Phases of an Inferior PlanetGlasgow, Ellen Anderson Gholson
General
Phases of an Inferior Planet
Glasgow, Ellen Anderson Gholson
Fiction
"You haven't finished," he remonstrated, in an aside. "My posters aren't
only bread and meat; they are pie--principally pie."
The girl laughed and shook her head.
"And principally pumpkin," she returned. "No, thank you!"
She left the dining-room and mounted the stairs to the fourth landing.
Her room was in the front of the house, and the way to it lay through a
long and dimly lighted corridor, the floor of which was covered with
figured oil-cloth.
As she slipped the key into the lock the door swung back, and a blast of
damp air from the open window blew into her face. She crossed the room
and stood for a moment with her hand upon the sash, looking down into
the street. A train upon the elevated road was passing, and she saw the
profiles of the passengers dark against the lighted interior. Clouds of
white smoke, blown rearward by the engine's breath, hovered about the
track, too light to fall. Then, as the wind chased westward, the clouds
were torn asunder, and stray wreaths, deepening into gray, drifted along
the cross street leading to the river.
The girl reached out and drew in a can of condensed milk from the
fire-escape. Then she lowered the window and turned on the steam-heater
in the corner, which set up a hissing monotone.
The room was small and square. There was a half-worn carpet upon the
floor, and the walls were covered with cheap paper, the conspicuous
feature of which was a sprawling design in green and yellow cornucopias.
In one corner stood a small iron bedstead, partially concealed by a
Japanese screen, which extended nominal protection to the wash-stand as
well. On the wall above the screen an iron hook was visible, from which
hung a couple of bath-towels and a scrubbing-brush suspended by a
string. Nearer the window there was an upright piano, with a scarf of
terra-cotta flung across it and a row of photographs of great singers
arranged along the ledge. Here and there on the furniture vivid bits of
drapery were pinned over barren places.
But with the proof of a sensuous craving for color a latent untidiness
was discernible. Her slippers lay upon the hearth-rug where she had
tossed them when dressing for the street; a box of hair-pins had been
upset upon the bureau, and a half-open drawer revealed a tangled mass of
net veiling.
Throwing her hat and coat upon the bed, the girl turned up the lights,
selected a score of "Lucia" from a portfolio under the piano, and,
seating herself at the music-stool, struck the key-board with sudden
fervor. The light soprano notes rang out, filling the small room with a
frail yet penetrating sweetness. It was a clear and brilliant voice, but
it was a voice in miniature, of which the first freshness was
marred--and it was not the voice for Lucia.
With quick dismay the girl realized it, and rising impatiently, tossed
the score upon the carpet and left the piano.
Public-domain text, read in full here on John Shaqi.
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