The House by the RiverHerbert, A. P. (Alan Patrick)
General
The House by the River
Herbert, A. P. (Alan Patrick)
London (England) -- Social life and customs -- 20th century -- Fiction; Murder -- Fiction; Poets -- Fiction
All that June the weather was very lovely. In the busy streets the air
grew heavy and stifling, full of dust and the vile fumes of motor buses.
They were like prisons. But by the river there was always a sense of
freshness and freedom; and when the great tide swept up in the evenings
a gentle breeze came in light breaths from the west and fingered and
fondled the urgent water, making it into a patchwork of rippled places
and smooth places, where there swam for a little in a fugitive glow of
amber and rose the small clouds over the Richmond Hills. Then it was
cool and strengthening to sit in a small boat and drink the breeze, and
Stephen always, when the tide was up, would row out into the ripples to
see the big sun go down behind Hammerton Church. And while the boat
rocked gently on the wash of tugs, he would sit motionless, trying to
store the sunset in his mind. He would look at the lights in the water,
the unimaginable pattern and colouring of the clouds, fretted like the
sand when the sea goes out, consciously realizing, consciously
memorizing, thinking, "I must remember how that looked!" For he was not
naturally observant, and often, he knew, made up for his lack of
observation by his power of imagining. But the critics said he was
observant, and observant he was determined to be.
Or he would row across to the eastern end of the Island and tie his boat
to the single willow tree that stood there. From this point, looking
eastward, you saw the whole of the splendid reach, curving magnificently
away to Hammersmith Bridge. You saw the huddled, irregular houses beside
it glowing golden in the last sunlight, with here and there a window
that blazed at you like a furnace; you saw the fine old trees on the
southern bank and the tall chimneys and the distant church that had
something of the grace of Magdalen Tower, and you saw the wide and
exuberant stream with an impression of bigness and dignity which could
never be commanded from the bank; and you saw it rich with colour and
delicate lights--with steel-blue and gold--with copper and with rose.
You knew that it was a thick and muddy stream, that most of the houses
were squalid houses, and many of the buildings were ugly buildings. But
they were all beautiful in the late sun, and Stephen loved them.
And while he sat there, the poem hovered always in the background of his
mind. Everything he saw he saw as material which might somehow take its
place in the poem. Sometimes half-consciously he was shaping ahead the
scheme of what he had next to do, the general form and sequence of it;
and sometimes there was a line that would not come right, a word or a
phrase that would not surrender itself, and this problem would be always
busy in his head, the alternatives chasing each other in a tumbling
perpetual circle. Sometimes he would go into the house again in a vague
depression, simply because this difficulty had not yet resolved itself.
Public-domain text, read in full here on John Shaqi.
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