by Otto Penzler
His stories never enjoyed great success until he was “discovered” when The Beast with Five Fingers was filmed in 1946 with Robert Florey directing and Peter Lorre starring, inducing publishers on both sides of the Atlantic to collect the best of his horror fiction. “August Heat” served as the basis for an episode of a television series on three occasions: as episode one in the first season of Danger, airing on September 26, 1950; on On Camera, January 8, 1955, starring Patrick Macnee; and on Great Ghost Tales, August 3, 1961, starring James Broderick and Vincent Gardenia.
“August Heat” was first published in Midnight House and Other Tales (London, J. M. Dent, 1910).
August Heat
WILLIAM FRYER HARVEY
Phenistone Road, Clapham,
August 20th, 19—.
I HAVE HAD WHAT I believe to be the most remarkable day in my life, and while the events are still fresh in my mind, I wish to put them down on paper as clearly as possible.
Let me say at the outset that my name is James Clarence Withencroft.
I am forty years old, in perfect health, never having known a day’s illness.
By profession I am an artist, not a very successful one, but I earn enough money by my black-and-white work to satisfy my necessary wants.
My only near relative, a sister, died five years ago, so that I am independent.
I breakfasted this morning at nine, and after glancing through the morning paper I lighted my pipe and proceeded to let my mind wander in the hope that I might chance upon some subject for my pencil.
The room, though door and windows were open, was oppressively hot, and I had just made up my mind that the coolest and most comfortable place in the neighbourhood would be the deep end of the public swimming bath, when the idea came.
I began to draw. So intent was I on my work that I left my lunch untouched, only stopping work when the clock of St. Jude’s struck four.
The final result, for a hurried sketch, was, I felt sure, the best thing I had done.
It showed a criminal in the dock immediately after the judge had pronounced sentence. The man was fat—enormously fat. The flesh hung in rolls about his chin; it creased his huge, stumpy neck. He was clean shaven (perhaps I should say a few days before he must have been clean shaven) and almost bald. He stood in the dock, his short, clumsy fingers clasping the rail, looking straight in front of him. The feeling that his expression conveyed was not so much one of horror as of utter, absolute collapse.
There seemed nothing in the man strong enough to sustain that mountain of flesh.
I rolled up the sketch, and without quite knowing why, placed it in my pocket. Then with the rare sense of happiness which the knowledge of a good thing well done gives, I left the house.
I believe that I set out with the idea of calling upon Trenton, for I remember walking along Lytton Street and turning to the right along Gilchrist Road at the bottom of the hill where the men were at work on the new tram lines.
From there onwards I have only the vaguest recollection of where I went. The one thing of which I was fully conscious was the awful heat, that came up from the dusty asphalt pavement as an almost palpable wave. I longed for the thunder promised by the great banks of copper-coloured cloud that hung low over the western sky.
I must have walked five or six miles, when a small boy roused me from my reverie by asking the time.
It was twenty minutes to seven.
When he left me I began to take stock of my bearings. I found myself standing before a gate that led into a yard bordered by a strip of thirsty earth, where there were flowers, purple stock and scarlet geranium. Above the entrance was a board with the inscription—
CHAS. ATKINSON
MONUMENTAL MASON
WORKER IN ENGLISH AND ITALIAN MARBLES
From the yard itself came a cheery whistle, the noise of hammer blows, and the cold sound of steel meeting stone.
A sudden impulse made me enter.
A man was sitting with his back towards me, busy at work on a slab of curiously veined marble. He turned round as he heard my steps and I stopped short.
It was the man I had been drawing, whose portrait lay in my pocket.
He sat there, huge and elephantine, the sweat pouring from his scalp, which he wiped with a red silk handkerchief. But though the face was the same, the expression was absolutely different.
He greeted me smiling, as if we were old friends, and shook my hand.
I apologised for my intrusion.
“Everything is hot and glary outside,” I said. “This seems an oasis in the wilderness.”
“I don’t know about the oasis,” he replied, “but it certainly’s hot, as hot as hell. Take a seat, sir!”
He pointed to the end of the gravestone on which he was at work, and I sat down.
“That’s a beautiful piece of stone you’ve got hold of,” I said.
He shook his head. “In a way it is,” he answered; “the surface here is as fine as anything you could wish, but there’s a big flaw at the back, though I don’t expect you’d ever notice it. I could never make really a good job of a bit of marble like that. It would be all right in the summer like this; it wouldn’t mind the blasted heat. But wait till the winter comes. There’s nothing quite like frost to find out the weak points in stone.”
“Then what’s it for?” I asked.
The man burst out laughing.
“You’d hardly believe me if I was to tell you it’s for an exhibition, but it’s the truth. Artists have exhibitions: so do grocers and butchers; we have them too. All the latest little things in headstones, you know.”
He went on to talk of marbles, which sort best withstood wind and rain, and which were easiest to work; then of his garden and a new sort of carnation he had bought. At the end of every other minute he would drop his tools, wipe his shining head, and curse the heat.
I said little, for I felt uneasy. There was something unnatural, uncanny, in meeting this man.
I tried at first to persuade myself that I had seen him before, that his face, unknown to me, had found a place in some out-of-the-way corner of my memory, but I knew that I was practising little more than a plausible piece of self-deception.
Mr. Atkinson finished his work, spat on the ground, and got up with a sigh of relief.
“There! what do you think of that?” he said, with an air of evident pride.
The inscription which I read for the first time was this—
SACRED TO THE memory
OF
JAMES CLARENCE WITHENCROFT
BORN JAN. 18TH, 1860
HE PASSED AWAY VERY SUDDENLY
ON AUGUST 20TH, 19—
“In the midst of life we are in death.”
For some time I sat in silence. Then a cold shudder ran down my spine. I asked him where he had seen the name.
“Oh, I didn’t see it anywhere,” replied Mr. Atkinson. “I wanted some name, and I put down the first that came into my head. Why do you want to know?”
“It’s a strange coincidence, but it happens to be mine.”
He gave a long, low whistle.
“And the dates?”
“I can only answer for one of them, and that’s correct.”
“It’s a rum go!” he said.
But he knew less than I did. I told him of my morning’s work. I took the sketch from my pocket and showed it to him. As he looked, the expression of his face altered until it became more and more like that of the man I had drawn.
“And it was only the day before yesterday,” he said, “that I told Maria there were no such things as ghosts!”
Neither of us had seen a ghost, but I knew what he meant.
“You probably heard my name,” I said.
“And you must have seen me somewhere and have forgotten it! Were you at Clacton-on-Sea last July?”
I had never been to Clacton in my life. We were silent for some time. We were both looking at the same thing, the two dates on the gravestone, and one was right
.
“Come inside and have some supper,” said Mr. Atkinson.
His wife is a cheerful little woman, with the flaky red cheeks of the country-bred. Her husband introduced me as a friend of his who was an artist. The result was unfortunate, for after the sardines and watercress had been removed, she brought out a Doré Bible, and I had to sit and express my admiration for nearly half an hour.
I went outside, and found Atkinson sitting on the gravestone smoking.
We resumed the conversation at the point we had left off.
“You must excuse my asking,” I said, “but do you know of anything you’ve done for which you could be put on trial?”
He shook his head.
“I’m not a bankrupt, the business is prosperous enough. Three years ago I gave turkeys to some of the guardians at Christmas, but that’s all I can think of. And they were small ones, too,” he added as an afterthought.
He got up, fetched a can from the porch, and began to water the flowers. “Twice a day regular in the hot weather,” he said, “and then the heat sometimes gets the better of the delicate ones. And ferns, good Lord! they could never stand it. Where do you live?”
I told him my address. It would take an hour’s quick walk to get back home.
“It’s like this,” he said. “We’ll look at the matter straight. If you go back home tonight, you take your chance of accidents. A cart may run over you, and there’s always banana skins and orange peel, to say nothing of fallen ladders.”
He spoke of the improbable with an intense seriousness that would have been laughable six hours before. But I did not laugh.
“The best thing we can do,” he continued, “is for you to stay here till twelve o’clock. We’ll go upstairs and smoke; it may be cooler inside.”
To my surprise I agreed.
We are sitting now in a long, low room beneath the eaves. Atkinson has sent his wife to bed. He himself is busy sharpening some tools at a little oilstone, smoking one of my cigars the while.
The air seems charged with thunder. I am writing this at a shaky table before the open window. The leg is cracked, and Atkinson, who seems a handy man with his tools, is going to mend it as soon as he has finished putting an edge on his chisel.
It is after eleven now. I shall be gone in less than an hour.
But the heat is stifling.
It is enough to send a man mad.
THE SHADOWY THIRD AND THE PAST
Ellen Glasgow
THERE IS SUCH A strong sense of realism in the work of the noted Southern writer Ellen (Anderson Gholson) Glasgow (1873–1945) that it takes a little while to accept the notion that a story does, actually, have supernatural elements. Her portrayal of Southern life within its aristocracy and lower social levels had a particular emphasis on the relationship between Southern women and the men in their lives. She won accolades in the 1920s and 1930s as one of the enduring leaders of the literary renaissance of the South. In 1940 she was awarded the Howells Medal for Fiction by the American Academy of Arts and Letters and her 1941 novel, In This Our Life, won the Pulitzer Prize for fiction. She did not make many forays into supernatural fiction, but her sophisticated ghost stories have been frequently anthologized and were collected in The Shadowy Third and Other Stories (1923).
Born in Richmond, Virginia, Glasgow was a rather frail child and dropped out of school at the age of nine, teaching herself by reading from her father’s substantial library. She lived briefly in New York where she began and then maintained a lengthy, long-distance affair with a married man (as recounted in her autobiography, The Woman Within, published posthumously in 1954), but soon returned to her birthplace where she continued to live and write, very much in solitude, in an old gray stone house in the middle of the city.
“The Shadowy Third” was first published in the December 1916 issue of Scribner’s Magazine. “The Past” was first published in the October 1920 issue of Good Housekeeping. Both were collected in the author’s The Shadowy Third and Other Stories (New York, Doubleday, Page, 1923).
The Shadowy Third
ELLEN GLASGOW
WHEN THE CALL CAME I remember that I turned from the telephone in a romantic flutter. Though I had spoken only once to the great surgeon, Roland Maradick, I felt on that December afternoon that to speak to him only once—to watch him in the operating-room for a single hour—was an adventure which drained the color and the excitement from the rest of life. After all these years of work on typhoid and pneumonia cases, I can still feel the delicious tremor of my young pulses; I can still see the winter sunshine slanting through the hospital windows over the white uniforms of the nurses.
“He didn’t mention me by name. Can there be a mistake?” I stood, incredulous yet ecstatic, before the superintendent of the hospital.
“No, there isn’t a mistake. I was talking to him before you came down.” Miss Hemphill’s strong face softened while she looked at me. She was a big, resolute woman, a distant Canadian relative of my mother’s, and the kind of nurse, I had discovered in the month since I had come up from Richmond, that Northern hospital boards, if not Northern patients, appear instinctively to select. From the first, in spite of her hardness, she had taken a liking—I hesitate to use the word “fancy” for a preference so impersonal—to her Virginia cousin. After all, it isn’t every Southern nurse, just out of training, who can boast a kinswoman in the superintendent of a New York hospital. If experience was what I needed, Miss Hemphill, I judged, was abundantly prepared to supply it.
“And he made you understand positively that he meant me?” The thing was so wonderful that I simply couldn’t believe it.
“He asked particularly for the nurse who was with Miss Hudson last week when he operated. I think he didn’t even remember that you had a name—this isn’t the South, you know, where people still regard nurses as human, not as automata. When I asked if he meant Miss Randolph, he repeated that he wanted the nurse who had been with Miss Hudson. She was small, he said, and cheerful-looking. This, of course, might apply to one or two others, but none of these was with Miss Hudson. Miss Maupin, the only nurse, except you, who went near her, is large and heavy.”
“Then I suppose it is really true?” My pulses were tingling. “And I am to be there at six o’clock?”
“Not a minute later. The day nurse goes off duty at that hour, and Mrs. Maradick is never left by herself for an instant.”
“It is her mind, isn’t it? And that makes it all the stranger that he should select me, for I have had so few mental cases.”
“So few cases of any kind.” Miss Hemphill was smiling, and when she smiled I wondered if the other nurses would know her. “By the time you have gone through the treadmill in New York, Margaret, you will have lost a good many things besides your inexperience. I wonder how long you will keep your sympathy and your imagination? After all, wouldn’t you have made a better novelist than a nurse?”
“I can’t help putting myself into my cases. I suppose one ought not to?”
“It isn’t a question of what one ought to do, but of what one must. When you are drained of every bit of sympathy and enthusiasm and have got nothing in return for it, not even thanks, you will understand why I try to keep you from wasting yourself.”
“But surely in a case like this—for Doctor Maradick?”
“Oh, well, of course—for Doctor Maradick?” She must have seen that I implored her confidence, for, after a minute, she let fall almost carelessly a gleam of light on the situation. “It is a very sad case when you think what a charming man and a great surgeon Doctor Maradick is.”
Above the starched collar of my uniform I felt the blood leap in bounds to my cheeks. “I have spoken to him only once,” I murmured, “but he is charming, and, oh, so kind and handsome, isn’t he?”
“His patients adore him.”
“Oh, yes, I’ve seen that. Every one hangs on his visits.” Like the patients and the other nurses, I, also, had come by delightful, if imperceptible, degrees to hang o
n the daily visits of Doctor Maradick. He was, I suppose, born to be a hero to women. Fate had selected him for the rôle, and it would have been sheer impertinence for a mortal to cross wills with the invisible Powers. From my first day in his hospital, from the moment when I watched, through closed shutters, while he stepped out of his car, I have never doubted that he was assigned to the great part in the play. If I had been ignorant of his spell—of the charm he exercised over his hospital—I should have felt it in the waiting hush, like a drawn breath, which followed his ring at the door and preceded his imperious footstep on the stairs. My first impression of him, even after the terrible events of the next year, records a memory that is both careless and splendid. At that moment, when, gazing through the chinks in the shutters, I watched him, in his coat of dark fur, cross the pavement over the pale streaks of sunshine, I knew beyond any doubt—I knew with a sort of infallible prescience—that my fate was irretrievably bound with his in the future. I knew this, I repeat, though Miss Hemphill would still insist that my foreknowledge was merely a sentimental gleaning from indiscriminate novels. But it wasn’t only first love, impressionable as my kinswoman believed me to be. It wasn’t only the way he looked, handsome as he was. Even more than his appearance—more than the shining dark of his eyes, the silvery brown of his hair, the dusky glow in his face—even more than his charm and his magnificence, I think, the beauty and sympathy in his voice won my heart. It was a voice, I heard some one say afterward, that ought always to speak poetry.
So you will see why—if you do not understand at the beginning, I can never hope to make you believe impossible things!—so you will see why I accepted the call when it came as an imperative summons. I couldn’t have stayed away after he sent for me. However much I may have tried not to go, I know that in the end I must have gone. In those days, while I was still hoping to write novels, I used to talk a great deal about “destiny” (I have learned since then how silly all such talk is), and I suppose it was my “destiny” to be caught in the web of Roland Maradick’s personality. But I am not the first nurse to grow love-sick about a doctor who never gave her a thought.