Introducing Irony: A Book of Poetic Short Stories and PoemsBodenheim, Maxwell
General
Introducing Irony: A Book of Poetic Short Stories and Poems
Bodenheim, Maxwell
American fiction -- 20th century; American poetry -- 20th century; Short stories, American
“Perish upon the turmoil of each day and make it inaudible, but let the
night be our hermitage,” he cried to a dead woman. As though replying,
the rocking of his bed gradually lessened and the darkness became
an opaque farewell. He turned to the shaft of moonlight which was
tactfully intercepting the floor of his room; it had the unobtrusive
intensity of a melted Chinaman. For hours he gave it his eyes and dimly
contradicted it with his heart. When the dawn made his room aware of
its limitations, he closed his eyes.
At the breakfast table he and Anita greeted each other with a worn
brevity: their eyes found an empty solace in the white tablecloth
and their minds felt a bright impotence, like beggars idling in the
sun. For a while the tinkle of their spoons amiably pardoned their
constraint, but Anita finally spoke with the staccato of one who snaps
unbearable thongs.
“She came to me last night. I heard a sound like a huge menace
stumbling over a chair. The door opened and the darkness grew as heavy
as dead flesh. My bed swayed with the precision of a grieving head.”
Carl’s face broke and gleamed like a soft ground flogged by sudden rain.
“The same things happened to me,” he said in the voice of a child
wrestling with a minor chord.
They sat heavily disputing each other with their eyes.
“Did you lie afterwards, censuring the moonlight?” asked Anita.
Carl nodded. Anita’s mother majestically blundered into the room.
Exuberantly substantial, with the face of a child skillfully rebuked by
an elderly masquerade, she flattered a chair at the table.
“Wasn’t that a terrible storm we had last night,” she babbled. “The
rain kept me awake for hours--I’m such a light sleeper, you know. I do
hope you children managed to rest.”
LOVE
The night received the moonlight in the manner of a sophisticated
braggart who slaps the face of an old, impassive man. Mrs. Robert
Calvin Taylor observed this illusion and painted it upon one of the
lanterns lighting a little party within her heart. The guests at the
party, fat sophists and slatterns in gay, patched clothes, gathered
around the lantern and felt relieved at the impersonal novelty of its
decoration. If Mrs. Robert Calvin Taylor had been a philosopher or a
scientist she would have changed the night to an unseen background, or
a chemical diagram; she would have ignored the pleading of her heart
for pictorial distraction. But since she was a society-woman, tired
of sensual toys and a mental twilight, she welcomed the night as her
first effectual lover. Sitting in the garden of her country home she
could see the lighted windows of her crowded ballroom, and hear the
saccharine pandemonium of a jazz orchestra. The noise reminded her of a
middle-aged roué, snickering as he rolled his huge dice while gambling
for a new mistress. She felt glad that her new lover, the night, did
not seek to court her with such a blustering clatter.
Public-domain text, read in full here on John Shaqi.
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