That the body of Edgar Allan Poe had been stolen—that this mansion had been built to house it—that it was indeed enshrined in a crypt below—that grandsire, son, and grandson had dwelt here alone, apart, enslaved to a sepulchral secret—was beyond sane belief.
And yet, surrounded now by the night and the storm, in a setting torn from Poe's own frenzied fancies, I could not be sure. Here the past was still alive, the very spirit of Poe's tales breathed forth its corruption upon the scene.
As thunder boomed, Launcelot Canning took up Poe's flute, and, whether in defiance of the storm without or as a mocking accompaniment, he played; blowing upon it with drunken persistence, with eery atonality, with nerve-shattering shrillness. To the shrieking of that infernal instrument the thunder added a braying counterpoint.
Uneasy, uncertain, and unnerved, I retreated into the shadows of the bookshelves at the farther end of the room, and idly scanned the titles of a row of ancient tomes. Here was the Chiromancy of Robert Flud, the Directorium Inquisitorum, a rare and curious book in quarto Gothic that was the manual of a forgotten church; and betwixt and between the volumes of pseudo-scientific inquiry, theological speculation, and sundry incunabula I found titles that arrested and appalled me. De Vermis Mysteriis and the Liber Eibon, treatises on demonology, on witchcraft, on sorcery mouldered in crumbling binding. The books were old, but the books were not dusty. They had been read—
"Read them?" It was as though Canning divined my inmost thoughts. He had put aside his flute and now approached me, tittering as though in continued drunken defiance of the storm. Odd echoes and boomings now sounded through the long halls of the house, and curious grating sounds threatened to drown out his words and his laughter.
"Read them?" said Canning. "I study them. Yes, I have gone beyond grandfather and father, too. It was I who procured the books that held the key, and it was I who found the key. A key more difficult to discover, and more important, than the key to the vaults below. I often wonder if Poe himself had access to these selfsame tomes, knew the selfsame secrets. The secrets of the grave and what lies beyond, and what can be summoned forth if one but holds the key."
He stumbled away and returned with wine. "Drink," he said. "Drink to the night and the storm."
I brushed the proffered glass aside. "Enough," I said. "I must be on my way."
Was it fancy or did I find fear frozen on his features? Canning clutched my arm and cried, "No, stay with me! This is no night on which to be alone; I swear I cannot abide the thought of being alone, I can bear to be alone no more!"
His incoherent babble mingled with the thunder and the echoes; I drew back and confronted him. "Control yourself," I counseled. "Confess that this is a hoax, an elaborate imposture arranged to please your fancy."
"Hoax? Imposture? Stay, and I shall prove to you beyond all doubt"—and so saying, Launcelot Canning stooped and opened a small drawer set in the wall beneath and beside the bookshelves. "This should repay you for your interest in my story, and in Poe," he murmured. "Know that you are the first, other person than myself, to glimpse these treasures."
He handed me a sheaf of manuscripts on plain white paper; documents written in ink curiously similar to that I had noted while perusing Poe's letters. Pages were clipped together in groups, and for a moment I scanned titles alone.
"The Worm of Midnight, by Edgar Poe," I read, aloud. "The Crypt," I breathed. And here, "The Further Adventures of Arthur Gordon Pym"—and in my agitation I came close to dropping the precious pages. "Are these what they appear to be—the unpublished tales of Poe?"
My host bowed.
"Unpublished, undiscovered, unknown, save to me—and to you."
"But this cannot be," I protested. "Surely there would have been a mention of them somewhere, in Poe's own letters or those of his contemporaries. There would have been a clue, an indication, somewhere, someplace, somehow."
Thunder mingled with my words, and thunder echoed in Canning's shouted reply.
"You dare to presume an imposture? Then compare!" He stooped again and brought out a glassined folio of letters. "Here—is this not the veritable script of Edgar Poe? Look at the calligraphy of the letter, then at the manuscripts. Can you say they are not penned by the selfsame hand?"
I looked at the handwriting, wondered at the possibilities of a monomaniac's forgery. Could Launcelot Canning, a victim of mental disorder, thus painstakingly simulate Poe's hand?
"Read, then!" Canning screamed through the thunder. "Read, and dare to say that these tales were written by any other than Edgar Poe, whose genius defies the corruption of Time and the Conqueror Worm!"
I read but a line or two, holding the topmost manuscript close to eyes that strained beneath wavering candlelight; but even in the flickering illumination I noted that which told me the only, the incontestable truth. For the paper, the curiously unyellowed paper, bore a visible watermark; the name of a firm of well-known modern stationers, and the date—1949.
Putting the sheaf aside, I endeavored to compose myself as I moved away from Launcelot Canning. For now I knew the truth; knew that, one hundred years after Poe's death a semblance of his spirit still lived in the distorted and disordered soul of Canning. Incarnation, reincarnation, call it what you will; Canning was, in his own irrational mind, Edgar Allan Poe.
Stifled and dull echoes of thunder from a remote portion of the mansion now commingled with the soundless seething of my own inner turmoil, as I turned and rashly addressed my host.
"Confess!" I cried. "Is it not true that you have written these tales, fancying yourself the embodiment of Poe? Is it not true that you suffer from a singular delusion born of solitude and everlasting brooding upon the past; that you have reached a stage characterized by the conviction that Poe still lives on in your own person?"
A strong shudder came over him and a sickly smile quivered about his lips as he replied. "Fool! I say to you that I have spoken the truth. Can you doubt the evidence of your senses? This house is real, the Poe collection exists, and the stories exist—they exist, I swear, as truly as the body lying in the crypt below!"
I took up the little box from the table and removed the lid. "Not so," I answered. "You said your grandfather was found with this box clutched to his breast, before the door of the vault, and that it contained Poe's dust. Yet you cannot escape the fact that the box is empty." I faced him furiously. "Admit it, the story is a fabrication, a romance. Poe's body does not lie beneath this house, nor are these his unpublished works, written during his lifetime and concealed."
"True enough." Canning's smile was ghastly beyond belief. "The dust is gone because I took it and used it—because in the works of wizardry I found the formulae, the arcana whereby I could raise the flesh, re-create the body from the essential salts of the grave. Poe does not lie beneath this house—he lives! And the tales are his posthumous works!"
Accented by thunder, his words crashed against my consciousness.
"That was the end-all and the be-all of my planning, of my studies, of my work, of my life! To raise, by sorcery, the veritable spirit of Edgar Poe from the grave—reclothed and animate in flesh—set him to dwell and dream and do his work again in the private chambers I built in the vaults below—and this I have done! To steal a corpse is but a ghoulish prank; mine is the achievement of true genius!"
The distinct, hollow, metallic, and clangorous, yet apparently muffled reverberation accompanying his words caused him to turn in his seat and face the door of the study, so that I could not see the workings of his countenance—nor could he read my own reaction to his ravings.
His words came but faintly to my ears through the thunder that now shook the house in a relentless grip; the wind rattling the casements and flickering the candle-flame from the great silver candelabra sent a soaring sighing in an anguished accompaniment to his speech.
"I would show him to you, but I dare not; for he hates me as he hates life. I have locked him in the vault, alone, for the resurrected have no need of food
nor drink. And he sits there, pen moving over paper, endlessly moving, endlessly pouring out the evil essence of all he guessed and hinted at in lif e and which he learned in death.
"Do you not see the tragic pity of my plight? I sought to raise his spirit from the dead, to give the world anew of his genius—and yet these tales, these works, are filled and fraught with a terror not to be endured. They cannot be shown to the world, he cannot be shown to the world; in bringing back the dead I have brought back the fruits of death!"
Echoes sounded anew as I moved towards the door—moved, I confess, to flee this accursed house and its accursed owner.
Canning clutched my hand, my arm, my shoulder. "You cannot go!" he shouted above the storm. "I spoke of his escaping, but did you not guess? Did you not hear it through the thunder—the grating of the door?"
I pushed him aside and he blundered backwards upsetting the candelabra, so that flames licked now across the carpeting.
"Wait!" he cried. "Have you not heard his footstep on the stair? Madman, I tell you that he now stands without the door!"
A rush of wind, a roar of flame, a shroud of smoke rose all about us. Throwing open the huge, antique panels to which Canning pointed, I staggered into the hall.
I speak of wind, of flame, of smoke—enough to obscure all vision. I speak of Canning's screams, and of thunder loud enough to drown all sound. I speak of terror born of loathing and of desperation enough to shatter all my sanity.
Despite these things, I can never erase from my consciousness that which I beheld as I fled past the doorway and down the hall.
There without the doors there did stand a lofty and enshrouded figure; a figure all too familiar, with pallid features, high, domed forehead, mustache set above a mouth. My glimpse lasted but an instant, an instant during which the man—the corpse—the apparition—the hallucination, call it what you will—moved forward into the chamber and clasped Canning to his breast in an unbreakable embrace. Together, the two figures tottered toward the flames, which now rose to blot out vision forever more.
From that chamber, and from that mansion, I fled aghast. The storm was still abroad in all its wrath, and now fire came to claim the house of Canning for its own.
Suddenly there shot along the path before me a wild light, and I turned to see whence a gleam so unusual could have issued—but it was only the flames, rising in supernatural splendor to consume the mansion, and the secrets, of the man who collected Poe.
Mr. Steinway
THE FIRST TIME I saw Leo, I thought he was dead.
His hair was so black and his skin was so white—I'd never seen hands so pale and thin. They lay crossed on his chest, concealing the rhythm of his breathing. There was something almost repellent about him; he was thin and still and there was such a nothingness in his face. It was like a death-mask that had been made a little too late, after the last trace of the living personality had forever fled. I stared down at Leo, shuddered a little, and started to move away.
Then he opened his eyes, and I fell in love with him.
He sat up, swung his legs over the side of the enormous sofa, grinned at me, and rose. At least I suppose he did these things. All I really noticed was the deep brown of his pupils and the warm, rich hunger that poured from them into me, the hunger that poured and found a feeding-place somewhere in my heart.
I know what it sounds like. But I'm not a schoolgirl, and I don't keep a diary, and it's years since I've had a mad, mad crush. I'd been quite assured of my own emotional maturity for some time.
But he opened his eyes, and I fell in love at first sight.
Harry was making the introductions, now.
". . . Dorothy Endicott. She heard you play in Detroit last week and she wanted to meet you. Dorothy, this is Leo Winston."
He was quite tall, and he managed a little bow, or rather an inclination of his head, without once moving his gaze. I don't know what he said. "Charmed" or "delighted'' or "pleased to meet you"—it didn't matter. He was looking at me.
I did all the wrong things. I blushed. I giggled. I said something about how much I admired his playing, and then I repeated myself and tripped over the words.
But I did one right thing. I looked back. All the while Harry was explaining how we'd just happened to stop up and we didn't mean to disturb him but the door was open so we walked right in. And he wanted to remind Leo about placing the piano for tomorrow night's concert, and the ticket-sales were going good according to the latest report this noon. And now he had to run along and arrange for the puffs for tomorrow's papers, so—
"There's no reason for you to hurry off, is there, Miss Endicott?"
There was, I agreed, no reason at all. So Harry left, like the good little Samaritan he was, and I stayed and talked to Leo Winston.
I don't know what we talked about. It's only in stories that people seem able to remember long conversations verbatim. (Or is it long verbatim conversations? It's only in stories that people have perfect control of grammar, too.)
But I learned that his name was once Leo Weinstein . . . that he was thirty-one years old . . . unmarried . . . he liked Siamese kittens . . . he broke his leg once, skiing up at Saranac . . . he liked Manhattans made with dry vermouth, too.
It was over the second of these, after I told him all about myself (and nothing, unless he could read my eyes) that he asked me if I wanted to meet Mr. Steinway.
Of course I said yes, and we went into the other room, the one behind the sliding doors. There sat Mr. Steinway, all black and polished to perfection, grinning a welcome with his eighty-eight teeth.
"Would you like to hear Mr. Steinway play something for you?" asked Leo.
I nodded, feeling a warmth far beyond the power of two Manhattans to inspire—a warmth born of the way he said it. I hadn't felt that way since I was thirteen and in love with Bill Prentice and he asked if I'd like to see him do a Full Gaynor off the high board.
So Leo sat down on the bench and he patted Mr. Steinway on the leg the way I sometimes pat Angkor, my Siamese kitten. And they played for me. They played the Appassionata and the berceuse from The Firebird and something very odd by Prokofieff and then several things by the two Scotts—Cyril, and Raymond. I suppose Leo wanted to show his versatility, or perhaps that was Mr. Steinway's idea. Anyway, I liked it all, and I said so, emphatically.
"I'm glad you appreciate Mr. Steinway," Leo said. "He's very sensitive, I'll have you know, like everyone in my family. And he's been with me a long time—almost eleven years. He was a surprise from my mother, when I made my debut at Carnegie."
Leo stood up. He was very close to me, because I'd been sitting on the piano bench beside him ever since the berceuse, and that made it easier for me to see his eyes as he closed the black lip over Mr. Steinway's teeth and said, "Time for a little rest, before they come and get you."
"What's the matter?" I asked. "Is Mr. Steinway ill?"
"Not at all—I thought he sounded in the best of spirits." Leo grinned (how could I ever have imagined him dead, with his incandescent vitality?) and faced me. "He's going over to the concert hall this evening—he has a date to play with me tomorrow night. Which reminds me, will you be there?"
The only answer for that one was "Silly boy!" but I restrained it. Restraint did not come easy with me when I was with Leo. Not when he looked at me like that. With his eyes holding such hunger, and the long slim fingers caressing the panelling as they had caressed the keys, as they could so easily caress—
I trust I'm making myself clear?
Certainly I was transparent enough the following evening. After the concert we went out, just the four of us; Harry and his wife, Leo and I. And then just Leo and I, in the candlelight of the apartment, in the big room that looked so bare and empty without Mr. Steinway squatting there where he belonged. We watched stars over Central Park and then we watched the reflections in each other's pupils, and what we said and what we did are not meant for sharing.
The next day, after we read the notic
es, we went for a walk in the Park. Leo had to wait until they'd moved Mr. Steinway back into the apartment, and it was lovely in the Park, as always. As it must have been for millions who, somewhere in their memories, hold an instant when they walked in Central Park in May and owned it all—the trees, the sunshine, the distant laughter rising and falling as transiently as the heartbeat quickened by a moment of ecstasy.
But—"I think they're on the way over," Leo said, glancing at his watch and rising from the bench. "I really ought to be there when they move him in. Mr. Steinway's big, but he's quite delicate, actually."
I took his hand. "Come on, then," I said.
He frowned. I'd never seen him frown before, and it seemed out of character to me. "Maybe you'd better not, Dorothy. I mean, it's a slow job up those stairs, and then I'll have to practice. Don't forget, I'm booked for Boston next Friday, and that means four hours a day for the next week—Mr. Steinway and I must get our program in shape. We're doing the Ravel Concerto, the Left-Hand one, with the Symphony, and Mr. Steinway isn't fond of Ravel. Besides, he'll be leaving on Wednesday morning, so there really isn't too much time."
"But you aren't taking the piano with you on tour, are you?"
"Certainly. Where I go, Mr. Steinway goes. I've never used another instrument since Mother gave him to me. I wouldn't feel right about it, and I'm sure it would break Mr. Steinway's heart."
Mr. Steinway's heart.
I had a rival, it seems. And I laughed about it, we both laughed about it, and he went away to his work and I went back to my apartment to sleep, perchance to dream . . .
I tried phoning him about five. No answer. I waited a half hour, and then I grabbed the nearest rosy pink cloud and floated over to his apartment.
As usual—as was customary with Leo, whose mother had literally kept "open house" out on the Cape—the door was unlocked. And I naturally took advantage of the situation to tiptoe in and surprise Leo. I pictured him playing, practicing, absorbed in his work. But Mr. Steinway was silent, and the sliding doors to the other room were closed. I got my surprise in the anteroom.