he said, better than anything in this world; and his voice, as he led me monotonously through the mystery, grew almost affectionate and seemed to plead with me that I should understand him. I waited till his monologue paused again. Then I stood up abruptly. Lest I should betray my agitation I delayed a few moments pretending to fix my shoe properly and then, saying that I was obliged to go, I bade him goodday. I went up the slope calmly but my heart was beating quickly with fear that he would seize me by the ankles. When I reached the top of the slope I turned round and, without looking at him, called loudly across the field: “Murphy!” My voice had an accent of forced bravery in it and I was ashamed of my paltry stratagem. I had to call the name again before Mahony saw me and hallooed in answer. How my heart beat as he came running across the field to me! He ran as if to bring me aid. And I was penitent; for in my heart I had always despised him a little. Also see: News . My Stories . My Books . Bookshop (https://thaddeusthomas.substack.com/p/hidden-pages) Deeper Stories: episode by episode (https://thaddeusthomas.substack.com/p/deeper-stories-episode-by-episode) This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thaddeusthomas.com (https://www.thaddeusthomas.com?utm_medium=podcast&utm_campaign=CTA_1)

14. 

    22 Apr 2024

    Digging Deeper: 2 Versions of "The Sisters"

    A “Digging Deeper” Episode of Deeper Stories An audio version of my analysis of the two versions of the story, the first which appeared in the Irish Homestead in 1904 and the second which appeared in Dubliners in 1914. There is additional material in the print version on Substack. Also see: News . My Stories . My Books . Bookshop (https://thaddeusthomas.substack.com/p/hidden-pages) Deeper Stories: episode by episode (https://thaddeusthomas.substack.com/p/deeper-stories-episode-by-episode) This episode of “Digging Deeper” was provided without a paywall. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thaddeusthomas.com (https://www.thaddeusthomas.com?utm_medium=podcast&utm_campaign=CTA_1)

15. 

    21 Apr 2024

    Audio Analysis: The Sisters by James Joyce

    My analysis of the story suggests a theme of conflating illness (and mental illness in particular) with sin. Deeper Stories is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Also see: News . My Stories . My Books . Bookshop (https://thaddeusthomas.substack.com/p/hidden-pages) Deeper Stories: episode by episode (https://thaddeusthomas.substack.com/p/deeper-stories-episode-by-episode) This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thaddeusthomas.com (https://www.thaddeusthomas.com?utm_medium=podcast&utm_campaign=CTA_1)

16. 

    18 Apr 2024

    Audiobook: The Sisters by James Joyce

    This is a Librivox version, and while Librivox can be very uneven in quality, this reader is quite good. If you’d rather, Penguin is offering the first two stories from the collection free on YouTube, read by Andrew Scott of Sherlock fame. Deeper Stories is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Also see: News . My Stories . My Books . Bookshop (https://thaddeusthomas.substack.com/p/hidden-pages) Deeper Stories: episode by episode (https://thaddeusthomas.substack.com/p/deeper-stories-episode-by-episode) This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thaddeusthomas.com (https://www.thaddeusthomas.com?utm_medium=podcast&utm_campaign=CTA_1)

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