....That was it, then—that was what the warning meant! And if he had not fled from it, dashed wildly away from it into the night, he might have broken the spell of iniquity, the powers of darkness might not have prevailed.
"The Triumph of the Night"
The Triumph of Night by Edith Wharton (Tartarus Press, 2008).
....Sources, as a matter of fact, are not what one needs in judging a ghost story. The good ones bring with them the internal proof of their ghostliness; and no other evidence is needed.
....Mr Osbert Sitwell informed us the other day that ghosts went out when electricity came in; but surely this is to misapprehend the nature of the ghostly. What drives ghosts away is not the aspidistra or the electric cooker; I can imagine them more wistfully haunting a mean house in a dull street than the battlemented castle with its boring stage properties. What the ghost really needs is not echoing passages and hidden doors behind tapestry, but only continuity and silence. For where a ghost has once appeared it seems to hanker to appear again; and it obviously prefers the silent hours, when at last the wireless has ceased to jazz.
The Fullness of Life • (1893)
An understated and beautifully economical afterlife anecdote of great poignancy.
'I never loved anyone, in that way,' she said, rather sadly, 'nor was I thinking of any one person when I spoke, but of two or three who, by touching for an instant upon a certain chord of my being, had called forth a single note of that strange melody which seemed sleeping in my soul. It has seldom happened, however, that I have owed such feelings to people; and no one ever gave me a moment of such happiness as it was my lot to feel one evening in the Church of Or San Michele, in Florence.'
'Tell me about it,' said the Spirit.
'It was near sunset on a rainy spring afternoon in Easter week. The clouds had vanished, dispersed by a sudden wind, and as we entered the church the fiery panes of the high windows shone out like lamps through the dusk. A priest was at the high altar, his white cope a livid spot in the incense-laden obscurity, the light of the candles flickering up and down like fireflies about his head; a few people knelt near by. We stole behind them and sat down on a bench close to the tabernacle of Orcagna.
'Strange to say, though Florence was not new to me, I had never been in the church before; and in that magical light I saw for the first time the inlaid steps, the fluted columns, the sculptured bas-reliefs and canopy of the marvellous shrine. The marble, worn and mellowed by the subtle hand of time, took on an unspeakable rosy hue, suggestive in some remote way of the honey-coloured columns of the Parthenon, but more mystic, more complex, a colour not born of the sun's inveterate kiss, but made up of cryptal twilight, and the flame of candles upon martyrs' tombs, and gleams of sunset through symbolic panes of chrysoprase and ruby; such a light as illumines the missals in the library of Siena, or burns like a hidden fire through the Madonna of Gian Bellini in the Church of the Redeemer, at Venice; the light of the Middle Ages, richer, more solemn, more significant than the limpid sunshine of Greece.
'The church was silent, but for the wail of the priest and the occasional scraping of a chair against the floor, and as I sat there, bathed in that light, absorbed in rapt contemplation of the marble miracle which rose before me, cunningly wrought as a casket of ivory and enriched with jewel-like incrustations and tarnished gleams of gold, I felt myself borne onward along a mighty current, whose source seemed to be in the very beginning of things, and whose tremendous waters gathered as they went all the mingled streams of human passion and endeavour. Life in all its varied manifestations of beauty and strangeness seemed weaving a rhythmical dance around me as I moved, and wherever the spirit of man had passed I knew that my foot had once been familiar.
'As I gazed, the medieval bosses of the tabernacle of Orcagna seemed to melt and flow into their primal forms, so that the folded lotus of the Nile and the Greek acanthus were braided with the runic knots and fish-tailed monsters of the North, and all the plastic terror and beauty born of man's hand from the Ganges to the Baltic quivered and mingled in Orcagna's apotheosis of Mary. And so the river bore me on, past the alien face of antique civilisations and the familiar wonders of Greece, till I swam upon the fiercely rushing tide of the Middle Ages, with its swirling eddies of passion, its heaven-reflecting pools of poetry and art; I heard the rhythmic blow of the craftsmen's hammers in the goldsmiths' workshops and on the walls of churches, the party-cries of armed factions in the narrow streets, the organ-roll of Dante's verse, the crackle of the faggots around Arnold of Brescia, the twitter of the swallows to which St Francis preached, the laughter of the ladies listening on the hillside to the quips of the Decameron, while plague-struck Florence howled beneath them—all this and much more I heard, joined in strange unison with voices earlier and more remote, fierce, passionate, or tender, yet subdued to such awful harmony that I thought of the song that the morning stars sang together and felt as though it were sounding in my ears. My heart beat to suffocation, the tears burned my lids, the joy, the mystery of it seemed too intolerable to be borne. I could not understand even then the words of the song; but I knew that if there had been someone at my side who could have heard it with me, we might have found the key to it together.
'I turned to my husband, who was sitting beside me in an attitude of patient dejection, gazing into the bottom of his hat; but at that moment he rose, and stretching his stiffened legs, said, mildly: "Hadn't we better be going? There doesn't seem to be much to see here, and you know the table d'hôte dinner is at half-past six o'clock." '
A Journey • (1899)
A wife contends with the death of her husband while on a train home.
....She bent closer, laying her hand on his arm and calling him by name. He did not move. She spoke again more loudly; she grasped his shoulder and gently shook it. He lay motionless. She caught hold of his hand again: it slipped from her limply, like a dead thing. A dead thing? . . . Her breath caught. She must see his face. She leaned forward, and hurriedly, shrinkingly, with a sickening reluctance of the flesh, laid her hands on his shoulders and turned him over. His head fell back; his face looked small and smooth; he gazed at her with steady eyes.
She remained motionless for a long time, holding him thus; and they looked at each other. Suddenly she shrank back: the longing to scream, to call out, to fly from him, had almost overpowered her. But a strong hand arrested her. Good God! If it were known that he was dead they would be put off the train at the next station—
In a terrifying flash of remembrance there arose before her a scene she had once witnessed in travelling, when a husband and wife, whose child had died in the train, had been thrust out at some chance station. She saw them standing on the platform with the child's body between them; she had never forgotten the dazed look with which they followed the receding train. And this was what would happen to her. Within the next hour she might find herself on the platform of some strange station, alone with her husband's body. . . . Anything but that! It was too horrible—She quivered like a creature at bay.
The Duchess at Prayer • (1900)
A tale of adultery and tragedy in Italy.
The Lady's Maid's Bell • (1902)
An incomparable story of supernatural haunting. A new lady's maid must navigate the secrets of her new employer.
....I had asked no questions of the groom, for I never was one to get my notion of new masters from their other servants: I prefer to wait and see for myself. But I could tell by the look of everything that I had got into the right kind of house, and that things were done handsomely. A pleasant-faced cook met me at the back door and called the housemaid to show me up to my room. 'You'll see madam later,' she said. 'Mrs Brympton has a visitor.'
I hadn't fancied Mrs Brympton was a lady to have many visitors, and somehow the words cheered me. I followed the housemaid upstairs, and saw, through a door on the upper landing, that the main part of the house seemed well furnished, with dark panelling and a number of old portraits. Another flight of stairs led us up to the servants' wing. It was almost dark now, and the housemaid excused herself for not having brought a light. 'But there's matches in your room,' she said, 'and if you go careful you'll be all right. Mind the step at the end of the passage. Your room is just beyond.'
I looked ahead as she spoke, and half-way down the passage I saw a woman standing. She drew back into a doorway as we passed and the housemaid didn't appear to notice her. She was a thin woman with a white face, and a darkish stuff gown and apron. I took her for the housekeeper and thought it odd that she didn't speak, but just gave me a long look as she went by. My room opened into a square hall at the end of the passage. Facing my door was another which stood open; the housemaid exclaimed when she saw it:
'There—Mrs Blinder's left that door open again!' said she, closing it.
'Is Mrs Blinder the housekeeper?'
'There's no housekeeper: Mrs Blinder's the cook.'
'And is that her room?'
'Laws, no,' said the housemaid, cross-like. 'That's nobody's room. It's empty, I mean, and the door hadn't ought to be open. Mrs Brympton wants it kept locked.'
Afterward • (1910)
I wrote about "Afterward" here last year.
The Eyes • (1910)
One of those fascinating tales that Wharton, like Henry James, excels at: a man's realization that his life of self-isolating spectatorship has cheated him.
He had always been possessed of a leisure which he had nursed and protected, instead of squandering it in vain activities. His carefully guarded hours had been devoted to the cultivation of a fine intelligence and a few judiciously chosen habits; and none of the disturbances common to human experience seemed to have crossed his sky. Nevertheless, his dispassionate survey of the universe had not raised his opinion of that costly experiment, and his study of the human race seemed to have resulted in the conclusion that all men were superfluous, and women necessary only because some one had to do the cooking. On the importance of this point his convictions were absolute, and gastronomy was the only science which he revered as dogma. It must be owned that his little dinners were a strong argument in favour of this view, besides being a reason—though not the main one—for the fidelity of his friends.
Mentally he exercised a hospitality less seductive but no less stimulating. His mind was like a forum, or some open meeting-place for the exchange of ideas: somewhat cold and draughty, but light, spacious and orderly—a kind of academic grove from which all the leaves had fallen. In this privileged area a dozen of us were wont to stretch our muscles and expand our lungs; and, as if to prolong as much as possible the tradition of what we felt to be a vanishing institution, one or two neophytes were now and then added to our band.
Young Phil Frenham was the last, and the most interesting, of these recruits, and a good example of Murchard's somewhat morbid assertion that our old friend 'liked 'em juicy.' It was indeed a fact that Culwin, for all his mental dryness, specially tasted the lyric qualities in youth. As he was far too good an Epicurean to nip the flowers of soul which he gathered for his garden, his friendship was not a disintegrating influence: on the contrary, it forced the young idea to robuster bloom. And in Phil Frenham he had a fine subject for experimentation. The boy was really intelligent, and the soundness of his nature was like the pure paste under a delicate glaze. Culwin had fished him out of a thick fog of family dullness, and pulled him up to a peak in Darien; and the adventure hadn't hurt him a bit. Indeed, the skill with which Culwin had contrived to stimulate his curiosities without robbing them of their young bloom of awe seemed to me a sufficient answer to Murchard's ogreish metaphor. There was nothing hectic in Frenham's efflorescence, and his old friend had not laid even a finger-tip on the sacred stupidities. One wanted no better proof of that than the fact that Frenham still reverenced them in Culwin.
The Triumph of Night • (1914)
The great donnée of the threatening double given unsurpassed treatment.
But Mr Grisben's expression did not change: the gaze he fixed on his host remained unperturbed, and the clue he gave was the startling one of not seeming to see the other figure.
Faxon's first impulse was to look away, to look anywhere else, to resort again to the champagne glass the watchful butler had already brimmed; but some fatal attraction, at war in him with an overwhelming physical resistance, held his eyes upon the spot they feared.
The figure was still standing, more distinctly, and therefore more resemblingly, at Mr Lavington's back; and while the latter continued to gaze affectionately at his nephew, his counterpart, as before, fixed young Rainer with eyes of deadly menace.
Faxon, with what felt like an actual wrench of the muscles, dragged his own eyes from the sight to scan the other countenances about the table; but not one revealed the least consciousness of what he saw, and a sense of mortal isolation sank upon him.
'It's worth considering, certainly—' he heard Mr Lavington continue; and as Rainer's face lit up, the face behind his uncle's chair seemed to gather into its look all the fierce weariness of old unsatisfied hates. That was the thing that, as the minutes laboured by, Faxon was becoming most conscious of. The watcher behind the chair was no longer merely malevolent: he had grown suddenly, unutterably tired. His hatred seemed to well up out of the very depths of balked effort and thwarted hopes, and the fact made him more pitiable, and yet more dire.
Faxon's look reverted to Mr Lavington, as if to surprise in him a corresponding change. At first none was visible: his pinched smile was screwed to his blank face like a gaslight to a whitewashed wall. Then the fixity of the smile became ominous: Faxon saw that its wearer was afraid to let it go. It was evident that Mr Lavington was unutterably tired too, and the discovery sent a colder current through Faxon's veins. Looking down at his untouched plate, he caught the soliciting twinkle of the champagne glass; but the sight of the wine turned him sick.
'Well, we'll go into the details presently,' he heard Mr Lavington say, still on the question of his nephew's future. 'Let's have a cigar first. No—not here, Peters.' He turned his smile on Faxon. 'When we've had coffee I want to show you my pictures.'
'Oh, by the way, Uncle Jack—Mr Faxon wants to know if you've got a double?'
'A double?' Mr Lavington, still smiling, continued to address himself to his guest. 'Not that I know of. Have you seen one, Mr Faxon?
Faxon thought: 'My God, if I look up now they'll both be looking at me!' To avoid raising his eyes he made as though to lift the glass to his lips; but his hand sank inert, and he looked up. Mr Lavington's glance was politely bent on him, but with a loosening of the strain about his heart he saw that the figure behind the chair still kept its gaze on Rainer.
'Do you think you've seen my double, Mr Faxon?'
....There it was, stamped on his pupils, a part of him forever, an indelible horror burnt into his body and brain. But why into his just his? Why had he alone been chosen to see what he had seen? What business was it of his, in God's name? Any one of the others, thus enlightened, might have exposed the horror and defeated it; but he, the one weaponless and defenceless spectator, the one whom none of the others would believe or understand if he attempted to reveal what he knew—he alone had been singled out as the victim of this dreadful initiation!
Suddenly he sat up, listening: he had heard a step on the stairs. Someone, no doubt, was coming to see how he was—to urge him, if he felt better, to go down and join the smokers. Cautiously he opened his door; yes, it was young Rainer's step. Faxon looked down the passage, remembered the other stairway and darted to it. All he wanted was to get out of the house. Not another instant would he breathe its abominable air! What business was it of his, in God's name?
Kerfol • (1916)
Like "The Duchess at Prayer," a story revolving around adultery and retribution.
'Yes—but those dogs?' I insisted.
'Well, those dogs are the ghosts of Kerfol. At least, the peasants say there's one day in the year when a lot of dogs appear there; and that day the keeper and his daughter go off to Morlaix and get drunk. The women in Brittany drink dreadfully.' She stooped to match a silk; then she lifted her charming inquisitive Parisian face: 'Did you really see a lot of dogs? There isn't one at Kerfol,' she said.
Bewitched • (1925)
A brooding and well-observed tale of rural horror. Wharton clearly knew about more than simply her bourgeois Manhattan social milieu.
'What do you make of this business, Deacon?' Bosworth asked, to break the silence.
The Deacon shook his head. 'The man's a sick man—that's sure. Something's sucking the life clean out of him.'
But already, in the biting outer air, Bosworth was getting himself under better control. 'Looks to me like a bad case of the ague, as you said.'
'Well—ague of the mind, then. It's his brain that's sick.'
Bosworth shrugged. 'He ain't the first in Hemlock County.'
'That's so,' the Deacon agreed. 'It's a worm in the brain, solitude is.'
Miss Mary Pask • (1925)
The cold, fog-blinded nights of the Brittany cost are beautifully evoked. A US traveller visits the friend of a friend.
In my self-absorption I had lost my bearings, and no longer remembered where the door was. I felt in every pocket in turn for a match—but since the doctors had made me give up smoking, why should I have found one?
The failure to find a match increased my sense of irritated helplessness, and I was groping clumsily about the hall among the angles of unseen furniture when a light slanted along the rough-cast wall of the stairs. I followed its direction, and on the landing above me I saw a figure in white shading a candle with one hand and looking down. A chill ran along my spine, for the figure bore a strange resemblance to that of Mary Pask as I used to know her.
'Oh, it's you!' she exclaimed in the cracked twittering voice which was at one moment like an old woman's quaver, at another like a boy's falsetto. She came shuffling down in her baggy white garments, with her usual clumsy swaying movements; but I noticed that her steps on the wooden stairs were soundless. Well—they would be, naturally!
I stood without a word, gazing up at the strange vision above me, and saying to myself: 'There's nothing there, nothing whatever. It's your digestion, or your eyes, or some damned thing wrong with you somewhere—'
But there was the candle, at any rate; and as it drew nearer, and lit up the place about me, I turned and caught hold of the doorlatch. For, remember, I had seen the cable, and Grace in crepe. . . .
'Why, what's the matter? I assure you, you don't disturb me!' the white figure twittered; adding, with a faint laugh: 'I don't have so many visitors nowadays—'
She had reached the hall, and stood before me, lifting her candle shakily and peering up into my face. 'You haven't changed—not as much as I should have thought. But I have, haven't I?' She appealed to me with another laugh; and abruptly she laid her hand on my arm. I looked down at the hand, and thought to myself: 'That can't deceive me.'
A Bottle of Perrier • (1926)
An uncharacteristically flat something-in-the-well story.
Mr. Jones • (1928)
I wrote about the superb "Mr. Jones" here.
Pomegranate Seed • (1931)
The woe of marriage: a new wife tries to figure out the meaning of her husband's secret correspondence.
'I mean, at that time I didn't realise—' He broke off as if to choose his words and then went on: 'My mother adores the children, as you say. But she isn't always very judicious. Grandmothers always spoil children. And sometimes she talks before them without thinking.' He turned to his wife with an almost pitiful gesture of entreaty. 'Don't ask me to, dear.'
Charlotte mused. It was true that the elder Mrs Ashby had a fearless tongue, but she was the last woman in the world to say or hint anything before her grandchildren at which the most scrupulous parent could take offence. Charlotte looked at her husband in perplexity.
'I don't understand.'
He continued to turn on her the same troubled and entreating gaze. 'Don't try to,' he muttered.
'Not try to?'
'Not now—not yet.' He put up his hands and pressed them against his temples. 'Can't you see that there's no use in insisting? I can't go away, no matter how much I might want to.'
Charlotte still scrutinised him gravely. 'The question is, do you want to?'
He returned her gaze for a moment; then his lips began to tremble, and he said, hardly above his breath: 'I want—anything you want.'
'Don't ask me. I can't leave—I can't!'
'You mean that you can't go away out of reach of those letters!'
Her husband had been standing before her in an uneasy half-hesitating attitude; now he turned abruptly away and walked once or twice up and down the length of the room, his head bent, his eyes fixed on the carpet.
Charlotte felt her resentfulness rising with her fears. 'It's that,' she persisted. 'Why not admit it? You can't live without them.'
He continued his troubled pacing of the room; then he stopped short, dropped into a chair and covered his face with his hands. From the shaking of his shoulders, Charlotte saw that he was weeping. She had never seen a man cry, except her father after her mother's death, when she was a little girl; and she remembered still how the sight had frightened her. She was frightened now; she felt that her husband was being dragged away from her into some mysterious bondage, and that she must use up her last atom of strength in the struggle for his freedom, and for hers.
'Kenneth—Kenneth!' she pleaded, kneeling down beside him. 'Won't you listen to me? Won't you try to see what I'm suffering? I'm not unreasonable, darling, really not. I don't suppose I should ever have noticed the letters if it hadn't been for their effect on you. It's not my way to pry into other people's affairs; and even if the effect had been different—yes, yes, listen to me—if I'd seen that the letters made you happy, that you were watching eagerly for them, counting the days between their coming, that you wanted them, that they gave you something I haven't known how to give—why, Kenneth, I don't say I shouldn't have suffered from that too; but it would have been in a different way, and I should have had the courage to hide what I felt, and the hope that someday you'd come to feel about me as you did about the writer of the letters. But what I can't bear is to see how you dread them, how they make you suffer, and yet how you can't live without them and won't go away lest you should miss one during your absence. Or perhaps,' she added, her voice breaking into a cry of accusation—'perhaps it's because she's actually forbidden you to leave. Kenneth, you must answer me! Is that the reason? Is it because she's forbidden you that you won't go away with me?'
The Looking-Glass (1935)
A physical therapist to Manhattan high society tries to protect a client from unscrupulous spirit mediums. A minor tale, but a fine balance of sympathy and aesthetic objectivity.
Well (she began) you know what happened in the war—I mean, the way all the fine ladies, and the poor shabby ones too, took to running to the mediums and the clairvoyants, or whatever the stylish folk call 'em. The women had to have news of their men; and they were made to pay high enough for it. . . . Oh, the stories I used to hear—and the price paid wasn't only money, either! There was a fair lot of swindlers and blackmailers in the business, there was. I'd sooner have trusted a gypsy at a fair . . . but the women just had to go to them.
Well, my dear, I'd always had a way of seeing things; from the cradle, even. I don't mean reading the tea leaves, or dealing the cards; that's for the kitchen. No, no; I mean, feeling there's things about you, behind you, whispering over your shoulder. . . . Once my mother, on the Connemara hills, saw the leprechauns at dusk; and she said they smelt fine and high, too. . . . Well, when I used to go from one grand house to another, to give my massage and face treatment, I got more and more sorry for those poor wretches that the soothsaying swindlers were dragging the money out of for a pack of lies; and one day I couldn't stand it any longer, and though I knew the Church was against it, when I saw one lady nearly crazy, because for months she'd had no news of her boy at the front, I said to her: 'If you'll come over to my place tomorrow, I might have a word for you.' And the wonder of it was that I had! For that night I dreamt a message came saying there was good news for her, and the next day, sure enough, she had a cable, telling her her son had escaped from a German camp. . . .
After that the ladies came in flocks—in flocks fairly . . . you're too young to remember, child; but your mother could tell you. Only she wouldn't, because after a bit the priest got wind of it, and then it had to stop . . . so she won't even talk of it any more. But I always said: how could I help it? For I did see things, and hear things, at that time. . . . And of course the ladies were supposed to come just for the face treatment . . . and was I to blame if I kept hearing those messages for them, poor souls, or seeing things they wanted me to see?
It's no matter now, for I made it all straight with Father Divott years ago; and now nobody comes after me any more, as you can see for yourself. And all I ask is to be left alone in my chair. . . .
But with Mrs Clingsland—well, that was different. To begin with, she was the patient I liked best. There was nothing she wouldn't do for you, if ever for a minute you could get her to stop thinking of herself . . . and that's saying a good deal, for a rich lady. Money's an armour, you see; and there's few cracks in it.
All Souls' • (1937)
A masterful story of rural isolation and benighted hours experienced on the last day of October.
I read the other day in a book by a fashionable essayist that ghosts went out when electric light came in. What nonsense! The writer, though he is fond of dabbling, in a literary way, in the supernatural, hasn't even reached the threshold of his subject. As between turreted castles patrolled by headless victims with clanking chains, and the comfortable suburban house with a refrigerator and central heating where you feel, as soon as you're in it, that there's something wrong, give me the latter for sending a chill down the spine! And, by the way, haven't you noticed that it's generally not the high-strung and imaginative who see ghosts, but the calm matter-of-fact people who don't believe in them, and are sure they wouldn't mind if they did see one? Well, that was the case with Sara Clayburn and her house. The house, in spite of its age—it was built, I believe, about 1780—was open, airy, high-ceilinged, with electricity, central heating and all the modern appliances: and its mistress was—well, very much like her house. And, anyhow, this isn't exactly a ghost story and I've dragged in the analogy only as a way of showing you what kind of woman my cousin was, and how unlikely it would have seemed that what happened at Whitegates should have happened just there—or to her.
31 May 2020