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 always after he made a point of emphasizing this theory of his—or of
Sampson’s—as he called it. It became the rival in this talk of Christian
economics. He did so without argument, for Philbin did not come back. A
Futurist painter, who had found out Isham’s purely by accident,
gradually took his place. At Isham’s places were always taken gradually.
To make up for it they were generally taken for a very long time.
Philbin’s was the first defection, in fact, since Twinkle’s low-toned
monologues about the moon, with old Isham for the only listener, in the
corner by the fireplace, had started it all eleven years ago. Philbin,
too, had never been in very good standing; his trick of sarcasm hurt too
many sensibilities. And then he was agnostic in everything, and Isham’s
collectively believed in almost everything. Every man of them, except
the Futurist painter who took his place and had scarcely known him, had
some little hurt somewhere to remember him by, and so, of course, wanted
to forget him.
They had almost succeeded, too, when suddenly that happened which
brought his name up in all thoughts, the war. That night, the night when
all rumors and surmises were solidified into the single, soul-stunning
fact, nobody mentioned his name, though each knew the others were
thinking of it. It seemed uncivil when they had each heard the rest make
such fun of his theories. But after a few days some bolder soul broke
the spell.
“Philbin—do you remember, he always prophesied it?”
But that was all, and Savelle sat silent even then.
In truth, the war changed Isham’s. Of course, it changed somehow almost
everything in the world, but it changed Isham’s peculiarly. Before it
had been a place where people went to talk of curious things, and now
the same people went there—Sampson and Savelle and little Norvel and the
Futurist painter, and old Isham himself was unchanged, nothing could
alter him, and they still talked of curious things, more curious things
than they had ever imagined before, but Isham’s had changed by ceasing
to be different, because everywhere people were talking of the same
things. Talk at Isham’s was just like talk on any street corner. In
fact, the world had caught up with Isham’s.
Then one night Philbin did come back. It was in the second year of the
great war, and it had been nearly five since he had gone away after his
tiff with Savelle. He did not come directly into the back room, as he
had been used to do, but dined by himself at a small table in front. He
sat there a long time after dinner over his coffee, with his back turned
to his old place. Every one of them had seen him and recognized him, and
talk that night was slow. Though he had spoken to none of them and
turned his back to them, each knew somehow that he would speak and that
he had come there especially to speak, and that he would say something
important, and they sat nervously waiting.
Public-domain text, read in full here on John Shaqi.
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