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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Tuesday, September 17, 2024

Everything That Rises Must Converge by Flannery O'Connor




Everything That Rises Must Converge


by Flannery O'Connor


HER DOCTOR had told Julian's mother that she must lose twenty pounds on account of her blood pressure, so on Wednesday nights Julian had to take her downtown on the bus for a reducing class at the Y. The reducing class was designed for working girls over fifty, who weighed from 165 to 200 pounds. His mother was one of the slimmer ones, but she said ladies did not tell their age or weight. She would not ride the buses by herself at night since they had been integrated, and because the reducing class was one of her few pleasures, necessary for her health, and free, she said Julian could at least put himself out to take her, considering all she did for him. Julian did not like to consider all she did for him, but every Wednesday night he braced himself and took her.

    She was almost ready to go, standing before the hall mirror, putting on her hat, while he, his hands behind him, appeared pinned to the door frame, waiting like Saint Sebastian for the arrows to begin piercing him. The hat was new and had cost her seven dollars and a half. She kept saying, “Maybe I shouldn't have paid that for it. No, I shouldn't have. I'll take it off and return it tomorrow. I shouldn't have bought it.”

    Julian raised his eyes to heaven. “Yes, you should have bought it,” he said. “Put it on and let's go.” It was a hideous hat A purple velvet flap came down on one side of it and mood up on the other; the rest of it was green and looked like a cushion with the stuffing out. He decided it was less comical than jaunty and pathetic. Everything that gave her pleasure was small and depressed him.

    She lifted the hat one more time and set it down slowly on top of her head. Two wings of gray hair protruded on either side of her florid face, but her eyes, sky-blue, were as innocent and untouched by experience as they must have been when she was ten. Were it not that she was a widow who had struggled fiercely to feed and clothe and put him through school and who was supporting him still, “until he got on his feet,” she might have been a little girl that he had to take to town. “It's all right, it's all right,” he said. “Let's go.” He opened door himself and started down the walk to get her going. The sky was a dying violet and the houses stood out darkly against it, bulbous liver-colored monstrosities of a uniform ugliness though no two were alike. Since this had been a fashionable neighborhood forty years ago, his mother persisted in thinking they did well to have an apartment in it. Each house had a narrow collar of dirt around it in which sat, usually, a grubby child. Julian walked with his hands in his pockets, his head down and thrust forward and his eyes glazed with the determination to make himself completely numb during the time he would be sacrificed to her pleasure.

    The door closed and he turned to find the dumpy figure, surmounted by the atrocious hat, coming toward him.  “Well,” she said, “you only live once and paying a little more for it, I at least won't meet myself coming and going.”

    “Some day I'll start making money,” Julian said gloomily- he knew he never would - “and you can have one of those jokes whenever you take the fit.” But first they would move.  He visualized a place where the nearest neighbors would be three miles away on either side.

    “I think you're doing fine,” she said, drawing on her gloves. “You've only been out of school a year. Rome wasn't built in a day.”

    She was one of the few members of the Y reducing class who arrived in hat and gloves and who had a son who had been to college. “It takes time,” she said, “and the world is in such a mess. This hat looked better on me than any of the others, though when she brought it out I said, ‘Take that thing back. I wouldn't have it on my head,’ and she said, ‘Now wait till you see it on,’ and when she put it on me, I said, ‘We-ull,’ and she said, ‘If you ask me, that hat does something for you and you do something for the hat, and besides,’ she said, ‘with that hat, you won't meet yourself coming and going.’”

    Julian thought he could have stood his lot better if she had been selfish, if she had been an old hag who drank and screamed at him. He walked along, saturated in depression, as if in the midst of his martyrdom he had lost his faith.  Catching sight of his long, hopeless, irritated face, she stopped suddenly with a grief-stricken look, and pulled back on his arm. “Wait on me,” she said. “I'm going back to the house and take this thing off and tomorrow I'm going to return it. I was out of my head. I can pay the gas bill with that seven-fifty.”

    He caught her arm in a vicious grip. “You are not going to take it back,” he said. “I like it.”

    “Well,” she said, “I don't think I ought. . .”“Shut up and enjoy it,” he muttered, more depressed than ever.

    “With the world in the mess it's in,” she said, “it's a wonder we can enjoy anything. I tell you, the bottom rail is on the top.”

    Julian sighed.

    “Of course,” she said, “if you know who you are, you can go anywhere.” She said this every time he took her to the reducing class. “Most of them in it are not our kind of people,” she said, “but I can be gracious to anybody. I know who I am.”

    “They don't give a damn for your graciousness,” Julian said savagely. “Knowing who you are is good for one generation only. You haven't the foggiest idea where you stand now or who you are.”

    She stopped and allowed her eyes to flash at him. “I most certainly do know who I am,” she said, “and if you don't know who you are, I'm ashamed of you.”

    “Oh hell,” Julian said.

    “Your great-grandfather was a former governor of this state,” she said. “Your grandfather was a prosperous land-owner. Your grandmother was a Godhigh.”

    “Will you look around you,” he said tensely, “and see where you are now?” and he swept his arm jerkily out to indicate the neighborhood, which the growing darkness at least made less dingy.

    “You remain what you are,” she said. “Your great-grand-father had a plantation and two hundred slaves.”

    “There are no more slaves,” he said irritably.

    “They were better off when they were,” she said. He groaned to see that she was off on that topic. She rolled onto it every few days like a train on an open track. He knew every stop, every junction, every swamp along the way, and knew the exact point at which her conclusion would roil majestically into the station: “It's ridiculous. It's simply not realistic. They should rise, yes, but on their own side of the fence.”

    “Let's skip it,” Julian said.

    “The ones I feel sorry for,” she said, “are the ones that are half white. They're tragic.”

    “Will you skip it?”

    “Suppose we were half white. We would certainly have mixed feelings.”

    “I have mixed feelings now,” he groaned.

    “Well let's talk about something pleasant,” she said. “I remember going to Grandpa's when I was a little girl. Then the house had double stairways that went up to what was really the second floor - all the cooking was done on the first. I used to like to stay down in the kitchen on account of the way the walls smelled. I would sit with my nose pressed against the plaster and take deep breaths. Actually the place belonged to the Godhighs but your grandfather Chestny paid the mortgage and saved it for them. They were in reduced circumstances,” she said, “but reduced or not, they never forgot who they were.”

    “Doubtless that decayed mansion reminded them,” Julian muttered. He never spoke of it without contempt or thought of it without longing. He had seen it once when he was a child before it had been sold. The double stairways had rotted and been torn down. Negroes were living in it. But it remained in his mind as his mother had known it. It appeared in his dreams regularly. He would stand on the wide porch, listening to the rustle of oak leaves, then wander through the high-ceilinged hall into the parlor that opened onto it and gaze at the worn rugs and faded draperies. It occurred to him that it was he, not she, who could have appreciated it. He preferred its threadbare elegance to anything he could name and it was because of it that all the neighborhoods they had lived in had been a torment to him - whereas she had hardly known the difference. She called her insensitivity “being adjustable.”

    “And I remember the old darky who was my nurse, Caroline. There was no better person in the world. I've always had a great respect for my colored friends,” she said. “I’d do anything in the world for them and they'd. . .”

    “Will you for God's sake get off that subject?” Julian said. When he got on a bus by himself, he made it a point to sit down beside a Negro, in reparation as it were for his mother's sins.

    “You're mighty touchy tonight,” she said. “Do you feel all right?”

    “Yes I feel all right” he said. “Now lay off.”

    She pursed her lips. “Well, you certainly are in a vile humor,” she observed “I just won't speak to you at all.”

    They had reached the bus stop. There was no bus in sight and Julian, his hands still jammed in his pockets and his head thrust forward, scowled down the empty street. The frustration of having to wait on the bus as well as ride on it began to creep up his neck like a hot hand. The presence of his mother was borne in upon him as she gave a pained sigh. He looked at her bleakly. She was holding herself very erect under the preposterous hat wearing it like a banner of her imaginary dignity. There was in him an evil urge to break her spirit. He suddenly unloosened his tie and pulled it off and put it in his pocket

    She stiffened. “Why must you look like that when you take me to town?” she said. “Why must you deliberately embarrass me?”

    “If you'll never learn where you arc,” he said, “you can at least learn where I am.”

    “You look like a thug,” she said.

    “Then I must be one” he murmured.

    “I'll just go home” she said. “I will not bother you. If you can’t do a little thing’ like that for me . . .”

    Rolling his eyes upward, he put his tie back on. “Restored to my class,” he muttered. He thrust his face toward her and hissed, “True culture is in the mind, the mind,” he said, and tapped his head, “the mind.”

    “It's in the heart,” she said, “and in how you do things and how you do things is because of who you are.”

    “Nobody in the damn bus cares who you are.”

    “I care who I am” she said icily.

    The lighted bus appeared on top of the next hill and as it approached, they moved out into the street to meet it. He put his hand under her elbow and hoisted her up On the creaking step. She entered with a little smile, as if she were going into a drawing room where everyone had been waiting for her. While he put in the tokens, she sat down on one of the broad front seats for three which faced the aisle. A thin woman with protruding teeth and long yellow hair was sitting on the end of it. His mother moved up beside her and left room for Julian beside herself. He sat down and looked at the floor across the aisle where a pair of thin feet in red and white canvas sandals were planted.

    His mother immediately began a general conversation meant to attract anyone who felt like talking. “Can it get any hotter?” she said and removed from her purse a folding fan, black with a Japanese scene on it, which she began to flutter before her.

    “I reckon it might could,” the woman with the protruding teeth said, “but I know for a fact my apartment couldn’t get no hotter.”

    “It must get the afternoon sun, " his mother said. She sat forward and looked up and down the bus. It was half filled. Everybody was white. “I see we have the bus to ourselves,” she said. Julian cringed.

    “For a change,” said the woman across the aisle, the owner of the red and white canvas sandals. “I come on one the other day and they were thick as fleas—up front and all through.”

    “The world is in a mess everywhere,” his mother said. “I don't know how we’ve let it get in this fix.”

    “What gets my goat is all those boys from good families stealing automobile tires,” the woman with the protruding teeth said. “I told my boy, I said you may not be rich but you been raised right and if I ever catch you in any such mess, they can send you on to the reformatory. Be exactly where you belong.”

    “Training tells,” his mother said. “Is your boy in high school?”

    “Ninth grade,” the woman said.

    “My son just finished college last year. He wants to write but he’s selling typewriters until he gets started,” his mother said.

    The woman leaned forward and peered at Julian. He threw her such a malevolent look that she subsided against the seat.  On the floor across the aisle there was an abandoned newspaper. He got up and got it and opened it out in front of him. His mother discreetly continued the conversation in a lower tone but the woman across the aisle said in a loud voice, “Well that’s nice. Selling typewriters is close to writing. He can go right from one to the other.”

    “I tell him,” his mother said, “that Rome wasn't built in a day.”

    Behind the newspaper Julian was withdrawing into the inner compartment of his mind where he spent most of his time. This was a kind of mental bubble in which he established himself when he could not bear to be a part of what was going on around him. From it he could see out and judge but in it he was safe from any kind of penetration from without. It was the only place where he felt free of the general idiocy of his fellows. His mother had never entered it but from it he could see her with absolute clarity.

    The old lady was clever enough and he thought that if she had started from any of the right premises, more might have been expected of her. She lived according to the laws of her own fantasy world outside of which he had never seen her set foot. The law of it was to sacrifice herself for him after she had first created the necessity to do so by making a mess of things. If he had permitted her sacrifices, it was only because her lack of foresight had made them necessary. All of her life had been a struggle to act like a Chestny and to give him everything she thought a Chestny ought to have without the goods a Chestny ought to have;  but since, said she, it was fun to struggle, why complain? And when you had won, as she had won, what fun to look back on the hard times! He could not forgive her that she had enjoyed the struggle and that she thought she had won.

    What she meant when she said she had won was that she had brought him up successfully and had sent him to college and that he had turned out so well-good looking (her teeth had gone unfilled so that his could be straightened), intelligent (he realized he was too intelligent to be a success), and with a future ahead of him (there was of course no future ahead of him). She excused his gloominess on the grounds that he was still growing up and his radical ideas on his lack of practical experience. She said he didn’t yet know a thing about “life,” that he hadn’t even entered the real world—when already he was as disenchanted with it as a man of fifty.

    The further irony of all this was that in spite of her, he had turned out so well. In spite of going to only a third-rate college, he had, on his own initiative, come out with a first-rate education; in spite of growing up dominated by a small mind, he had ended up with a large one; in spite of all her foolish views, he was free of prejudice and unafraid to face facts. Most miraculous of all, instead of being blinded by love for her as she was for him, he had cut himself emotionally free of her and could see her with complete objectivity. He was not dominated by his mother.

    The bus stopped with a sudden jerk and shook him from his meditation. A woman from the back lurched forward with little steps and barely escaped falling in his newspaper as she righted herself. She got off and a large Negro got on. Julian kept his paper lowered to watch. It gave him a certain satisfaction to see injustice in daily operation. It confirmed his view that with a few exceptions there was no one worth knowing within a radius of three hundred miles. The Negro was well dressed and carried a briefcase. He looked around and then sat down on the other end of the seat where the woman with the red and white canvas sandals was sitting. He immediately unfolded a newspaper and obscured himself behind it. Julian's mother's elbow at once prodded insistently into his ribs. “Now you see why I won't ride on these buses by myself,” she whispered.

    The woman with the red and white canvas sandals had risen at the same time the Negro sat down and had gone farther back in the bus and taken the seat of the woman who had got off His mother leaned forward and cast her an approving look.

    Julian rose, crossed the aisle, and sat down in the place of the woman with the canvas sandals. From this position, he looked serenely across at his mother. Her face had turned an angry red. He stared at her, making his eyes the eyes of a stranger. He felt his tension suddenly lift as if he had openly declared war on her.

    He would have liked to get in conversation with the Negro and to talk with him about art or politics or any subject that would be above the comprehension of those around them, but the man remained entrenched behind his paper. He was either ignoring the change of seating or had never noticed it.  There was no way for Julian to convey his sympathy.

    His mother kept her eyes fixed reproachfully on his face. The woman with the protruding teeth was looking at him avidly as if he were a type of monster new to her.

    “Do you have a light?” he asked the Negro.

    Without looking away from his paper, the man reached in his pocket and handed him a packet of matches.

    “Thanks,” Julian said. For a moment he held the matches foolishly. A NO SMOKING sign looked down upon him from over the door. This alone would not have deterred him; he had no cigarettes. He had quit smoking some months before because he could not afford it. “Sorry,” he muttered and handed back the matches. The Negro lowered the paper and gave him an annoyed look. He took the matches and raised the paper again.

    His mother continued to gaze at him but she did not take advantage of his momentary discomfort. Her eyes retained their battered look. Her face seemed to be unnaturally red, as if her blood pressure had risen. Julian allowed no glimmer of sympathy to show on his face. Having got the advantage, he wanted desperately to keep it and carry it through. He would have liked to teach her a lesson that would last her a while, but there seemed no way to continue the point. The Negro refused to come out from behind his paper.

    Julian folded his arms and looked stolidly before him, facing her but as if he did not see her, as if he had ceased to recognize her existence. He visualized a scene in which, the bus  having reached their stop, he would remain in his seat and when she said, “Aren’t you going to get off?” he would look at her as at a stranger who had rashly addressed him. The corner they got off on was usually deserted, but it was well lighted and it would not hurt her to walk by herself the four blocks to the Y. He decided to wait until the time came and then decide whether or not he would let her get off by herself He would have to be at the Y at ten to bring her back, but he could leave her wondering if he was going to show up. There was no reason for her to think she could always depend on him.

    He retired again into the high-ceilinged room sparsely settled with large pieces of antique furniture. His soul expanded momentarily but then he became aware of his mother across from him and the vision shriveled. He studied her coldly. Her feet in little pumps dangled like a child’s and did not quite reach the floor. She was training on him an exaggerated look of reproach. He felt completely detached from her. At that moment he could with pleasure have slapped her as he would have slapped a particularly obnoxious child in his charge.

    He began to imagine various unlikely ways by which he could teach her a lesson. He might make friends with some distinguished Negro professor or lawyer and bring him home to spend the evening. He would be entirely justified but her blood pressure would rise to 300. He could not push her to the extent of making her have a stroke, and moreover, he had never been successful at making any Negro friends. He had tried to strike up an acquaintance on the bus with some of the better types, with ones that looked like professors or ministers or lawyers. One morning he had sat down next to a distinguished-looking dark brown man who had answered his questions with a sonorous solemnity but who had turned out to be an undertaker. Another day he had sat down beside a cigar-smoking Negro with a diamond ring on his finger, but after a few stilted pleasantries, the Negro had rung the buzzer and risen, slipping two lottery tickets into Julian's hand as he climbed over him to leave.

    He imagined his mother lying desperately ill and his being able to secure only a Negro doctor for her. He toyed with that idea for a few minutes and then dropped it for a momentary vision of himself participating as a sympathizer in a sit-in demonstration. This was possible but he did not linger with it. Instead, he approached the ultimate horror. He brought home a beautiful suspiciously Negroid woman. Prepare yourself, he said. There is nothing you can do about it. This is the woman I've chosen. She’s intelligent, dignified, even good, and she’s suffered and she hasn’t thought it fun. Now persecute us, go ahead and persecute us. Drive her out of here, but remember, you’re driving me too. His eyes were narrowed and through the indignation he had generated, he saw his mother across the aisle, purple-faced, shrunken to the dwarf-like proportions of her moral nature, sitting like a mummy beneath the ridiculous banner of her hat.

    He was tilted out of his fantasy again as the bus stopped. The door opened with a sucking hiss and out of the dark a large, gaily dressed, sullen-looking colored woman got on with a little boy. The child, who might have been four, had on a short plaid suit and a Tyrolean hat with a blue feather in it. Julian hoped that he would sit down beside him and that the woman would push in beside his mother. He could think of no better arrangement.

    As she waited for her tokens, the woman was surveying the seating possibilities—he hoped with the idea of sitting where she was least wanted. There was something familiar-looking about her but Julian could not place what it was. She was a giant of a woman. Her face was set not only to meet opposition but to seek it out. The downward tilt of her large lower lip was like a warning sign: DON’T TAMPER WITH ME. Her bulging figure was encased in a green crepe dress and her feet overflowed in red shoes. She had on a hideous hat. A purple velvet flap came down on one side of it and stood up on the other; the rest of it was green and looked like a cushion with the stuffing out. She carried a mammoth red pocketbook that bulged throughout as if it were stuffed with rocks.

    To Julian's disappointment, the little boy climbed up on the empty seat beside his mother. His mother lumped all children, black and white, into the common category, “cute,” and she thought little Negroes were on the whole cuter than little white children. She smiled at the little boy as he climbed on the seat.

    Meanwhile the woman was bearing down upon the empty seat beside Julian. To his annoyance, she squeezed herself into it. He saw his mother's face change as the woman settled herself next to him and he realized with satisfaction that this was more objectionable to her than it was to him. Her face seemed almost gray and there was a look of dull recognition in her eyes, as if suddenly she had sickened at some awful confrontation. Julian saw that it was because she and the woman had, in a sense, swapped sons. Though his mother would not realize the symbolic significance of this, she would feel it. His amusement showed plainly on his face.

    The woman next to him muttered something unintelligible to herself. He was conscious of a kind of bristling next to him, a muted growling like that of an angry cat. He could not see anything but the red pocketbook upright on the bulging green thighs. He visualized the woman as she had stood waiting for her tokens-the ponderous figure, rising from the red shoes upward over the solid hips, the mammoth bosom, the haughty face, to the green and purple hat.

    His eyes widened.

    The vision of the two hats, identical, broke upon him with the radiance of a brilliant sunrise. His face was suddenly lit with joy. He could not believe that Fate had thrust upon his mother such a lesson. He gave a loud chuckle so that she would look at him and see that he saw. She turned her eyes on him slowly. The blue in them seemed to have turned a bruised purple. For a moment he had an uncomfortable sense of her innocence, but it lasted only a second before principle rescued him. Justice entitled him to laugh. His grin hardened until it said to her as plainly as if he were saying aloud: Your punishment exactly fits your pettiness. This should teach you a permanent lesson.

    Her eyes shifted to the woman. She seemed unable to bear looking at him and to find the woman preferable. He became conscious again of the bristling presence at his side. The woman was rumbling like a volcano about to become active. His mother's mouth began to twitch slightly at one corner. With a sinking heart, he saw incipient signs of recovery on her face and realized that this was going to strike her suddenly as funny and was going to be no lesson at all. She kept her eyes on the woman and an amused smile came over her face as if the woman were a monkey that had stolen her hat. The little Negro was looking up at her with large fascinated eyes. He had been trying to attract her attention for some time.

    “Carver!” the woman said suddenly. “Come heah!”

    When he saw that the spotlight was on him at last, Carver drew his feet up and turned himself toward Julian's mother and giggled.

    “Carver!” the woman said. “You heah me? Come heah!”

    Carver slid down from the seat but remained squatting with his back against the base of it, his head turned slyly around toward Julian's mother, who was smiling at him. The woman reached a hand across the aisle and snatched him to her. He righted himself and hung backwards on her knees, grinning at Julian's mother. “Isn’t he cute?” Julian's mother said to the woman with the protruding teeth.

    “I reckon he is,” the woman said without conviction.

    The Negress yanked him upright but he eased out of her grip and shot across the aisle and scrambled, giggling wildly, onto the seat beside his love.

    “I think he likes me,” Julian's mother said, and smiled at the woman. It was the smile she used when she was being particularly gracious to an inferior. Julian saw everything lost. The lesson had rolled off her like rain on a roof.

    The woman stood up and yanked the little boy off the seat as if she were snatching him from contagion. Julian could feel the rage in her at having no weapon like his mother's smile. She gave the child a sharp slap across his leg. He howled once and then thrust his head into her stomach and kicked his fret against her shins. “Be-have,” she said vehemently.

    The bus stopped and the Negro who had been reading the newspaper got off. The woman moved over and set the little boy down with a thump between herself and Julian. She held him firmly by the knee. In a moment he put his hands in front of his face and peeped at Julian's mother through his fingers.

    “I see yoooooooo !” she said and put her hand in front of her face and peeped at him.

    The woman slapped his hand down. “Quit yo’ foolishness,” she said, “before I knock the living Jesus out of you!”

    Julian was thankful that the next stop was theirs. He reached up and pulled the cord. The woman reached up and pulled it at the same time. Oh my God, he thought. He had the terrible intuition that when they got off the bus together, his mother would open her purse and give the little boy a nickel. The gesture would be as natural to her as breathing. The bus stopped and the woman got up and lunged to the front, dragging the child, who wished to stay on, after her. […] His mother got up and followed. As they neared the door, Julian tried to relieve her of her pocketbook.

    “No,” she murmured, “I want to give the little boy a nickel.”

    “No!” Julian hissed. “No!”

    She smiled down at the child and opened her bag. The bus door opened and the woman picked him up by the arm and descended with him, hanging at her hip. Once in the street she set him down and shook him.

    Julian's mother had to close her purse while she got down the bus step but as soon as her feet were on the ground, she opened it again and began to rummage inside. “I can’t find but a penny,” she whispered, “but it looks like a new one.”

    “Don’t do it!” Julian said fiercely between his teeth. There was a streetlight on the corner and she hurried to get under it so that she could better see into her pocketbook. The woman was heading off rapidly down the street with the child still hanging backward on her hand.

    “Oh little boy!” Julian's mother called and took a few quick steps and caught up with them just beyond the lamppost. “Here’s a bright new penny for you,” and she held out the coin, which shone bronze in the dim light.

    The huge woman turned and for a moment stood, her shoulders lifted and her face frozen with frustrated rage, and stared at Julian's mother. Then all at once she seemed to explode like a piece of machinery that had been given one ounce of pressure too much. Julian saw the black fist swing out with the red pocketbook. He shut his eyes and cringed as he heard the woman shout, “He don't take nobody’s pennies!” When he opened his eyes, the woman was disappearing down the street with the little boy staring wide-eyed over her shoulder. Julian's mother was sitting on the sidewalk.

    “I told you not to do that,” Julian said angrily. “I told you not to do that!”

    He stood over her for a minute, gritting his teeth. Her legs were stretched out in front of her and her hat was on her lap. He squatted down and looked her in the face. It was totally expressionless. “You got exactly what you deserved,” he said. “Now get up.”

    He picked up her pocketbook and put what had fallen out back in it. He picked the hat up off her lap. The penny caught his eye on the sidewalk and he picked that up and let it drop before her eyes into the purse. Then he stood up and leaned over and held his hands out to pull her up. She remained immobile. He sighed. Rising above them on either side were black apartment buildings, marked with irregular rectangles of light. At the end of the block a man came out of a door and walked off in the opposite direction. “All right,” he said, “suppose somebody happens by and wants to know why you’re sitting on the sidewalk?”

    She took the hand and, breathing hard, pulled heavily up on it and then stood for a moment, swaying slightly as if the spots of light in the darkness were circling around her. Her eyes, shadowed and confused, finally settled on his face. He did not try to conceal his irritation. “I hope this teaches you a lesson,” he said. She leaned forward and her eyes raked his face. She seemed trying to determine his identity. Then, as if she found nothing familiar about him, she started off with a headlong movement in the wrong direction.

    “Aren’t you going on to the Y?” he asked.

    “Home,” she muttered.

    “Well, are we walking?”

    For answer she kept going. Julian followed along, his hands behind him. He saw no reason to let the lesson she had had go without backing it up with an explanation of its meaning. She might as well be made to understand what had happened to her. “Don’t think that was just an uppity Negro woman,” he said. “That was the whole colored race which will no longer take your condescending pennies. That was your black double. She can wear the same hat as you, and to be sure,” he added gratuitously (because he thought it was funny), “it looked better on her than it did on you. What all this means,” he said, “is that the old world is gone. The old manners are obsolete and your graciousness is not worth a damn.” He thought bitterly of the house that had been lost for him. “You aren’t who you think you are,” he said.

    She continued to plow ahead, paying no attention to him. Her hair had come undone on one side. She dropped her pocketbook and took no notice. He stooped and picked it up and handed it to her but she did not take it.

    ”You needn’t act as if the world had come to an end,” he aid, “because it hasn’t. From now on you’ve got to live in a new world and face a few realities for a change. Buck up,” he said, “it won't kill you.”

    She was breathing fast.

    “Let's wait on the bus,” he said.

    “Home,” she said thickly.

    “I hate to see you behave like this,” he said. “Just like a child. I should be able to expect more of you.” He decided to stop where he was and make her stop and wait for a bus. “I'm not going any farther,” he said, stopping. “We’re going on the bus.”

    She continued to go on as if she had not heard him. He took a few steps and caught her arm and stopped her. He looked into her face and caught his breath. He was looking into a face he had never seen before. “Tell Grandpa to come get me,” she said.

    He stared, stricken.

    “Tell Caroline to come get me,” she said.

    Stunned, he let her go and she lurched forward again, walking as if one leg were shorter than the other. A tide of darkness seemed to be sweeping her from him. “Mother!” he cried. “Darling, sweetheart, wait!” Crumpling, she fell to the pavement. He dashed forward and fell at her side, crying, “Mamma, Mamma!” He turned her over. Her face was fiercely distorted. One eye, large and staring, moved slightly to the left as if it had become unmoored. The other remained fixed on him, raked his face again, found nothing and closed.

    “Wait here, wait here!” he cried and jumped up and began to run for help toward a cluster of lights he saw in the distance ahead of him. “Help, help!” he shouted, but his voice was thin, scarcely a thread of sound. The lights drifted farther away the faster he ran and his feet moved numbly as if they carried him nowhere. The tide of darkness seemed to sweep him back to her, postponing from moment to moment his entry into the world of guilt and sorrow.


The Masque of the Red Death by Edgar Allan Poe




The Masque of the Red Death


Edgar Allan Poe


Published 1842


The “Red Death” had long devastated the country. No pestilence had been ever so fatal, or so hideous. Blood was its Avator and its seal — the redness and the horror of blood. There were sharp pains, and sudden dizziness, and then profuse bleedings at the pores, with dissolution. The scarlet stains upon the body and especially upon the face of the victim, were the pest-ban which shut him out from the aid and from the sympathy of his fellow-men. And the whole seizure, progress and termination of the disease were the incidents of half an hour.


But the Prince Prospero was happy and dauntless, and sagacious. When his dominions were half depopulated, he summoned to his presence a thousand hale and light-hearted friends from among the knights and dames of his court, and with these retired to the deep seclusion of one of his castellated abbeys. This was an extensive and magnificent structure, the creation of the prince’s own eccentric yet august taste. A strong and lofty wall girdled it in. This wall had gates of iron. The courtiers, having entered, brought furnaces and massy hammers and welded the bolts. They resolved to leave means neither of ingress or egress to the sudden impulses of despair from without or of frenzy from within. The abbey was amply provisioned. With such precautions the courtiers might bid defiance to contagion. The external world could take care of itself. In the meantime it was folly to grieve, or to think. The prince had provided all the appliances of pleasure. There were buffoons, there were improvisatori, there were ballêt-dancers, there were musicians, there were cards, there was Beauty, there was wine. All these and security were within. Without was the “Red Death.”


It was towards the close of the fifth or sixth month of his seclusion, and while the pestilence raged most furiously abroad, that the Prince Prospero entertained his thousand friends at a masked ball of the most unusual magnificence. It was a voluptuous scene that masquerade.


But first let me tell of the rooms in which it was held. There were seven — an imperial suite. In many palaces, however, such suites form a long and straight vista, while the folding doors slide back nearly to the walls on either hand, so that the view of the whole extent is scarcely impeded. Here the case was very different; as might have been expected from the duke’s love of the bizarre. The apartments were so irregularly disposed that the vision embraced but little more than one at a time. There was a sharp turn at every twenty or thirty yards, and at each turn a novel effect. To the right and left, in the middle of each wall, a tall and narrow Gothic window looked out upon a closed corridor which pursued the windings of the suite. These windows were of stained glass whose color varied in accordance with the prevailing hue of the decorations of the chamber into which it opened. That at the eastern extremity was hung, for example, in blue — and vividly blue were its windows. The second chamber was purple in its ornaments and tapestries, and here the panes were purple. The third was green throughout, and so were the casements. The fourth was furnished and litten with orange — the fifth with white — the sixth with violet. The seventh apartment was closely shrouded in black velvet tapestries that hung all over the ceiling and down the walls, falling in heavy folds upon a carpet of the same material and hue. But, in this chamber only, the color of the windows failed to correspond with the decorations. The panes here were scarlet — a deep blood color. Now in no one of the seven apartments was there any lamp or candelabrum, amid the profusion of golden ornaments that lay scattered to and fro or depended from the roof. There was no light of any kind emanating from lamp or candle within the suite of chambers. But in the corridors that followed the suite, there stood, opposite to each window, a heavy tripod, bearing a brazier of fire that projected its rays through the tinted glass and so glaringly illumined the room. And thus were produced a multitude of gaudy and fantastic appearances. But in the western or black chamber the effect of the fire-light that streamed upon the dark hangings through the blood-tinted panes, was ghastly in the extreme, and produced so wild a look upon the countenances of those who entered, that there were few of the company bold enough to set foot within its precincts at all.


It was in this apartment, also, that there stood against the western wall, a gigantic clock of ebony. Its pendulum swung to and fro with a dull, heavy, monotonous clang; and when its minute-hand made the circuit of the face, and the hour was to be stricken, there came forth from the brazen lungs of the clock a sound which was clear and loud and deep and exceedingly musical, but of so peculiar a note and emphasis that, at each lapse of an hour, the musicians in the orchestra were constrained to pause, momently, in their performance, to harken to the sound; and thus the waltzers perforce ceased their evolutions; and there was a brief disconcert of the whole gay company; and, while the chimes of the clock yet rang, it was observed that the giddiest grew pale, and that the more aged and sedate passed their hands over their brows as if in confused reverie or meditation. But when the echoes had fully ceased, a light laughter at once pervaded the assembly; the musicians looked at each other and smiled as if at their own nervousness and folly, and made whispering vows, each to the other, that the next chiming of the clock should produce in them no similar emotion; and then, after the lapse of sixty minutes, (which embrace three thousand and six hundred seconds of the Time that flies,) there came yet another chiming of the clock, and then were the same disconcert and tremulousness and meditation as before.


But, in spite of these things, it was a gay and magnificent revel. The tastes of the duke were peculiar. He had a fine eye for colors and effects. He disregarded the decora of mere fashion. His plans were bold and fiery, and his conceptions glowed with barbaric lustre. There are some who would have thought him mad. His followers felt that he was not. It was necessary to hear and see and touch him to be sure that he was not.


He had directed, in great part, the moveable embellishments of the seven chambers, upon occasion of this great fête, and it was his own guiding taste which had given character to the costumes of the masqueraders. Be sure they were grotesque. There were much glare and glitter and piquancy and phantasm — much of what has been since seen in “Hernani.” There were arabesque figures with unsuited limbs and appointments. There were delirious fancies such as the madman fashions. There was much of the beautiful, much of the wanton, much of the bizarre, something of the terrible, and not a little of that which might have excited disgust. To and fro in the seven chambers there stalked, in fact, a multitude of dreams. And these, the dreams — writhed in and about, taking hue from the rooms, and causing the wild music of the orchestra to seem as the echo of their steps. And, anon, there strikes the ebony clock which stands in the hall of the velvet. And then, momently, all is still, and all is silent save the voice of the clock. The dreams are stiff-frozen as they stand. But the echoes of the chime die away — they have endured but an instant — and a light, half-subdued laughter floats after them as they depart. And now again the music swells, and the dreams live, and writhe to and fro more merrily than ever, taking hue from the many-tinted windows through which stream the rays from the tripods. But to the chamber which lies most westwardly of the seven there are now none of the maskers who venture; for the night is waning away; and there flows a ruddier light through the blood-colored panes; and the blackness of the sable drapery appals; and to him whose foot falls upon the sable carpet, there comes from the near clock of ebony a muffled peal more solemnly emphatic than any which reaches their ears who indulge in the more remote gaieties of the other apartments.


But these other apartments were densely crowded, and in them beat feverishly the heart of life. And the revel went whirlingly on, until at length was sounded the twelfth hour upon the clock. And then the music ceased, as I have told; and the evolutions of the waltzers were quieted; and there was an uneasy cessation of all things as before. But now there were twelve strokes to be sounded by the bell of the clock; and thus it happened, perhaps, that more of thought crept, with more of time, into the meditations of the thoughtful among those who revelled. And thus, again, it happened, perhaps, that before the last echoes of the last chime had utterly sunk into silence, there were many individuals in the crowd who had found leisure to become aware of the presence of a masked figure which had arrested the attention of no single individual before. And the rumor of this new presence having spread itself whisperingly around, there arose at length from the whole company a buzz, or murmur, expressive at first of disapprobation and surprise — then, finally, of terror, of horror, and of disgust.


In an assembly of phantasms such as I have painted, it may well be supposed that no ordinary appearance could have excited such sensation. In truth the masquerade license of the night was nearly unlimited; but the figure in question had out-Heroded Herod, and gone beyond the bounds of even the prince’s indefinite decorum. There are chords in the hearts of the most reckless which cannot be touched without emotion. Even with the utterly lost, to whom life and death are equally jests, there are matters of which no jest can be properly made. The whole company, indeed, seemed now deeply to feel that in the costume and bearing of the stranger neither wit nor propriety existed. The figure was tall and gaunt, and shrouded from head to foot in the habiliments of the grave. The mask which concealed the visage was made so nearly to resemble the countenance of a stiffened corpse that the closest scrutiny must have had difficulty in detecting the cheat. And yet all this might have been endured, if not approved, by the mad revellers around. But the mummer had gone so far as to assume the type of the Red Death. His vesture was dabbled in blood — and his broad brow, with all the features of the face, was besprinkled with the scarlet horror.


When the eyes of the Prince Prospero fell upon this spectral image (which with a slow and solemn movement, as if more fully to sustain its rôle, stalked to and fro among the waltzers) he was seen to be convulsed, in the first moment, with a strong shudder either of terror or distaste; but, in the next, his brow reddened with rage.


“Who dares?” he demanded hoarsely of the group that stood around him, “who dares thus to make mockery of our woes? Uncase the varlet that we may know whom we have to hang to-morrow at sunrise from the battlements. Will no one stir at my bidding? — stop him and strip him, I say, of those reddened vestures of sacrilege!”


It was in the eastern or blue chamber in which stood the Prince Prospero as he uttered these words. They rang throughout the seven rooms loudly and clearly — for the prince was a bold and robust man, and the music had become hushed at the waving of his hand.


It was in the blue room where stood the prince, with a group of pale courtiers by his side. At first, as he spoke, there was a slight rushing movement of this group in the direction of the intruder, who at the moment was also near at hand, and now, with deliberate and stately step, made closer approach to the speaker. But from a certain nameless awe with which the mad assumptions of the mummer had inspired the whole party, there were found none who put forth hand to seize him; so that, unimpeded, he passed within a yard of the prince’s person; and, while the vast assembly, as if with one impulse, shrank from the centres of the rooms to the walls, he made his way uninterruptedly, but with the same solemn and measured step which had distinguished him from the first, through the blue chamber to the purple — through the purple to the green — through the green to the orange, — through this again to the white — and even thence to the violet, ere a decided movement had been made to arrest him. It was then, however, that the Prince Prospero, maddening with rage and the shame of his own momentary cowardice, rushed hurriedly through the six chambers — while none followed him on account of a deadly terror that had seized upon all. He bore aloft a drawn dagger, and had approached, in rapid impetuosity, to within three or four feet of the retreating figure, when the latter, having attained the extremity of the velvet apartment, turned suddenly round and confronted his pursuer. There was a sharp cry — and the dagger dropped gleaming upon the sable carpet, upon which instantly afterwards, fell prostrate in death the Prince Prospero. Then, summoning the wild courage of despair, a throng of the revellers at once threw themselves into the black apartment, and, seizing the mummer, whose tall figure stood erect and motionless within the shadow of the ebony clock, gasped in unutterable horror at finding the grave-cerements and corpse-like mask which they handled with so violent a rudeness, untenanted by any tangible form.


And now was acknowledged the presence of the Red Death. He had come like a thief in the night. And one by one dropped the revellers in the blood-bedewed halls of their revel, and died each in the despairing posture of his fall. And the life of the ebony clock went out with that of the last of the gay. And the flames of the tripods expired. And Darkness and Decay and the Red Death held illimitable dominion over all.



About the Author 

Edgar Allan Poe

Edgar Allan Poe (/poʊ/; né Edgar Poe; January 19, 1809 – October 7, 1849) was an American writer, poet, editor, and literary critic who is best known for his poetry and short stories, particularly his tales of mystery and the macabre. He is widely regarded as a central figure of Romanticism in the United States, and of American literature. He was one of the country's earliest practitioners of the short story, and is considered the inventor of the detective fiction genre, as well as a significant contributor to the emerging genre of science fiction. He is the first well-known American writer to earn a living through writing alone, resulting in a financially difficult life and career. Wikipedia

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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.