The best short stories of 1922, and the yearbook of the American short story
General
The best short stories of 1922, 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
A week later I received a letter of thanks from him. He was in the
hospital. Three weeks later another letter came. He had been given a
home by an elderly couple. Luck had turned. He had all he wanted. Two
more weeks brought another letter. He was living somewhere else now
and he would like to hear from me. And then he appeared in person. It
was the first time I had ever seen him.
He sat down beside my desk and I looked at him. Death stared out of
the man. And I noticed at once the curious kindliness of him. He
talked slowly and told me of his experiences. He was courteously
brief, and even better than that, he spoke without emotion.
“There is nobody to blame,” he said. “Not even myself. It is just
the way things go. And if I can’t blame myself, how can I blame
the world? The city is like that. I’m no good. I’m done. Worn out,
useless. People try to take care of the useless ones. There are
institutions. Well, I had two good homes and was in two institutions,
thanks to the thing you wrote. But they kicked me out. They said I
was a faker. Somehow I don’t appeal to charitably inclined people.”
Later I understood why. It was because of the man’s smile--a feeble,
tenacious grimace that seemed to be offering a sardonic reproof. It
could never have been mistaken for a courageous smile. Philanthropy
had taken Winkelburg up and then dropped him. Quickly and definitely.
Because of his smile. The secret of its aggravating quality was this:
in it Winkelburg accused himself of his uselessness, his feebleness,
his poverty. It was as if he were regarding himself continually
through the annoyed eyes of others and addressing himself with
the words of others--“You, Winkelburg, get out of here. You’re a
nuisance. You make me uncomfortable, because you’re poor and diseased
and full of gloom. Get out. I don’t want you around. Why the devil
don’t you die?”
And the aggravating thing was that people looked at Winkelburg’s
smile as into a mirror. They saw in it a shrewd reflection of their
own attitude toward the man. They felt that Winkelburg understood
what they thought of him. And they didn’t like that. They didn’t like
to feel that Winkelburg was aware that deep inside their minds they
were always asking, “Why doesn’t this Winkelburg die and have it
over with?” Because that made them out as cruel, heartless people,
not much different in their attitude toward their fellow-man from
predatory animals in their attitude toward fellow predatory animals.
And somehow, although they really felt that way toward Winkelburg,
they preferred not to believe it. At least, they disliked accusation
where there should have been only gratitude.
Not that Winkelburg was ungrateful. He was thankful, obliging and
properly humble. But his smile persisted. And his smile was a mirror
that would not let his benefactors escape the truth. And eventually
Winkelburg’s smile became for them one of those curious mirrors that
exaggerate images grotesquely.
Public-domain text, read in full here on John Shaqi.
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