The best short stories of 1917, and the yearbook of the American short story
General
The best short stories of 1917, and the yearbook of the American short story
American fiction -- 20th century; Short stories -- 20th century -- Bibliography; Short stories -- 20th century -- Indexes; Short stories, American
I had known, before I came to love Dick Allport, other loves and other
lovers. Because I had followed will-o'-the-wisps of fancy through
marshes of sentiment I could appreciate the more the truth of that flame
which he and I had lighted for our guidance on the road. A moody boy he
had been when I first met him, full of a boy's high chivalry and of a
boy's dark despairs. A moody man he had become in the years that had
denied him the material success toward which he had striven; but
something in the patience of his efforts, something in the fineness of
his struggle had endeared him to me as no triumph could have done.
Because he needed me, because I had come to believe that I meant to him
belief in the ultimate good of living, as well as belief in womanhood, I
cherished in my soul that love of him which yearned over him even as it
longed for him.
Watching him in the dusk while he lounged in that concentrated quiet of
attention, I went on piling the bricks of that wide house of happiness
we should enter together; and, although I could see him but dimly, so
well did I know every line of his face that I could fancy the little
smile that quivered around his lips and that shone from the depths of
his eyes as Leila played the measures we both loved. I must have been
smiling in answer when the song of the girl outside rose high.
Not until that alien sound struck athwart the power and beauty of the
spell did I come to know how high I had builded my castles; but the
knocking at the gate toppled down the dreams as Leila swept a discord
over the keyboard and crossed to the open window.
In the dusk, as she flung back the heavy curtains, I could see the bulk
of Brompton Oratory set behind the houses like the looming back-drop of
a painted scene. Nearer, in front of a tall house across the way, stood
the singer, a thin girl whose shadowy presence seemed animated by a
curious bravery. In a nasal, plaintive voice she was singing the words
of a ballad of love and of loving that London, as only London can, had
made curiously its own that season. The insistence of her plea--for she
sang as if she cried out her life's longing, sang as if she called on
the passing crowd not for alms, but for understanding--made her for the
moment, before she faded back into oblivion, an artist, voicing the
heartache and the heartbreak of womankind; and the artist in Leila
Burton responded to the thrill.
Public-domain text, read in full here on John Shaqi.
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