East End (London, England) -- Fiction; London (England) -- Social life and customs -- Fiction
Seized by a fit of shuddering breaths, Lizer sank on the floor, and,
with her head across the body, presently broke into a storm of
hysterical blubbering, while Billy, white and dazed, dressed hurriedly
and got out of the house. He was at home as little as might be until the
coroner's officer carried away the body two days later. When he came
for his meals, he sat doubtful and querulous in the matter of the front
room door's being shut. The dead once clear away, however, he resumed
his faculties, and clearly saw that here was a bad change for the worse.
There was the mangle, but who was to work it? If Lizer did, there would
be no more charing jobs--a clear loss of one-third of his income. And it
was not at all certain that the people who had given their mangling to
his mother would give it to Lizer. Indeed, it was pretty sure that many
would not, because mangling is a thing given by preference to widows,
and many widows of the neighborhood were perpetually competing for it.
Widows, moreover, had the first call in most odd jobs whereunto Lizer
might turn her hand: an injustice whereon Billy meditated with
bitterness.
The inquest was formal and unremarked, the medical officer having no
difficulty in certifying a natural death from heart disease. The bright
idea of a collection among the jury, which Billy communicated, with
pitiful representations, to the coroner's officer, was brutally swept
aside by that functionary, made cunning by much experience. So the
inquest brought him nought save disappointment and a sense of injury....
The mangling orders fell away as suddenly and completely as he had
feared: they were duly absorbed among the local widows. Neglect the
children as Lizer might, she could no longer leave them as she had done.
Things, then, were bad with Billy, and neither threats nor thumps could
evoke a shilling now.
It was more than Billy could bear: so that, "'Ere," he said one night,
"I've 'ad enough o' this. You go and get some money; go on."
"Go an' git it?" replied Lizer. "O yus. That's easy, ain't it? 'Go an'
git it,' says you. 'Ow?"
"Any'ow--I don't care. Go on."
"Wy," replied Lizer, looking up with wide eyes, "d'ye think I can go an'
pick it up in the street?"
"Course you can. Plenty others does, don't they?"
"Gawd, Billy ... wot d'ye mean?"
"Wot I say; plenty others does it. Go on--you ain't so bleed'n' innocent
as all that. Go an' see Sam Cardew. Go on--'ook it."
Lizer, who had been kneeling at the child's floor-bed, rose to her feet,
pale-faced and bright of eye.
"Stow kiddin', Billy," she said. "You don't mean that. I'll go round to
the fact'ry in the mornin': p'raps they'll take me on temp'ry."
"Damn the fact'ry."
He pushed her into the passage. "Go on--you git me some money, if ye
don't want yer bleed'n' 'ead knocked auf."
There was a scuffle in the dark passage, with certain blows, a few
broken words, and a sob. Then the door slammed, and Lizer Chope was in
the windy street.
WITHOUT VISIBLE MEANS.
Public-domain text, read in full here on John Shaqi.
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