England -- Fiction; Patent medicines -- Marketing -- Fiction; Pharmaceutical industry -- Fiction; Satire; Science fiction
The spaniel was a great bore, begging and doing small tricks first at
one and then at the other of us. Neither of us used his name. You see
we had called him Miggles, and made a sort of trio in the baby-talk of
Mutney and Miggles and Ming.
VIII
Then presently we resumed our monstrous, momentous dialogue. I can’t
now make out how long that dialogue went on. It spread itself, I know,
in heavy fragments over either three days or four. I remember myself
grouped with Marion, talking sitting on our bed in her room, talking
standing in our dining-room, saving this thing or that. Twice we went
for long walks. And we had a long evening alone together, with jaded
nerves and hearts that fluctuated between a hard and dreary recognition
of facts and, on my part at least, a strange unwonted tenderness;
because in some extraordinary way this crisis had destroyed our mutual
apathy and made us feel one another again.
It was a dialogue that had discrepant parts that fell into lumps of
talk that failed to join on to their predecessors, that began again at
a different level, higher or lower, that assumed new aspects in the
intervals and assimilated new considerations. We discussed the fact
that we two were no longer lovers; never before had we faced that. It
seems a strange thing to write, but as I look back, I see clearly that
those several days were the time when Marion and I were closest
together, looked for the first and last time faithfully and steadfastly
into each other’s soul. For those days only, there were no pretences, I
made no concessions to her nor she to me; we concealed nothing,
exaggerated nothing. We had done with pretending. We had it out plainly
and soberly with each other. Mood followed mood and got its stark
expression.
Of course there was quarreling between us, bitter quarreling, and we
said things to one another—long pent-up things that bruised and crushed
and cut. But over it all in my memory now is an effect of deliberate
confrontation, and the figure of Marion stands up, pale, melancholy,
tear-stained, injured, implacable and dignified.
“You love her?” she asked once, and jerked that doubt into my mind.
I struggled with tangled ideas and emotions. “I don’t know what love
is. It’s all sorts of things—it’s made of a dozen strands twisted in a
thousand ways.”
“But you want her? You want her now—when you think of her?”
“Yes,” I reflected. “I want her—right enough.”
“And me? Where do I come in?”
“I suppose you come in here.”
“Well, but what are you going to do?”
“Do!” I said with the exasperation of the situation growing upon me.
“What do you want me to do?”
Public-domain text, read in full here on John Shaqi.
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