Black humor; City and town life -- Fiction; Intellectuals -- Fiction; London (England) -- Fiction; Satire
He went back to his study to think things over. The more he thought them
over, the more he blamed himself. And incessantly the memory of Mrs.
Viveash tormented him.
CHAPTER XIX
After leaving Mr. Mercaptan, Lypiatt had gone straight home. The bright
day seemed to deride him. With its shining red omnibuses, its parasols,
its muslin girls, its young-leaved trees, its bands at the street
corners, it was too much of a garden party to be tolerable. He wanted to
be alone. He took a cab back to the studio. He couldn’t afford it, of
course; but what did that matter, what did that matter now?
The cab drove slowly and as though with reluctance down the dirty mews.
He paid it off, opened his little door between the wide stable doors,
climbed the steep ladder of his stairs and was at home. He sat down and
tried to think.
“Death, death, death, death,” he kept repeating to himself, moving his
lips as though he were praying. If he said the word often enough, if he
accustomed himself completely to the idea, death would come almost by
itself; he would know it already, while he was still alive, he would
pass almost without noticing out of life into death. Into death, he
thought, into death. Death like a well. The stone falls, falls, second
after second; and at last there is a sound, a far-off, horrible sound of
death and then nothing more. The well at Carisbrooke, with a donkey to
wind the wheel that pulls up the bucket of water, of icy water.... He
thought for a long time of the well of death.
Outside in the mews a barrel-organ struck up the tune of ‘Where do flies
go in the winter-time?’ Lypiatt lifted his head to listen. He smiled to
himself. ‘Where _do_ flies go?’ The question asked itself with a
dramatic, a tragical appositeness. At the end of everything—the last
ludicrous touch. He saw it all from outside. He pictured himself sitting
there alone, broken. He looked at his hand lying limp on the table in
front of him. It needed only the stigma of the nail to make it the hand
of a dead Christ.
There, he was making literature of it again. Even now. He buried his
face in his hands. His mind was full of twisted darkness, of an
unspeakable, painful confusion. It was too difficult, too difficult.
The inkpot, he found when he wanted to begin writing, contained nothing
but a parched black sediment. He had been meaning for days past to get
some more ink; and he had always forgotten. He would have to write in
pencil.
Public-domain text, read in full here on John Shaqi.
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