The best short stories of 1918, and the yearbook of the American short story
General
The best short stories of 1918, 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
And that, I suppose—the feeling that no personality _could_ follow so
undeviating a line, so obviously its own path—was responsible for my
impression, when I came later to hear how completely he _had_ followed
it, of his being because of it much more unique than he could ever have
made himself by turning aside. True enough, there are people who, if
they heard the tale, might maintain that he could hardly have
accomplished a more striking divergence from type. I’ll have to confess
I thought so myself—at the first; certainly I thought so all the while I
listened, long afterward, to the quiet, though somewhat nasal, and
thoroughly puzzled voice of the gentle old man from Dubuque, who seemed,
as he recounted the story, to be seeking in me some solution of Corey’s
phenomenon.
I thought it even afterward, until, sitting there where he had left me,
I began slowly to orient the facts in relation to Corey’s character. And
then, all at once, it came to me that it was exactly because Corey
_hadn’t_ diverged that he did what he did. He went straight through
everything to his predestined end. Any other man would have had stages,
subtleties, degrees of divergence. But Corey knew none of those things.
It was from old Mr. Ewing of Dubuque that I had my first news of Corey
after that night in the Paris hotel.
He must have gone back to his army in the Balkans the next day, for we
were to have seen him that night again in case he had to stay over, and
when I asked I was told that Monsieur had gone.
Things kept reminding me of him. The names of streets and places in
Paris recalled his flat American mispronunciation of
them—mispronunciations which sounded half as if he were in fun and half
as if he didn’t know any better, or hadn’t paid enough attention to
learn them correctly. I believe he saw, or was subconsciously aware of,
his own incongruity. Still, one would think he’d have become, so to
speak, accustomed to himself in the strange rôle by then.
I think I must have spoken of him rather often to people, so long as I
remained in Paris; and it was, if not exactly curious, at least a little
less than one would expect, that I never came in contact with any one
else who knew him, until that day, a little while ago, when I met, in
the smoking-car of a west-bound train out of Chicago, the man who told
me all there was, or ever will be, for any man to tell about Corey.
He may have been sitting there near me all the time; I don’t know. But
then he was not the kind of man one notices in a smoking-car, or any
other place, for that matter. Certainly you would never suspect that so
gray and uninteresting an envelope could inclose the manuscript of a
story like Corey’s. You had seen hundreds like him before, and you knew
what they contained—stereotyped circular letters full of dull,
indisputable facts, nothing you wanted or cared to know. And it was
precisely because I wished later on one of those very dull facts that I
came to speak to my man.
Public-domain text, read in full here on John Shaqi.
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