Read Like A Writer

There are two ways to learn how to write fiction: by reading it and by writing it. Yes, you can learn lots about writing stories in workshops, in writing classes and writing groups, at writers' conferences. You can learn technique and process by reading the dozens of books like this one on fiction writing and by reading articles in writers' magazines. But the best teachers of fiction are the great works of fiction themselves. You can learn more about the structure of a short story by reading Anton Chekhov's 'Heartache' than you can in a semester of Creative Writing 101. If you read like a writer, that is, which means you have to read everything twice, at least. When you read a story or novel the first time, just let it happen. Enjoy the journey. When you've finished, you know where the story took you, and now you can go back and reread, and this time notice how the writer reached that destination. Notice the choices he made at each chapter, each sentence, each word. (Every word is a choice.) You see now how the transitions work, how a character gets across a room. All this time you're learning. You loved the central character in the story, and now you can see how the writer presented the character and rendered her worthy of your love and attention. The first reading is creative—you collaborate with the writer in making the story. The second reading is critical.


John Dufresne, from his book, The Lie That Tells A Truth: A Guide to Writing Fiction

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Sunday, August 18, 2024

The Road Not Taken By Robert Frost




The Road Not Taken


By Robert Frost


Two roads diverged in a yellow wood,

And sorry I could not travel both

And be one traveler, long I stood

And looked down one as far as I could

To where it bent in the undergrowth;


Then took the other, as just as fair,

And having perhaps the better claim,

Because it was grassy and wanted wear;

Though as for that the passing there

Had worn them really about the same,


And both that morning equally lay

In leaves no step had trodden black.

Oh, I kept the first for another day!

Yet knowing how way leads on to way,

I doubted if I should ever come back.


I shall be telling this with a sigh

Somewhere ages and ages hence:

Two roads diverged in a wood, and I—

I took the one less traveled by,

And that has made all the difference.


About the Author

 

Robert Frost
Robert Lee Frost 
(March 26, 1874 – January 29, 1963) was an American poet. His work was initially published in England before it was published in the United States. Known for his realistic depictions of rural life and his command of American colloquial speech, Frost frequently wrote about settings from rural life in New England in the early 20th century, using them to examine complex social and philosophical themes. Wikipedia

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Sunday, August 11, 2024

The Cask of Amontillado by Edgar Allan Poe | Foreword





The Cask of Amontillado 


by Edgar Allan Poe




Foreword by Olivia Salter

In the irregular and twisting corridors of gothic literature, few tales resonate with the same chilling intensity as Edgar Allan Poe's "The Cask of Amontillado." First published in 1846, this short story encapsulates the essence of revenge, betrayal, and the darker recesses of human nature. Poe masterfully weaves a narrative that invites readers to explore the complex interplay between pride and vengeance, all set against the backdrop of a carnival—the perfect plot of two things being seen with contrasting effect of revelry and impending doom.

At its core, the story revolves around Montresor, a man driven by a desire for retribution against Fortunato, whose perceived insults have disfigure his honor. As Montresor lures Fortunato deeper into the catacombs under the guise of a rare wine tasting, the reader is drawn into a chilling game of cat and mouse. Poe's rich, atmospheric prose evokes the damp, claustrophobic setting, immersing us in a world where the lines between sanity and madness blur, and where the thrill of vengeance takes on a life of its own.

Poe's exploration of human psychology is both fascinating and unsettling. The reader is forced to confront the motivations that lead one to commit unspeakable acts. Montresor's calculated scheme reveal the depths of his obsession, while Fortunato’s self-confidence and arrogance serve as a cautionary tale about the perils of excessive pride. The irony of their fateful encounter serves as a sad reminder of the consequences of unchecked ambition and the darker sides of our personalities.

As you delve into "The Cask of Amontillado," prepare to be captivated by its intricate plot and haunting themes. Poe's ability to evoke terror through suggestion rather than explicit violence allows for a deeply psychological reading experience. This tale remains a timeless testament to the power of storytelling, illustrating how the darkest corners of the human psyche can manifest in the most unexpected ways. Let this foreword guide you into the depths of Poe's imagination, where the thrill of the unknown awaits, and the echoes of revenge linger long after the final word is read.

Olivia Salter
08/11/2024


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Friday, August 2, 2024

Children's Stories and How to Tell Them by J. Berg Esenwein [PDF]

 

Children's Stories and How to Tell Them by Esenwein, J. Berg (Joseph Berg), 1867-1946; Stockard, Marietta [PDF]

 

Children's Stories and How to Tell Them

by

J. Berg Esenwein, (Joseph Berg), 1867-1946; Marietta Stockard


 

Contents


Contents
Page 

Foreword xiii 



PART I 

HOW TO TELL STORIES TO CHILDREN 


Chapter I — The Story-Teller as Artist . . i 

Voice and Word 3 

Suggestions for Study and Discussion . . 5 

Chapter II — The Place of the Story in the 

Life of the Child 6 

Capability and Culture 6 

Literature the Keystone of the Educational 

Arch 9 

Importance of Cultivating the Imagination . 9 

Culture Should Begin in Childhood ... 11 

Suggestions for Study and Discussion . . 14 

Grist from Other Mills 14 

Chapter III — How Stories Develop the Per- 
sonality 16 

Stories Express the Hopes of Mankind . . 18 

Stories Lead to Moral Judgments .... 20 

Stories Stimulate Mental and Moral Processes 21 

Efects of Fiction on the Personality ... 21 

Efect of Fiction on the Story-Teller ... 24 

Suggestions for Study and Discussion . . 25 

Grist from Other Mills 26 



Vlll TABLE OF CONTENTS 

Page 

Chapter IV— The Basis of Selection of 

Children's Stories 28 

The Child Himself as a Basis 30 

Literary Quality as a Basis 34 

The Mood of the Story-Teller 37 

Suggestions for Study and Discussion . . 38 

Grist from Other Mills 40 

Chapter V — The Structure of the Story . 42 

The Beginning of the Story 43 

Examples of openings. 

The Body of the Story 47 

The tale; plot; the short-story; series of scenes; episodes; plausibility; motivation; 
crisis; suspense; climax. 

The End of the Story 52 

Examples of endings. 
Suggestions for Study and Discussion . . 55 

Grist from Other Mills 57 

Chapter VI — The Preparation of the Story 

FOR Telling 58 

The Subjective Appeal , 58 

Re-creating the Conditions of the Story . . 59 

The Intensive Analysis of the Story ... 61 

The central theme; details; incidents; series of scenes; the climax. 

Fitting Words to the Story 63 

Equivocal words; style; transitions. 
Suggestions for Study and Discussion . . 65 

Chapter VII — Methods of Story-Telling . 67 

The Mood of the Story-Teller 67 

Self-electrification; absorption; visuahzation. 

The Manner of the Story -Teller .... 70 

Attitude; personal appearance; poise. 

Methods in Delivery 72 



TABLE OF CONTENTS IX 

Page 

Memorizing; charm of voice; enunciation; 

articulation; change of pace; pause; change of 

pitch; position and posture; gesture and 

mimicry; drawing; gauging effects. 

Suggestions for Study and Discussion . . 79 

Grist from Other Mills 80 

Chapter VIII — Inventing Stories from Pic- 
tures 82 

Observation 83 

Reporting 83 

Coordination 85 

Fictionizing 86 

Narration 86 

Suggestions for Study and Discussion . . 88 

Chapter IX — Adapting Stories from Great 

Sources 90 

Analyze the Story 93 

Study the Situation to be Adapted .... 94 

Focus the Story 95 

Select a Single Chain of Scenes .... 97 
What is dramatic; danger and suspense; omission; expansion; methods of alteration. 

Stories for Adaptation 103 

Cycles of stories. 

Suggestions for Study and Discussion . . 105 

Grist from Other Mills 107 

Chapter X — Telling Original Stories . . 108 

Why Tell Original Stories? 108 

Whereto Find Story Material 11 1 

Locality; family legends and anecdotes. 

Avoiding the Threadbare 112 

The Development of the Plot 113 

Suggestions FOR Study and Discussion . . 114 



X TABLE OF CONTENTS 

Page 

Chapter XI — Helping Children to Invent 

Stories 116 

Helps to the Child's Invention ii8 

Examples of original stories by children. 

Suggestions for Study and Discussion . . 123 

Grist from Other Mills 124 

PART II 

FIFTY STORIES TO TELL TO CHILDREN 


Chapter XII — Stories for Very Little Folks 127 
Introduction; "Thumbelina;" *' The Goats in the Rye Field;" ''The Billy-Goats Gruff;'' 
"The Lion and the Mouse;" "The Little Half-Chick." 

Chapter XIII — Folk and Fairy Stories . . 144 
Introduction; "Tom Thumb;" "The Three Heads;" "Why the Sea is Salt;" "The Legend of the Dipper;" "Jack and Jill's Visit to the Moon;" *' Barney Noonan's Fairy Haymakers;" "The Discontented Chickens;" 
"The Ugly Duckling;" "The Golden Touch;" 
"The Woodman and the Goblins;" "The Star-Wife." 

Chapter XIV — Animal Stories 192 

Introduction; "The Sheep and the Pig Who Set Up Housekeeping;" "The Fox and the Cock;" "Scrapefoot;" "The Clever Rat;" "Father Domino." 

Chapter XV — Bible Stories 214 

Introduction ; " In the Beginning ; " "The Story 
of Joseph;" "The Story of the Baby Moses;" "David and Goliath." 



TABLE OF CONTENTS XI 

Page 

Chapter XVI— Patriot Stories 232 

Introduction; ''George Washington and the Colt;" ''George Washington and the Cherry Tree;" ''Going to Sea;" " George Washington as a Young Man;" "George Washington the 
Great Man." 

Chapter XVII— Thanksgiving Stories . . 245 
Introduction; " Ruth and Naomi ; " "Old Man Rabbit's Thanksgiving Dinner." 

Chapter XVIII— Christmas Stories ... 254 
Introduction ; " The Shoemaker and the Elves ; " 
"The Visit to Santa Claus Land;" "Snowball's 
Christmas Eve;" "Nancy Etticoat's Ring;" 
"The Christmas Visitors;" "The First Christmas." 

Chapter XIX— Spring Stories 278 

Introduction; "Five Peas in the Pod;" "Picciola;" "Proserpina;" "A Wondrous Change;" 
"Sleeping Beauty." 

Chapter XX— Hero Stories 302 

Introduction; "The Little Hero of Haarlem;" 
" Joan of Arc; " " The Young Knight Galahad; " 
"The Rescue of Sir Melyas;" "The Castle of the Maidens;" "St. George and the Dragon;" 
"St. George and the Giant." 

PART III 

READING AND REFERENCE LISTS 


Supplementary List of Stories for Very 

Little Folks 329 

Supplementary List of Animal Stories . . 330 



Xll TABLE OF CONTENTS 

Page 

First Books for Little Children .... 330 

Books for Older Children 332 

Source-Books for the Story-Teller . . . 334 

Books and Articles on Children's Reading . 338 

Books on Story-Telling Methods .... 339 

Books on Literary Study and Its Value . . 340 

Publishers' Addresses 341 

General Index 343 
 

 FOREWORD

We cannot wonder at the skeptical smile which in 
certain quarters is sure to greet each new ''How to" book 
as it issues from the press, for too many such books have 
seemed arrogant, and too many readers have assumed, to 
their eventual disappointment, that it is within the power 
of some omniscient author to disclose an infallible recipe 
for the successful practice of a given art. Of course no 
such thing is possible. There are no secrets that a painter, 
a writer or a story-teller can divulge but that may be, and 
in fact often have been, discovered at first hand by those 
who have added to their native gifts the devotion of in- 
telligent practice. What is more, there are no fixed rules 
in art— in literary art especially— by which the would-be 
artist must be governed as he proceeds. 

What service, then, can the authors of a book of this 
kind hope to give to those who take it up expecting help? 
They can, after either personal experience or a wide and 
temperate study of the methods of others (or, better still, 
after both kinds of preparation), make a clear statement 
of the various methods used successfully by story-tellers— 
since that is the scope of this treatise. From these methods, 
approved by the experience of many, certain simple 
foundation-principles may be deduced so as to help the 
student of the art to understand the material he has to 
work with, the forms in which it may be cast, various 
successful methods of presentation, the limitations of his 



XIV FOREWORD 

hearers, and the ends he is justified in seeking to gain. 
Further, these principles may be clearly illustrated by 
examples so as to show, first, how others have applied 
them; and second, how the story-teller may modify and 
improve upon the ways of others in reaching the particu- 
lar results he desires. 

The whole process of teaching such an art may be com- 
pared to the Automobile Blue Book, which points out the 
directness of one route, the delights of another, and the 
difficulties of a third, while leaving the motorist to choose 
for himself — knowingly. Those story-tellers who have 
had to search out their own trails through Storyland 
freely recognize that they would have been saved many a 
detour, many a *' blind" lane, if only some earlier traveler 
had erected a few friendly guide posts. 

This, then, is a modest little Blue Book, which analyzes 
the several ways that lie before the adventurer into the 
delightful fields of romance, offers advice on matters of 
equipment, points out difiicult curves, warns of deceptive 
byways, and seeks, without the interjection of a single 
impertinent must, to help the traveler choose his own way 
with confident ease. 

The use of story-telling in home, school, Sunday-school 
and recreation center is now so fully recognized as a power- 
ful factor in education, in character building and in de- 
light-giving, that no words are needed here to urge upon 
home, school and social guardians the importance of 
learning how to tell the best stories in the best ways. 

The Authors. 
August I, 1917. 


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Thursday, August 1, 2024

In the Red Room by Paul Bowles




In the Red Room


by Paul Bowles


Approximate Word Count: 3690


When I had a house in Sri Lanka, my parents came out one winter to see me. Originally I had felt some qualms about encouraging their visit. Any one of several things--the constant heat, the unaccustomed food and drinking water, even the presence of a leprosy clinic a quarter of a mile from the house might easily have an adverse effect on them in one way or another. But I had underestimated their resilience; they made a greater show of adaptability than I had thought possible, and seemed entirely content with everything. They claimed not to mind the lack of running water in the bathrooms, and regularly praised the curries prepared by Appuhamy, the resident cook. Both of them being in their seventies, they were not tempted by the more distant or inaccessible points of interest. It was enough for them to stay around the house reading, sleeping, taking twilight dips in the ocean, and going on short trips along the coast by hired car. If the driver stopped unexpectedly at a shrine to sacrifice a coconut, they were delighted, and if they came upon a group of elephants lumbering along the road, the car had to be parked some distance up ahead, so that they could watch them approach and file past. They had no interest in taking photographs, and this spared me what is perhaps the most taxing duty of cicerone: the repeated waits while the ritual between man and machine is observed. They were ideal guests.

Colombo, where all the people I knew lives, was less than a hundred miles away. Several times we went up for weekends, which I arranged with friends by telephone beforehand. There we had tea on the wide verandas of certain houses in Cinnamon Gardens, and sat at dinners with professors from the university, Protestant ministers, and assorted members of the government. (Many of the Sinhalese found it strange that I should call my parents by their first names, Dodd and Hannah; several of them inquired if I were actually their son or had been adopted.) These weekends in the city were hot and exhausting, and they were always happy to get back to the house, where they could change into comfortable clothing.

One Sunday not long before they were due to return to America, we decided to take in the horse races at Gintota, where there are also some botanical gardens that Hannah wanted to see. I engaged rooms at the New Oriental in Galle and we had lunch there before setting out.

As usual, the events were late in starting. It was the spectators, in any case, who were the focus of interest. The phalanx of women in their shot-silk saris moved Hannah to cries of delight. The races themselves were something of a disappointment. As we left the grounds, Dodd said with satisfaction: It'll be good to get back to the hotel and relax.

But we were going to the botanical gardens, Hannan reminded him. I'd like to have just a peek at them.

Dodd was not eager. Those places cover a lot of territory, you know, he said.

We'll look inside and come out again, she promised.

The hired car took us to the entrance. Dodd was tired, and as a result was having a certain amount of difficulty in walking. The last year or so I find my legs aren't' always doing exactly what I want 'em to do, he explained.

You two amble along, Hannah told us. I'll run up ahead and find out if there's anything to see.

We stopped to look up at a clove tree; its powerful odor filled the air like a gas. When we turned to continue our walk, Hannah was no longer in sight. We went on under the high vegetation, around a curve in the path, looked ahead, and still there was no sign of her.

What does your mother think she's doing? The first thing we know she'll be lost.

She's up ahead somewhere.

Soon, at the end of a short lane overhung by twisted lianas, we saw her, partially hidden by the gesticulating figure of a Sinhalese standing next to her.

What's going on? Dodd hastened his steps. Run over there, he told me, and I started ahead, walking fast. Then I saw Hannah's animated smile, and slowed my pace. She and the young man stood in front of a huge bank of brown spider orchids.

Ah! I thought we'd lost you, I said.

Look at these orchids. Aren't they incredible?

Dodd came up, nodded at the young man, and examined the display of flowers. They look to me like skunk cabbage, he declared.

The young man broke into wild laughter. Dodd stared at him.

This young man has been telling me the history of the garden, Hannah began hurriedly. About the opposition to it, and how it finally came to be planted. It's interesting.

The Sinhalese beamed triumphantly. He wore white flannels and a crimson blazer, and his sleek black hair gave off a metallic blue glint in the sunlight.

Ordinarily I steer a determined course away from the anonymous person who tries to engage me in conversation. This time it was too late; encouraged by Hannah, the stranger strolled beside her, back to the main path. Dodd and I exchanged a glance, shrugged, and began to follow along behind.

Somewhere up at the end of the gardens a pavilion had been built under the high rain trees. It had a veranda where a few sarong- draped men reclined in long chairs. The young man stopped walking. Now I invite you to a cold ginger beer.

Oh, Hannah said, at a loss. Well, yes. That would be nice. I'd welcome a chance to sit down.

Dodd peered at his wristwatch. I'll pass up the beer, but I'll sit and watch you.

We sat and looked out at the lush greenness. The young man's conversation leapt from one subject to another; he seemed unable to follow any train of thought further than its inception. I put this down as a bad sign, and tried to tell from the inflections of Hannah's voice whether she found him as disconcerting as I did.

Dodd was not listening. He found the heat of low-country Ceylon oppressive, and it was easy to see that he was tired. Thinking I might cover up the young man's chatter, I turned to Dodd and began to talk about whatever came into my head: the resurgence of mask-making in Ambalangoda, devil-dancing, the high incidence of crime among the fishermen converted to Catholicism. Dodd listened, but did no more than move his head now and then in response.

Suddenly I heard the young man saying to Hannah: I have just the house for you. A godsend to fill your requirements. Very quiet and protected.

She laughed. Mercy, no! We're not looking for a house. We're only going to be here a few weeks more.

I looked hard at her, hoping she would take my glance as a warning against going on and mentioning the place where she was staying. The young man was not paying attention, in any case. Quite all right. You are not buying houses. But you should see this house and tell your friends. A superior investment, no doubt about that. Shall I introduce myself, please? Justus Gonzag, called Sonny by friends.

His smile, which was not a smile at all, gave me an unpleasant physical sensation.

Come anyway. A five-minute walk, guaranteed. He looked searchingly at Hannah. I intend to give you a book of poems. My own. Autographed for you with your name. That will make me very happy.

Oh, Hannan said, a note of dismay in her voice. Then she braced herself and smiled. That would be lovely. But you understand, we can't stay more than a minute.

There was a silence. Dodd inquired plaintively: Can't we go in the car, at least?

Impossible, sir. We are having a very narrow road. Car can't get through. I am arranging in a jiffy. He called out. A waiter came up, and he addressed him in Sinhalese at some length. The man nodded and went inside. Your driver is now bringing your car to this gate. Very close by.

This was going a little too far. I asked him how he though anyone was going to know which car was ours.

No problem. I was present when you were leaving the Pontiac. Your driver is called Wickramasinghe. Up-country resident, most reliable. Down here people are hopeless.

I disliked him more each time he spoke. You're not from around here? I asked him.

No, no! I'm a Colombo chap. These people are impossible scoundrels. Every one of the blighters has a knife in his belt, guaranteed.

When the waiter brought the check, he signed it with a rapid flourish and stood up. Shall we be going on to the house, then?

No one answered, but all three of us rose and reluctantly moved off with him in the direction of the exit gate. The hired car was there; Mr. Wickramasinghe saluted us from behind the wheel.

The afternoon heat had gone, leaving only a pocket here and there beneath the trees where the air was still. Originally the lane where we were walking had been wide enough to admit a bullock- car, but the vegetation encroaching on each side had narrowed it to little more than a footpath.

At the end of the lane were two concrete gateposts with no gate between them. We passed through, and went into a large compound bordered on two sides by ruined stables. With the exception of one small ell, the house was entirely hidden by high bushes and flowering trees. As we came to a doorway the young man stopped and turned to us, holding up one finger. No noises here, isn't it? Only birds.

It was the hour when the birds begin to awaken from their daytime lethargy. An indeterminate twittering came from the trees. He lowered his finger and turned back to the door. Mornings they are singing. Now not.

Oh, it's lovely, Hannah told him.

He led us through a series of dark empty rooms. Here the _dhobi_ was washing the soiled clothing. This is the kitchen, you see? Ceylon style. Only the charcoal. My father was refusing paraffin and gas both. Even in Colombo.

We huddled in a short corridor while he opened a door, reached in, and flooded the space inside with blinding light. It was a small room, made to seem still smaller by having given glistening crimson walls and ceiling. Almost all the space was filled by a big bed with a satin coverlet of a slightly darker red. A row of straight-backed chairs stood along one wall. Sit down and be comfy, our host advised us.

We sat, staring at the bed and at the three framed pictures on the wall above its brass-spoked headboard: on the left a girl, in the middle our host, and on the right another young man. The portraits had the imprecision of passport photographs that have been enlarged to many times their original size.

Hannah coughed. She had nothing to say. The room gave off a cloying scent of ancient incense, as in a disused chapel. The feeling of absurdity I got from seeing us sitting there side by side, wedged in between the bed and the wall, was so powerful that it briefly paralyzed my mental processes. For once the young man was being silent; he sat stiffly, looking straight ahead, like someone at the theater.

Finally I had to say something. I turned to our host and asked him if he slept in this room. The question seemed to shock him. Here? he cried, as if the thing were inconceivable. No, no! This house is unoccupied. No one sleeping on the premises. Only a stout chap to watch out at night. Excuse me one moment.

He jumped up and hurried out of the room. We heard his footsteps echo in the corridor and then grow silent. From somewhere in the house there came the sonorous chiming of a grandfather's clock; its comfortable sound made the shiny blood-colored cubicle even more remote and unlikely.

Dodd stirred uncomfortably in his chair; the bed was too close for him to cross his legs. As soon as he comes back, we go, he muttered.

He's looking for the book, I imagine, said Hannah.

We waited a while. Then I said: Look. If he's not back in two minutes, I move we just get up and leave. We can find out way out all right.

Hannah objected, saying it would be unpardonable.

Again we sat in silence, Dodd now shielding his eyes from the glare. When Sonny Gonzag returned, he was carrying a glass of water which he drank standing in the doorway. His expression had altered: he now looked preoccupied, and he was breathing heavily.

We slowly got to our feet, Hannah still looking expectant.

We are going, then? Come. With the empty glass still in his hand he turned off the lights, shut the door behind us, opened another, and led us quickly through a sumptuous room furnished with large divans, coromandel screens, and bronze Buddhas. We had no time to do more than glance from side to side as we followed him. As we went out through the front door, he called one peremptory word back into the house, presumably to the caretaker.

There was a wide unkempt lawn on this side, where a few clumps of high areca palms were being slowly strangled by the sheaths of philodendron roots and leaves that encased their trunks. Creepers had spread themselves unpleasantly over the tops of shrubs like the meshes of gigantic cobwebs. I knew that Hannah was thinking of snakes. She kept her eyes on the ground, stepping carefully from flagstone to flagstone as we followed the exterior of the house around to the stables, and thence out into the lane.

The swift twilight had come down. No one seemed disposed to speak. When we reached the car Mr. Wickramasinghe stood beside it.

Cheery-bye, then, and tell your friends to look for Sonny Gonzag when they are coming to Gintota. He offered his hand to Dodd first, then me, finally to Hannah, and turned away.

They were both very quiet on the way back to Galle. The road was narrow and the blinding lights of oncoming cars made them nervous. During dinner we made no mention of the afternoon.

At breakfast, on the veranda swept by the morning breeze, we felt sufficiently removed from the experience to discuss it. Hannah said: I kept waking up in the night and seeing that awful bed.

Dodd groaned.

I said it was like watching television without the sound. You saw everything, but you didn't get what was going on.

The kid was completely non compos mentis. You could see that a mile away, Dodd declared.

Hannah was not listening. It must have been a maid's room. But why would he take us there? I don't know; there's something terribly depressing about the whole thing. It makes me feel a little sick just to think about it. And that bed!

Well, stop thinking about it, then! Dodd told her. I for one am going to put it right out of my mind. He waited. I feel better already. Isn't that the way the Buddhists do it?

The sunny holiday continued for a few weeks more, with longer trips now to the east, to Tissamaharana and the wild elephants in the Yala Preserve. We did not go to Colombo again until it was time for me to put them onto the plane.

The black weather of the monsoons was blowing in from the southwest as we drove up the coast. There was a violent downpour when we arrived in midafternoon at Mount Lavinia and checked into our rooms. The crashing of the waves outside my room was so loud that Dodd had to shut the windows in order to hear what we were saying.

I had taken advantage of the trip to Colombo to arrange a talk with my lawyer, a Telugu-speaking Indian. We were to meet in the bar at the Galleface, some miles up the coast. I'll be back at six, I told Hannah. The rain had abated somewhat when I started out.

Damp winds moved through the lobby of the Galleface, but the smoky air in the bar was stirred only by fans. As I entered, the first person I noticed was Weston of the Chartered Bank. The lawyer had not yet come in, so I stood at the bar with Weston and ordered a whiskey.

Didn't I see you in Gintota at the races last month? With an elderly couple?

I was there with my parents. I didn't notice you.

I couldn't tell. It was too far away. But I saw the same three people alter with a local character. What did you think of Sonny Gonzag?

I laughed. He dragged us off to his house.

You know the story, I take it.

I shook my head.

The story, which he recounted with relish, began on the day after Gonzag's wedding, when he stepped into a servant's room and found his bride in bed with the friend who had been best man. How he happened to have a pistol with him was not explained, but he shot them both in the face, and later chopped their bodies into pieces. As Weston remarked: That sort of thing isn't too uncommon, of course. But it was the trial that caused the scandal. Gonzag spent a few weeks in a mental hospital, and was discharged.

You can imagine, said Weston. Political excitement. The poor go to jail for a handful of rice, but the rich can kill with impunity, and that sort of thing. You still see references to the case in the press now and then.

I was thinking of the crimson blazer and the botanical gardens. No. I never heard about it, I said.

He's mad as a hatter, but there he is, free to do whatever he feels like. And all he wants now is to get people into that house and show them the room where the great event took place. The more the merrier as far as he's concerned.

I saw the Indian come into the bar. It's unbelievable, but I believe it, I told Weston.

Then I turned to greet the lawyer, who immediately complained of the stale air in the bar. We sat and talked in the lounge.

I managed to get back to Mount Lavinia in time to bathe before dinner. As I lay in the tepid water, I tried to imagine the reactions of Hannah and Dodd when I told them what I had heard. I myself felt a solid satisfaction at knowing the rest of the story. But being old, they might well brood over it, working it up into an episode so unpleasant in retrospect that it stained the memory of their holiday. I still had not decided whether to tell them or not when I went to their room to take them down to dinner.

We sat as far away from the music as we could get. Hannah had dressed a little more elaborately than usual, and they both were speaking with more than their accustomed animation. I realized that they were happy to be returning to New York. Halfway through he meal they began to review what they considered the highlights of their visit. They mentioned the Temple of the Tooth, the pair of Bengal tiger cubs in Dehiwala which they had petted but regretfully declined to purchase, the Indonesian dinner on Mr. Bultjens's lawn, where the myna bird had hopped over to Hannah and said: "Eat it up," the cobra under the couch at Mrs. de Sylva's tea party.

And that peculiar young man in the _strange_ house, Hannah added meditatively.

Which one was that? asked Dodd, frowning as he tried to remember. Then it came to him. Oh, God, he muttered. Your special friend. He turned to me. Your mother certainly can pick 'em.

Outside, the ocean roared. Hannah seemed lost in thought. _I_ know what it was like! she exclaimed suddenly. It was like being shown around one of the temples by a _bhikku_. Isn't that what they call them?

Dodd sniffed. Some temple! he chuckled.

No, I'm serious. That room had a particular meaning for him. It was like a sort of shrine.

I looked at her. She had got to the core without needing the details. I felt that, too, I said. Of course, there's no way of knowing.

She smiled. Well, what you don't know won't hurt you.

I had heard her use the expression a hundred times without ever being able to understand what she meant by it, because it seemed so patently untrue. But for once it was apt. I nodded my head and said: That's right.