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
It was there, one dreary evening in late November, that Marston’s name
was brought to my dim little apartment, with the request that, if
possible, I receive him at once. I was about to sit down to a lonely
dinner, and the prospect of his company delighted me. Then he came into
the room.
I had last seen him with his friend Esmè as they stood together waving
me good-by, the rich, heavy summer sunshine all about them, though
something more than a trick of golden light flooded their faces. They
were both vitally alive in widely different ways; and yet they strangely
seemed to be merely parts of each other. Esmè was an erratic dreamer and
seer of visions, and lacked always, even in the unimportant aspects of
living, any sense of the personal, the concrete; Marston, in curious
contrast, was at all times practical, level-headed, full of the luster
of life.
The man who stood hesitatingly just inside my door was not Marston, but
some stone-sculptured image of the gay, glad boy I had known.
The cry I could not choke broke through his terrible immobility, and he
spoke, the words sounding unreal, as though he had memorized them for a
lesson and rehearsed their very intonation.
“I had to come. I had to tell some one. Then I will go away. I don’t
know where; just away. You knew him, knew I loved him. Will you let me
tell you? Then I will go away.”
It flashed across my mind in the second before I found words that I had
half wondered why Esmè was not with him. It seemed impossible that even
their bodies could be separated.
I tried to lead him to the fire and remove his overcoat, but he pushed
me from him.
“No, no; don’t touch me. You don’t know, don’t understand. I’ve hunted
two weeks trying to find some one—you, any one who knew us to whom I
could tell it.” He hesitated, and I waited. His voice took on a curious
quality of childlike appeal as he went on: “You know I loved him, know
I’d given my life for his, don’t you?” Such phrasing was utterly unlike
Marston, but I had seen their friendship in all the glory of its
intensity, and I knew no sacrifice would have been too great. I assured
him of this, and, remembering my nursing, insisted that he eat,
promising to listen to anything he wanted to tell me.
We sat facing each other across the spread table, but neither of us
thought of the food after the first few mouthfuls. Twice in the early
part of his story I filled his glass with claret, but I cannot recollect
his drinking any.
“You must think this strange of me, but I’m not really mad, not now. You
see, I’ve lived with the horror ever since they gave me leave—just
afterward, trying to find some one I could talk to, some one who would
help me go on and finish the things we’d—
“I want to make it all as clear as possible, but I’ve got to tell it my
own way, and that isn’t clear.
Public-domain text, read in full here on John Shaqi.
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