A Prisoner in Fairyland (The Book That 'Uncle Paul' Wrote)Blackwood, Algernon
Science
A Prisoner in Fairyland (The Book That 'Uncle Paul' Wrote)
Blackwood, Algernon
Magic -- Fiction; Voyages and travels -- Fiction
'And, without exactly knowing it, I suppose I've brought them all out
here,' he continued, seeing that she drank it in thirstily, 'and--
somehow or other--you all have felt it and responded. It's not my
doing, of course,' he added; 'it's simply that I'm the channel as it
were, and Daddy, with his somewhat starved artist's hunger of mind,
was the first to fill up. It's pouring through him now in a story,
don't you see; but we're all in it--'
'In a way, yes, that's what I've felt,' Mother interrupted. 'It's all
a kind of dream here, and I've just waked up. The unchanging village,
the forests, the Pension with its queer people, the Magic Box--'
'Like a play in a theatre,' he interrupted, 'isn't it?'
'Exactly,' she laughed, yet half-seriously.
'While your husband is the dramatist that writes it down in acts and
scenes. You see, his idea is, perhaps, that life as we know it is
never a genuine story, complete and leading to a climax. It's all in
disconnected fragments apparently. It goes backwards and forwards, up
and down, in and out in a wumbled muddle, just anyhow, as it were. The
fragments seem out of their proper place, the first ones often last,
and _vice versa_. It seems inconsequential, because we only see the
scraps that break through from below, from the true inner, deeper life
that flows on steadily and dramatically out of sight. That's what he
means by "out of the body" and "sleep" and "dreaming." The great
pattern is too big and hidden for us to see it whole, just as when you
knit I only see the stitches as you make them, although the entire
pattern is in your mind complete. Our daily, external acts are the
stitches we show to others and that everybody sees. A spiritual person
sees the whole.'
'Ah!' Mother interrupted, 'I understand now. To know the whole pattern
in my mind you'd have to get in sympathy with my thought below. Is
that it?'
'Sometimes we look over the fence of mystery, yes, and see inside--see
the entire stage as it were.'
'It _is_ like a great play, isn't it?' she repeated, grasping again at
the analogy with relief. 'We give one another cues, and so on---'
'While each must know the whole play complete in order to act his part
properly--be in sympathy, that is, with all the others. The tiniest
details so important, too,' he added, glancing significantly at the
needles on her lap. 'To act your own part faithfully you must carry
all the others in your mind, or else--er--get your own part out of
proportion.'
'It will be a wonderful story, won't it?' she said, after a pause in
which her eyes travelled across the sunshine towards the carpenter's
house where her husband, seen now in a high new light, laboured
steadily.
Public-domain text, read in full here on John Shaqi.
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