In autumn, a late red moon rode low in the skies till morning. The air was filled with dropping leaves, there was a solemn thunder of great trees upon the hills; sad phantasmal whisperings and the vast cathedral music deepened in his heart.
In winter, he went down joyously into the dark howling wind, leaning his weight upon its advancing wall as it swept up a hill; and when in early Spring the small cold rain fell from the reeking sky he was content. He was alone.
He harried his deficient subscribers for payment, with a wild tenacity. He accepted their easy promises without question; he hunted them down in their own rooms, or in the rooms of a neighbor, he pressed so doggedly that, at length, sullenly or good-humoredly, they paid a part of their debt. This was more than any of his predecessors had accomplished, but he fretted nervously over his accounts until he found that he had become, for the circulation manager, the exemplar for indolent boys. As he dumped his desperately gathered pile of "chicken feed" upon the man's desk, his employer would turn accusingly to a delinquent boy, saying:
"Look at that! He does it every week! Niggers, too!"
His pallid face would flame with joy and pride. When he spoke to the great man his voice trembled. He could hardly speak.
As the wind yelled through the dark, he burst into maniacal laughter. He leaped high into the air with a scream of insane exultancy, burred in his throat idiot animal-squeals, and shot his papers terrifically into the flimsy boarding of the shacks. He was free. He was alone. He heard the howl of a train-whistle, and it was not so far away. In the darkness he flung his arm out to the man on the rails, his goggled brother with steel-steady rail-fixed eyes.
He did not shrink so much, beneath the menace of the family fist. He was more happily unmindful of his own unworthiness.
Assembled with three or four of the carriers in the lunchroom, he learned to smoke: in the sweet blue air of Spring, as he sloped down to his route, he came to know the beauty of Lady Nicotine, the delectable wraith who coiled into his brain, left her poignant breath in his young nostrils, her sharp kiss upon his mouth.
He was a sharp blade.
The Spring drove a thorn into his heart, it drew a wild cry from his lips. For it, he had no speech.
He knew hunger. He knew thirst. A great flame rose in him. He cooled his hot face in the night by bubbling water jets. Alone, he wept sometimes with pain and ecstasy. At home the frightened silence of his childhood was now touched with savage restraint. He was wired like a race-horse. A white atom of inchoate fury would burst in him like a rocket, and for a moment he would be cursing mad.
"What's wrong with him? Is it the Pentland crazy streak coming out?" Helen asked, seated in Eliza's kitchen.
Eliza moulded her lips portentously for some time, shaking her head slowly.
"Why," she said, with a cunning smile, "don't you know, child?"
His need for the negroes had become acute. He spent his afternoons after school combing restlessly through the celled hive of Niggertown. The rank stench of the branch, pouring its thick brown sewage down a bed of worn boulders, the smell of wood-smoke and laundry stewing in a black iron yard-pot, and the low jungle cadences of dusk, the forms that slid, dropped, and vanished, beneath a twinkling orchestration of small sounds. Fat ropes of language in the dusk, the larded sizzle of frying fish, the sad faint twanging of a banjo, and the stamp, far-faint, of heavy feet; voices Nilotic, river-wailing, and the greasy light of four thousand smoky lamps in shack and tenement.
From the worn central butte round which the colony swarmed, the panting voices of the Calvary Baptist Church mounted, in an exhausting and unceasing frenzy, from seven o'clock until two in the morning, in their wild jungle wail of sin and love and death. The dark was hived with flesh and mystery. Rich wells of laughter bubbled everywhere. The catforms slid. Everything was immanent. Everything was far. Nothing could be touched.
In this old witch-magic of the dark, he began to know the awful innocence of evil, the terrible youth of an ancient race; his lips slid back across his teeth, he prowled in darkness with loose swinging arms, and his eyes shone. Shame and terror, indefinable, surged through him. He could not face the question in his heart.
A good part of his subscription list was solidly founded among decent and laborious darkies--barbers, tailors, grocers, pharmacists, and ginghamed black housewives, who paid him promptly on a given day each week, greeting him with warm smiles full of teeth, and titles of respect extravagant and kindly: "Mister," "Colonel," "General," "Governor," and so on. They all knew Gant.
But another part--the part in which his desire and wonder met?were "floaters," young men and women of precarious means, variable lives, who slid mysteriously from cell to cell, who peopled the night with their flitting stealth. He sought these phantoms fruitlessly for weeks, until he discovered that he might find them only on Sunday morning, tossed like heavy sacks across one another, in the fetid dark of a tenement room, a half-dozen young men and women, in a snoring exhaustion of whisky-stupor and sexual depletion.
One Saturday evening, in the fading red of a summer twilight, he returned to one of these tenements, a rickety three-story shack, that cropped its two lower floors down a tall clay bank at the western ledge, near the whites. Two dozen men and women lived here. He was on the search for a woman named Ella Corpening. He had never been able to find her: she was weeks behind in her subscriptions. But her door stood open to-night: a warm waft of air and cooking food came up to him. He descended the rotten steps that climbed the bank.
Ella Corpening sat facing the door in a rocking chair, purring lazily in the red glow of a little kitchen range, with her big legs stretched comfortably out on the floor. She was a mulatto of twenty-six years, a handsome woman of Amazonian proportions, with smooth tawny skin.
She was dressed in the garments of some former mistress: she wore a brown woollen skirt, patent-leather shoes with high suede tops pearl-buttoned, and gray silk hose. Her long heavy arms shone darkly through the light texture of a freshly laundered white shirtwaist. A lacing of cheap blue ribbon gleamed across the heavy curve of her breasts.
There was a bubbling pot of cabbage and sliced fat pork upon the stove.
"Paper boy," said Eugene. "Come to collect."
"Is you de boy?" drawled Ella Corpening with a lazy movement of her arm. "How much does I owe?"
"$1.20," he answered. He looked meaningfully at one extended leg, where, thrust in below the knee, a wadded bank-note gleamed dully.
"Dat's my rent money," she said. "Can't give you dat. Dollah-twenty!" She brooded. "Uh! Uh!" she grunted pleasantly. "Don't seem lak it ought to be dat much."
"It is, though," he said, opening his account book.
"It mus' is," she agreed, "if de book say so."
She meditated luxuriously for a moment.
"Does you collec' Sunday mawnin'?" she asked.
"Yes," he said.
"You come roun' in de mawnin'," she said hopefully. "I'll have somethin' fo' yuh, sho. I'se waitin' fo' a white gent'man now. He's goin' gib me a dollah."
She moved her great limbs slowly, and smiled at him. Forked pulses beat against his eyes. He gulped dryly: his legs were rotten with excitement.
"What's--what's he going to give you a dollar for?" he muttered, barely audible.
"Jelly Roll," said Ella Corpening.
He moved his lips twice, unable to speak. She got up from her chair.
"What yo' want?" she asked softly. "Jelly Roll?"
"Want to see--to see!" he gasped.
She closed the door opening on the bank and locked it. The stove cast a grated glow from its open ashpan. There was a momentary rain of red cinders into the pit.
Ella Corpening opened the door beyond that, leading to another room. There were two dirty rumpled beds; the single window was bolted and covered by an old green shade. She lit a smoky little lamp, and turned the wick low.
There was a battered little dresser with a mottled glass, from which the blistered varnish was flaking
. Over the screened hearth, on a low mantel, there was a Kewpie doll, sashed with pink ribbon, a vase with fluted edges and gilt flowers, won at a carnival, and a paper of pins. A calendar, also, by courtesy of the Altamont Coal and Ice Company, showing an Indian maid paddling her canoe down an alley of paved moonlight, and a religious motto in flowered scrollwork, framed in walnut: God Loves Them Both.
"What yo' want?" she whispered, facing him.
Far off, he listened to the ghost of his own voice.
"Take off your clothes."
Her skirt fell in a ring about her feet. She took off her starched waist. In a moment, save for her hose, she stood naked before him.
Her breath came quickly, her full tongue licked across her mouth.
"Dance!" he cried. "Dance!"
She began to moan softly, while an undulant tremor flowed through her great yellow body; her hips and her round heavy breasts writhed slowly in a sensual rhythm.
Her straight oiled hair fell across her neck in a thick shock. She extended her arms for balance, the lids closed over her large yellow eyeballs. She came near him. He felt her hot breath on his face, the smothering flood of her breasts. He was whirled like a chip in the wild torrent of her passion. Her powerful yellow hands gripped his slender arms round like bracelets. She shook him to and fro slowly, fastening him tightly against her pelt.
He strained back desperately against the door, drowning in her embrace.
"Get-'way nigger. Get-'way," he panted thickly.
Slowly she released him: without opening her eyes, moaning, she slid back as if he had been a young tree. She sang, in a wailing minor key, with unceasing iteration:
"Jelly Roll! Je-e-e-ly Roll!"--
her voice falling each time to a low moan.
Her face, the broad column of her throat, and her deep-breasted torso were rilled with sweat. He fumbled blindly for the door, lunged across the outer room and, gasping, found his way into the air. Her chant, unbroken and undisturbed by his departure, followed him up the flimsy steps. He did not pause to get his breath until he came to the edge of the market square. Below him in the valley, across on the butte, the smoky lamps of Niggertown flared in the dusk. Faint laughter, rich, jungle-wild, welled up from hived darkness. He heard lost twangling notes, the measured thump of distant feet; beyond, above, more thin, more far than all, the rapid wail of sinners in a church.
23
[Greek text]
He did not tell the Leonards that he was working in the early morning. He knew they would oppose his employment, and that their opposition would manifest itself in the triumphant argument of lowered grades. Also, Margaret Leonard, he knew, would talk ominously of health undermined, of the promise of future years destroyed, of the sweet lost hours of morning sleep that could never be regained. He was really more robust now than he had ever been. He was heavier and stronger. But he sometimes felt a gnawing hunger for sleep: he grew heavy at mid-day, revived in the afternoon, but found it difficult to keep his sleepy brain fixed on a book after eight o'clock in the evening.
He learned little of discipline. Under the care of the Leonards he came even to have a romantic contempt for it. Margaret Leonard had the marvelous vision, of great people, for essences. She saw always the dominant color, but she did not always see the shadings. She was an inspired sentimentalist. She thought she "knew boys": she was proud of her knowledge of them. In fact, however, she had little knowledge of them. She would have been stricken with horror if she could have known the wild confusion of adolescence, the sexual nightmares of puberty, the grief, the fear, the shame in which a boy broods over the dark world of his desire. She did not know that every boy, caged in from confession by his fear, is to himself a monster.
She did not have knowledge. But she had wisdom. She found immediately a person's quality. Boys were her heroes, her little gods. She believed that the world was to be saved, life redeemed, by one of them. She saw the flame that burns in each of them, and she guarded it. She tried somehow to reach the dark gropings toward light and articulation, of the blunt, the stolid, the shamefast. She spoke a calm low word to the trembling racehorse, and he was still.
Thus, he made no confessions. He was still prison-pent. But he turned always to Margaret Leonard as toward the light: she saw the unholy fires that cast their sword-dance on his face, she saw the hunger and the pain, and she fed him--majestic crime!--on poetry.
Whatever of fear or shame locked them in careful silence, whatever decorous pretense of custom guarded their tongues, they found release in the eloquent symbols of verse. And by that sign, Margaret was lost to the good angels. For what care the ambassadors of Satan, for all the small fidelities of the letter and the word, if from the singing choir of earthly methodism we can steal a single heart--lift up, flame-tipped, one great lost soul to the high sinfulness of poetry?
The wine of the grape had never stained her mouth, but the wine of poetry was inextinguishably mixed with her blood, entombed in her flesh.
By the beginning of his fifteenth year Eugene knew almost every major lyric in the language. He possessed them to their living core, not in a handful of scattered quotations, but almost line for line. His thirst was drunken, insatiate: he added to his hoard entire scenes from Schiller's Wilhelm Tell, which he read by himself in German; the lyrics of Heine, and several folk songs. He committed to memory the entire passage in the Anabasis, the mounting and triumphal Greek which described the moment when the starving remnant of the Ten Thousand had come at length to the sea, and sent up their great cry, calling it by name. In addition, he memorized some of the sonorous stupidities of Cicero, because of the sound, and a little of Caesar, terse and lean.
The great lyrics of Burns he knew from music, from reading, or from hearing Gant recite them. But "Tam O'Shanter" Margaret Leonard read to him, her eyes sparkling with laughter as she read:
"In hell they'll roast thee like a herrin'."
The shorter Wordsworth pieces he had read at grammar school. "My heart leaps up," "I wandered lonely as a cloud," and "Behold her, single in the field," he had known for years; but Margaret read him the sonnets and made him commit "The world is too much with us" to memory. Her voice trembled and grew low with passion when she read it.
He knew all the songs in Shakespeare's plays, but the two that moved him most were: "O mistress mine, where are you roaming?" which blew a far horn in his heart, and the great song from Cymbeline: "Fear no more the heat o' the sun." He had tried to read all the sonnets, and failed, because their woven density was too much for his experience, but he had read, and forgotten, perhaps half of them, and remembered a few which burned up from the page, strangely, immediately, like lamps for him.
Those that he knew were: "When, in the chronicle of wasted time," "To me, fair friend, you never can be old," "Let me not to the marriage of true minds," "The expense of spirit in a waste of shame," "When to the sessions of sweet silent thought," "Shall I compare thee to a summer's day?" "From you have I been absent in the spring," and "That time of year thou mayest in me behold," the greatest of all, which Margaret brought him to, and which shot through him with such electric ecstasy when he came to "Bare ruined choirs, where late the sweet birds sang," that he could hardly hold his course unbroken through the rest of it.
He read all the plays save Timon, Titus Andronicus, Coriolanus, and King John, but the only play that held his interest from first to last was King Lear. With most of the famous declamatory passages he had been familiar, for years, by Gant's recitation, and now they wearied him. And all the wordy pinwheels of the clowns, which Margaret laughed at dutifully, and exhibited as specimens of the master's swingeing wit, he felt vaguely were very dull. He never had any confidence in Shakespeare's humor--his Touchstones were not only windy fools, but dull ones.
"For my part I had rather bear with you than bear you; yet I should bear no cross if I did bear you, for I think you have no money in your purse."
This sort of thing reminded him unpleasantly of the Pentlands. The
Fool in "Lear" alone he thought admirable--a sad, tragic, mysterious fool. For the rest, he went about and composed parodies, which, with a devil's grin, he told himself would split the sides of posterity. Such as: "Aye, nuncle, an if Shrove Tuesday come last Wednesday, I'll do the capon to thy cock, as Tom O'Ludgate told the shepherd when he found the cowslips gone. Dost bay with two throats, Cerberus? Down, boy, down!"
The admired beauties he was often tired of, perhaps because he had heard them so often, and it seemed to him, moreover, that Shakespeare often spoke absurdly and pompously when he might better have spoken simply, as in the scene where, being informed by the Queen of the death of his sister by drowning, Laertes says:
"Too much of water hast thou, poor Ophelia,
And therefore I forbid my tears."
You really can't beat that (he thought). Aye, Ben! Would he had blotted a hundred! A thousand!
But he was deep in other passages which the elocutionist misses, such as the terrible and epic invocation of Edmund, in King Lear, drenched in evil, which begins:
"Thou, Nature, art my goddess,"
and ends,
"Now, gods, stand up for bastards."
It was as dark as night, as evil as Niggertown, as vast as the elemental winds that howled down across the hills: he chanted it in the black hours of his labor, into the dark and the wind. He understood; he exulted in its evil--which was the evil of earth, of illicit nature. It was a call to the unclassed; it was a cry for those beyond the fence, for rebel angels, and for all of the men who are too tall.