"How he has grown!" she cried. "What the three last years have done for him! He used to write only the tragedies of passion; but this is the tragedy of the soul, the shadow coexistent with the soul. This is the tragedy of effort and failure, the thing Keats called hell. This is my tragedy, as I lie here spent by the race-course, listening to the feet of the runners as they pass me—ah, God! the swift feet of the runners!"
She turned her face away and covered it with her straining hands.
Everett crossed over to her quickly and knelt beside her. In all the days he had known her she had never before, beyond an occasional ironical jest, given voice to the bitterness of her own defeat. Her courage had become a point of pride with him, and to see it going sickened him.
"Don't do it," he gasped. "I can't stand it, I really can't, I feel it too much. We mustn't speak of that; it's too tragic and too vast."
When she turned her face back to him there was a ghost of the old, brave, cynical smile on it, more bitter than the tears she could not shed. "No, I won't be ungenerous; I will save that for the watches of the night when I have no better company. Now you may mix me another drink of some sort. Formerly, when it was not if I should ever sing Brunhilda, but quite simply when I should sing Brunhilda, I was always starving myself, and thinking what I might drink and what I might not. But broken music-boxes may drink whatsoever they list, and no one cares whether they lose their figure. Run over that theme at the beginning again. That, at least, is not new. It was running in his head when we were in Venice years ago, and he used to drum it on his glass at the dinner-table. He had just begun to work it out when the late autumn came on, and the paleness of the Adriatic oppressed him, and he decided to go to Florence for the winter, and lost touch with the theme during his illness. Do you remember those frightful days? All the people who have loved him are not strong enough to save him from himself! When I got word from Florence that he had been ill, I was in Nice filling a concert engagement. His wife was hurrying to him from Paris, but I reached him first. I arrived at dusk, in a terrific storm. They had taken an old palace there for the winter, and I found him in the library—a long, dark room full of old Latin books and heavy furniture and bronzes. He was sitting by a wood fire at one end of the room, looking, oh, so worn and pale!—as he always does when he is ill, you know. Ah, it is so good that you do know! Even his red smoking-jacket lent no colour to his face. His first words were not to tell me how ill he had been, but that that morning he had been well enough to put the last strokes to the score of his 'Souvenirs d'Automne,' and he was, as I most like to remember him; so calm and happy and tired; not gay, as he usually is, but just contented and tired with that heavenly tiredness that comes after a good work done at last. Outside, the rain poured down in torrents, and the wind moaned for the pain of all the world and sobbed in the branches of the shivering olives and about the walls of that desolated old palace. How that night comes back to me! There were no lights in the room, only the wood fire which glowed upon the hard features of the bronze Dante like the reflection of purgatorial flames, and threw long black shadows about us; beyond us it scarcely penetrated the gloom at all. Adriance sat staring at the fire with the weariness of all his life in his eyes, and of all the other lives that must aspire and suffer to make up one such life as his. Somehow the wind with all its world-pain had got into the room, and the cold rain was in our eyes, and the wave came up in both of us at once—that awful vague, universal pain, that cold fear of life and death and God and hope—and we were like two clinging together on a spar in mid-ocean after the ship-wreck of everything. Then we heard the front door open with a great gust of wind that shook even the walls, and the servants came running with lights, announcing that Madame had returned, 'and in the book we read no more that night.
She gave the old line with a certain bitter humour, and with the hard, bright smile in which of old she had wrapped her weakness as in a glittering garment. That ironical smile, worn like a mask through so many years, had gradually changed even the lines of her face completely, and when she looked in the mirror she saw not herself, but the scathing critic, the amused observer and satirist of herself. Everett dropped his head upon his hand and sat looking at the rug. "How much you have cared!" he said.
"Ah, yes, I cared," she replied, closing her eyes with a long-drawn sigh of relief; and lying perfectly still, she went on: "You can't imagine what a comfort it is to have you know how I cared, what a relief it is to be able to tell it to some one. I used to want to shriek it out to the world in the long nights when I could not sleep. It seemed to me that I could not die with it. It demanded some sort of expression. And now that you know, you would scarcely believe how much less sharp the anguish of it is."
Everett continued to look helplessly at the floor. "I was not sure how much you wanted me to know," he said.
"Oh, I intended you should know from the first time I looked into your face, when you came that day with Charley. I flatter myself that I have been able to conceal it when I chose, though I suppose women always think that. The more observing ones may have seen, but discerning people are usually discreet and often kind, for we usually bleed a little before we begin to discern. But I wanted you to know; you are so like him that it is almost like telling him himself. At least, I feel now that he will know some day, and then I will be quite sacred from his compassion, for we none of us dare pity the dead. Since it was what my life has chiefly meant, I should like him to know. On the whole, I am not ashamed of it. I have fought a good fight."
"And has he never known at all?" asked Everett, in a thick voice.
"Oh! never at all in the way that you mean. Of course, he is accustomed to looking into the eyes of women and finding love there; when he doesn't find it there he thinks he must have been guilty of some discourtesy and is miserable about it. He has a genuine fondness for every one who is not stupid or gloomy, or old or preternaturally ugly. Granted youth and cheerfulness, and a moderate amount of wit and some tact, and Adriance will always be glad to see you coming around the corner. I shared with the rest; shared the smiles and the gallantries and the droll little sermons. It was quite like a Sunday-school picnic; we wore our best clothes and a smile and took our turns. It was his kindness that was hardest. I have pretty well used my life up at standing punishment."
"Don't; you'll make me hate him," groaned Everett.
Katharine laughed and began to play nervously with her fan. "It wasn't in the slightest degree his fault; that is the most grotesque part of it. Why, it had really begun before I ever met him. I fought my way to him, and I drank my doom greedily enough."
Everett rose and stood hesitating. "I think I must go. You ought to be quiet, and I don't think I can hear any more just now. "
She put out her hand and took his playfully. "You've put in three weeks at this sort of thing, haven't you? Well, it may never be to your glory in this world, perhaps, but it's been the mercy of heaven to me, and it ought to square accounts for a much worse life than yours will ever be."
Everett knelt beside her, saying, brokenly: "I stayed because I wanted to be with you, that's all. I have never cared about other women since I met you in New York when I was a lad. You are a part of my destiny, and I could not leave you if I would. "
She put her hands on his shoulders and shook her head. "No, no; don't tell me that. I have seen enough of tragedy, God knows: don't show me any more just as the curtain is going down. No, no, it was only a boy's fancy, and your divine pity and my utter pitiableness have recalled it for a moment. One does not love the dying, dear friend. If some fancy of that sort had been left over from boyhood, this would rid you of it, and that were well. Now go, and you will come again to-morrow, as long as there are tomorrows, will you not?" She took his hand with a smile that lifted the mask from her soul, that was both courage and despair, and full of infinite loyalty and tenderness, as she said softly,
"For ever and for ever, farewell, Cassius; If we do meet again, why, we shall smile; If not, why then, th
is parting was well made. "
The courage in her eyes was like the clear light of a star to him as he went out.
On the night of Adriance Hilgarde's opening concert in Paris, Everett sat by the bed in the ranch-house in Wyoming, watching over the last battle that we have with the flesh before we are done with it and free of it forever. At times it seemed that the serene soul of her must have left already and found some refuge from the storm, and only the tenacious animal life were left to do battle with death. She laboured under a delusion at once pitiful and merciful, thinking that she was in the Pullman on her way to New York, going back to her life and her work. When she aroused from her stupor, it was only to ask the porter to waken her half an hour out of Jersey City, or to remonstrate with him about the delays and the roughness of the road. At midnight Everett and the nurse were left alone with her. Poor Charley Gaylord had lain down on a couch outside the door. Everett sat looking at the sputtering night-lamp until it made his eyes ache. His head dropped forward on the foot of the bed, and he sank into a heavy, distressful slumber. He was dreaming of Adriance's concert in Paris, and of Adriance, the troubadour, smiling and debonair, with his boyish face and the touch of silver grey in his hair. He heard the applause and he saw the roses going up over the footlights until they were stacked half as high as the piano, and the petals fell and scattered, making crimson splotches on the floor. Down this crimson pathway came Adriance with his youthful step, leading his prima donna by the hand; a dark woman this time, with Spanish eyes.
The nurse touched him on the shoulder, he started and awoke. She screened the lamp with her hand. Everett saw that Katharine was awake and conscious, and struggling a little. He lifted her gently on his arm and began to fan her. She laid her hands lightly on his hair and looked into his face with eyes that seemed never to have wept or doubted. "Ah, dear Adriance, dear, dear," she whispered.
Everett went to call her brother, but when they came back the madness of art was over for Katharine.
Two days later Everett was pacing the station siding, waiting for the west-bound train. Charley Gaylord walked beside him, but the two men had nothing to say to each other. Everett's bags were piled on the truck, and his step was hurried and his eyes were full of impatience, as he gazed again and again up the track, watching for the train. Gaylord's impatience was not less than his own; these two, who had grown so close, had now become painful and impossible to each other, and longed for the wrench of farewell.
As the train pulled in, Everett wrung Gaylord's hand among the crowd of alighting passengers. The people of a German opera company, en route for the coast, rushed by them in frantic haste to snatch their breakfast during the stop. Everett heard an exclamation in a broad German dialect, and a massive woman whose figure persistently escaped from her stays in the most improbable places rushed up to him, her blond hair disordered by the wind, and glowing with joyful surprise she caught his coat-sleeve with her tightly gloved hands.
"Herr Gott, Adriance, lieber Freund," she cried, emotionally.
Everett quickly withdrew his arm, and lifted his hat, blushing. "Pardon me, madame, but I see that you have mistaken me for Adriance Hilgarde. I am his brother," he said, quietly, and turning from the crestfallen singer he hurried into the car.
JEAN TOOMER (1894-1967)
Of the writers represented in this gathering, Jean Toomer would seem to be among the most lyrically and imaginatively gifted. Yet, ironically, his fate was to write for decades in obscurity, leaving behind a voluminous quantity of unpublished work—short stories, novels, plays, an autobiography. His Cane (1923) is a work of literary genius, but never again, perhaps by his own design, did he attempt a work of its type or quality.
Jean Toomer was born in Washington, D.C., attended a number of colleges without earning a degree, and began writing in his middle twenties. From the first he aligned himself not with the then-dominant literary mode of Naturalism, but with Modernist experimentation; he published poems in avant-garde magazines like Broom and the Little Review, as well as in black publications. The dazzling Cane, though written within a few years of Anderson's Winesburg, Ohio, would seem to have sprung from entirely different sources, as from another planet.
In this brilliant and unclassifiable composition, an isolated, yet deeply sensitive young black man tries to connect himself with his "folk" heritage, without success. Cane is constructed as a collage, made up of poetry, prose-poetry, fiction, song, drama, and philosophical debate; Negro dialect is used like music, in aria-like interludes of great beauty and intensity. Throughout, and particularly in "Blood-Burning Moon," the selection included here, jazz rhythms underlie prose passages, and give a poetic resonance that, like both music and poetry, must be experienced to be understood. This is the lost, tragic, yet hauntingly beautiful world of the blues singer Robert Johnson, memorialized in prose.
Blood-Burning Moon
1
UP from the skeleton stone walls, up from the rotting floor boards and the solid hand-hewn beams of oak of the pre-war cotton factory, dusk came. Up from the dusk the full moon came. Glowing like a fired pine-knot, it illumined the great door and soft showered the Negro shanties aligned along the single street of factory town. The full moon in the great door was an omen. Negro women improvised songs against its spell.
Louisa sang as she came over the crest of the hill from the white folks' kitchen. Her skin was the color of oak leaves on young trees in fall. Her breasts, firm and up-pointed like ripe acorns. And her singing had the low murmur of winds in fig trees. Bob Stone, younger son of the people she worked for, loved her. By the way the world reckons things, he had won her. By measure of that warm glow which came into her mind at thought of him, he had won her. Tom Burwell, whom the whole town called Big Boy, also loved her. But working in the fields all day, and far away from her, gave him no chance to show it. Though often enough of evenings he had tried to. Somehow, he never got along. Strong as he was with hands upon the ax or plow, he found it difficult to hold her. Or so he thought. But the fact was that he held her to factory town more firmly than he thought for. His black balanced, and pulled against, the white of Stone, when she thought of them. And her mind was vaguely upon them as she came over the crest of the hill, coming from the white folks' kitchen. As she sang softly at the evil face of the full moon.
A strange stir was in her. Indolently, she tried to fix upon Bob or Tom as the cause of it. To meet Bob in the canebrake, as she was going to do an hour or so later, was nothing new. And Tom's proposal which she felt on its way to her could be indefinitely put off. Separately, there was no unusual significance to either one. But for some reason, they jumbled when her eyes gazed vacantly at the rising moon. And from the jumble came the stir that was strangely within her. Her lips trembled. The slow rhythm of her song grew agitant and restless. Rusty black and tan spotted hounds, lying in the dark corners of porches or prowling around back yards, put their noses in the air and caught its tremor. They began plaintively to yelp and howl. Chickens woke up and cackled. Intermittently, all over the countryside dogs barked and roosters crowed as if heralding a weird dawn or some ungodly awakening. The women sang lustily. Their songs were cotton-wads to stop their ears. Louisa came down into factory town and sank wearily upon the step before her home. The moon was rising towards a thick cloud-bank which soon would hide it.
Red nigger moon. Sinner! Blood-burning moon. Sinner! Come out that fact'ry door.
2
Up from the deep dusk of a cleared spot on the edge of the forest a mellow glow arose and spread fan-wise into the low-hanging heavens. And all around the air was heavy with the scent of boiling cane. A large pile of cane-stalks lay like ribboned shadows upon the ground. A mule, harnessed to a pole, trudged lazily round and round the pivot of the grinder. Beneath a swaying oil lamp, a Negro alternately whipped out at the mule, and fed cane-stalks to the grinder. A fat boy waddled pails of fresh ground juice between the grinder and the boiling stove. Steam came from the copper boiling pan. The scent of
cane came from the copper pan and drenched the forest and the hill that sloped to factory town, beneath its fragrance. It drenched the men in circle seated around the stove. Some of them chewed at the white pulp of stalks, but there was no need for them to, if all they wanted was to taste the cane. One tasted it in factory town. And from factory town one could see the soft haze thrown by the glowing stove upon the low-hanging heavens.
Old David Georgia stirred the thickening syrup with a long ladle, and ever so often drew it off. Old David Georgia tended his stove and told tales about the white folks, about moonshining and cotton picking, and about sweet nigger gals, to the men who sat there about his stove to listen to him. Tom Burwell chewed cane-stalk and laughed with the others till some one mentioned Louisa. Till some one said something about Louisa and Bob Stone, about the silk stockings she must have gotten from him. Blood ran up Tom's neck hotter than the glow that flooded from the stove. He sprang up. Glared at the men and said, "She's my gal." Will Manning laughed. Tom strode over to him. Yanked him up and knocked him to the ground. Several of Manning's friends got up to fight for him. Tom whipped out a long knife and would have cut them to shreds if they hadnt ducked into the woods. Tom had had enough. He nodded to Old David Georgia and swung down the path to factory town. Just then, the dogs started barking and the roosters began to crow. Tom felt funny. Away from the fight, away from the stove, chill got to him. He shivered. He shuddered when he saw the full moon rising towards the cloud-bank. He who didnt give a godam for the fears of old women. He forced his mind to fasten on Louisa. Bob Stone. Better not be. He turned into the street and saw Louisa sitting before her home. He went towards her, ambling, touched the brim of a marvelously shaped, spotted, felt hat, said he wanted to say something to her, and then found that he didnt know what he had to say, or if he did, that he couldnt say it. He shoved his big fists in his overalls, grinned, and started to move off.
The Oxford Book of American Short Stories Page 34