The damned 4 (Algernon Blackwood) 1914
With the instinct of the healthy bachelor I always try to make myself a nest in the place I live in, be it for long or short. Whether visiting, in lodging-house, or in hotel, the first essential is this nest—one's own things built into the walls as a bird builds in its feathers. It may look desolate and uncomfortable enough to others, because the central detail is neither bed nor wardrobe, sofa nor armchair, but a good solid writing-table that does not wriggle, and that has wide elbowroom.
And The Towers is vividly described for me by the single fact that I could not "nest" there.
I took several days to discover this, but the first impression of impermanence was truer than I knew. The feathers of the mind refused here to lie one way. They ruffled, pointed, and grew wild.
Luxurious furniture does not mean comfort; I might as well have tried to settle down in the sofa and armchair department of a big shop. My bedroom was easily managed; it was the private workroom, prepared especially for my reception, that made me feel alien and outcast.
Externally, it was all one could desire: an antechamber to the great library, with not one, but two generous oak tables, to say nothing of smaller ones against the walls with capacious drawers.
There were reading desks, mechanical devices for holding books, perfect light, quiet as in a church, and no approach but across the huge adjoining room. Yet it did not invite.
"I hope you'll be able to work here," said my little hostess the next morning, as she took me in—her only visit to it while I stayed in the house—and showed me the ten-volume Catalogue.
"It's absolutely quiet and no one will disturb you."
"If you can't, Bill, you're not much good," laughed Frances, who was on her arm. "Even I could write in a study like this!"
I glanced with pleasure at the ample tables, the sheets of thick blotting paper, the rulers, sealing wax, paper knives, and all the other immaculate paraphernalia. "It's perfect," I answered with a secret thrill, yet feeling a little foolish. This was for Gibbon or Carlyle, rather than for my potboiling insignificancies. "If I can't write masterpieces here, it's certainly not your fault," and I turned with gratitude to Mrs. Franklyn. She was looking straight at me, and there was a question in her small pale eyes I did not understand. Was she noting the effect upon me, I wondered?
"You'll write here—perhaps a story about the house," she said, "Thompson will bring you anything you want; you only have to ring." She pointed to the electric bell on the central table, the wire running neatly down the leg. "No one has ever worked here before, and the library has been hardly used since it was put in. So there's no previous atmosphere to affect your imagination—er—adversely."
We laughed. "Bill isn't that sort," said my sister; while I wished they would go out and leave me to arrange my little nest and set to work.
I thought, of course, it was the huge listening library that made me feel so inconsiderable—the fifteen thousand silent, staring books, the solemn aisles, the deep, eloquent shelves. But when the women had gone and I was alone, the beginning of the truth crept over me, and I felt that first hint of disconsolateness which later became an imperative No. The mind shut down, images ceased to rise and flow. I read, made copious notes, but I wrote no single line at The Towers.
Nothing completed itself there. Nothing happened.
The morning sunshine poured into the library through ten long narrow windows; birds were singing; the autumn air, rich with a faint aroma of November melancholy that stung the imagination pleasantly, filled my antechamber. I looked out upon the undulating wooded landscape, hemmed in by the sweep of distant Downs, and I tasted a whiff of the sea. Rooks cawed as they floated above the elms, and there were lazy cows in the nearer meadows. A dozen times I tried to make my nest and settle down to work, and a dozen times, like a turning fastidious dog upon a hearth rug, I rearranged my chair and books and papers. The temptation of the Catalogue and shelves, of course, was accountable for much, yet not, I felt, for all. That was a manageable seduction. My work, moreover, was not of the creative kind that requires absolute absorption; it was the mere readable presentation of data I had accumulated. My notebooks were charged with facts ready to tabulate—facts, too, that interested me keenly. A mere effort of the will was necessary, and concentration of no difficult kind. Yet, somehow, it seemed beyond me: something forever pushed the facts into disorder … and in the end I sat in the sunshine, dipping into a dozen books selected from the shelves outside, vexed with myself and only half-enjoying it. I felt restless. I wanted to be elsewhere.
And even while I read, attention wandered. Frances, Mabel, her late husband, the house and grounds, each in turn and sometimes all together, rose uninvited into the stream of thought, hindering any consecutive flow of work. In disconnected fashion came these pictures that interrupted concentration, yet presenting themselves as broken fragments of a bigger thing my mind already groped for unconsciously. They fluttered round this hidden thing of which they were aspects, fugitive interpretations, no one of them bringing complete revelation. There was no adjective, such as pleasant or unpleasant, that I could attach to what I felt, beyond that the result was unsettling. Vague as the atmosphere of a dream, it yet persisted, and I could not dissipate it.
Isolated words or phrases in the lines I read sent questions scouring across my mind, sure sign that the deeper part of me was restless and ill at ease.
Rather trivial questions too—half-foolish interrogations, as of a puzzled or curious child: Why was my sister afraid to sleep alone, and why did her friend feel a similar repugnance, yet seek to conquer it? Why was the solid luxury of the house without comfort, its shelter without the sense of permanence? Why had Mrs. Franklyn asked us to come, artists, unbelieving vagabonds, types at the farthest possible remove from the saved sheep of her husband's household? Had a reaction set in against the hysteria of her conversion? I had seen no signs of religious fervor in her; her atmosphere was that of an ordinary, high-minded woman, yet a woman of the world. Lifeless, though, a little, perhaps, now that I came to think about it: she had made no definite impression upon me of any kind. And my thoughts ran vaguely after this fragile clue.
Closing my book, I let them run. For, with this chance reflection came the discovery that I could not see her clearly—could not feel her soul, her personality. Her face, her small pale eyes, her dress and body and walk, all these stood before me like a photograph; but her Self evaded me. She seemed not there, lifeless, empty, a shadow—nothing. The picture was disagreeable, and I put it by. Instantly she melted out, as though light thought had conjured up a phantom that had no real existence. And at that very moment, singularly enough, my eye caught sight of her moving past the window, going silently along the gravel path. I watched her, a sudden new sensation gripping me. "There goes a prisoner," my thought instantly ran, "one who wishes to escape, but cannot."
What brought the outlandish notion, heaven only knows. The house was of her own choice, she was twice an heiress, and the world lay open at her feet. Yet she stayed—unhappy, frightened, caught. All this flashed over me, and made a sharp impression even before I had time to dismiss it as absurd. But a moment later explanation offered itself, though it seemed as far-fetched as the original impression. My mind, being logical, was obliged to provide something, apparently. For Mrs. Franklyn, while dressed to go out, with thick walking-boots, a pointed stick, and a motor-cap tied on with a veil as for the windy lanes, was obviously content to go no farther than the little garden paths. The costume was a sham and a pretence. It was this, and her lithe, quick movements that suggested a caged creature—a creature tamed by fear and cruelty that cloaked themselves in kindness—pacing up and down, unable to realize why it got no farther, but always met the same bars in exactly the same place. The mind in her was barred.
I watched her go along the paths and down the steps from one terrace to another, until the laurels hid her altogether; and into this mere imagining of a moment came a hint of something slightly disagreeable, for which my mind, search as it would, found no explanation at all. I remembered then certain other little things. They dropped into the picture of their own accord. In a mind not deliberately hunting for clues, pieces of a puzzle sometimes come together in this way, bringing revelation, so that for a second there flashed across me, vanishing instantly again before I could consider it, a large, distressing thought. I can only describe vaguely as a Shadow.
Dark and ugly, oppressive certainly it might be described, with something torn and dreadful about the edges that suggested pain and strife and terror. The interior of a prison with two rows of occupied condemned cells, seen years ago in New York, sprang to memory after it— the connection between the two impossible to surmise even. But the "certain other little things" mentioned above were these: that Mrs. Franklyn, in last night's dinner talk, had always referred to "this house," but never called it "home"; and had emphasized unnecessarily, for a well-bred woman, our "great kindness" in coming down to stay so long with her. Another time, in answer to my futile compliment about the "stately rooms," she said quietly, "It is an enormous house for so small a party; but I stay here very little, and only till I get it straight again." The three of us were going up the great staircase to bed as this was said, and, not knowing quite her meaning, I dropped the subject. It edged delicate ground, I felt. Frances added no word of her own. It now occurred to me abruptly that "stay" was the word made use of, when "live" would have been more natural. How insignificant to recall! Yet why did they suggest themselves just at this moment …?
And, on going to Frances's room to make sure she was not nervous or lonely, I realized abruptly, that Mrs. Franklyn, of course, had talked with her in a confidential sense that I, as a mere visiting brother, could not share. Frances had told me nothing. I might easily have wormed it out of her, had I not felt that for us to discuss further our hostess and her house merely because we were under the roof together, was not quite nice or loyal.
"I'll call you, Bill, if I'm scared," she had laughed as we parted, my room being just across the big corridor from her own. I had fallen asleep, thinking what in the world was meant by "getting it straight again."
And now in my antechamber to the library, on the second morning, sitting among piles of foolscap and sheets of spotless blotting-paper, all useless to me, these slight hints came back and helped to frame the big, vague Shadow I have mentioned. Up to the neck in this Shadow, almost drowned, yet just treading water, stood the figure of my hostess in her walking costume. Frances and I seemed swimming to her aid. The Shadow was large enough to include both house and grounds, but farther than that I could not see…. Dismissing it, I fell to reading my purloined book again. Before I turned another page, however, another startling detail leaped out at me: the figure of Mrs. Franklyn in the Shadow was not living. It floated helplessly, like a doll or puppet that has no life in it. It was both pathetic and dreadful.
Any one who sits in reverie thus, of course, may see similar ridiculous pictures when the will no longer guides construction. The incongruities of dreams are thus explained. I merely record the picture as it came. That it remained by me for several days, just as vivid dreams do, is neither here nor there. I did not allow myself to dwell upon it. The curious thing, perhaps, is that from this moment I date my inclination, though not yet my desire, to leave. I purposely say "to leave."
I cannot quite remember when the word changed to that aggressive, frantic thing which is escape.