At the Sign of the Jack O'Lantern

In spite of his laughing protest, she went into the library, locked the door, and curled up in Uncle Ebeneezer’s easy chair with a well-thumbed volume of Poe, finding a two-dollar bill used in one place as a book mark. She read for some time, then took down another book, which opened of itself at “The Gold Bug.”

The pages were thickly strewn with marginal comments in the fine, small, shaky hand she had learned to associate with Uncle Ebeneezer. The paragraph about the skull, in the tree above the treasure, had evidently filled the last reader with unprecedented admiration, for on the margin was written twice, in ink: “A very, very pretty idea.”

She laughed aloud, for her thoughts since morning had been persistently directed toward things not of this world. “I’m glad I’m not superstitious,” she thought, then jumped almost out of her chair at the sound of an ominous crash in the kitchen.

“I won’t go,” she thought, settling back into her place. “I’ll let that old monument alone just as much as I can.”

Upon the whole, it was just as well, for the “old monument” was on her bony knees, with her head and shoulders quite lost in the secret depths of the kitchen range. “I wonder,” she was muttering, “where ’e could ’ave put it. It would ’ave been just like that old skinflint to ’ave ’id it in the stove!”

VI

The Coming of Elaine

There is no state of mental wretchedness akin to that which precedes the writing of a book. Harlan was moody and despairing, chiefly because he could not understand what it all meant. Something hung over him like a black cloud, completely obscuring his usual sunny cheerfulness.

He burned with the desire to achieve, yet from the depths of his soul came only emptiness. Vague, purposeless aspirations, like disembodied spirits, haunted him by night and by day. Before his inner vision came unfamiliar scenes, detached fragments of conversation, the atmosphere, the feeling of an old romance, then, by a swift change, darkness from which there seemed no possible escape.

A woman with golden hair, mounted upon a white horse, gay with scarlet and silver trappings – surely her name was Elaine? And the company of gallant knights who followed her as she set forth upon her quest – who were they, and from whence did they hail? The fool of the court, with his bauble and his cracked, meaningless laughter, danced in and out of the picture with impish glee. Behind it all was the sunset, such a sunset as was never seen on land or sea. Ribbons of splendid colour streamed from the horizon to the zenith and set the shields of the knights aglow with shimmering flame. Clashing cymbals sounded from afar, then, clear and high, a bugle call, the winding silvery notes growing fainter and fainter till they were lost in the purple silence of the hills. Elaine turned, smiling – was not her name Elaine? And then —

Darkness fell and the picture was utterly wiped out. Harlan turned away with a sigh.

To take the dead, dry bones of words, the tiny black things that march in set spaces across the page; to set each where it inevitably belongs – truly, it seems simple enough. But from the vast range of our written speech to select those which fittingly clothe the thought is quite another matter, and presupposes the thought. Even then, by necessity, the outcome is uncertain.

Within the mind of the writer, the Book lives and breathes; a child of the brain, yearning for birth. At a white heat, after long waiting, the words come – merely a commentary, an index, a marginal note of that within. Reading afterward the written words, the fine invisible links, the colour and the music, are treacherously supplied by the imagination, which is at once the best friend and the worst enemy. How is one to know that only a small part of it has been written, that the best of it, far past writing, lingers still unborn?

Long afterward, when the original picture has faded as though it had never been, one may read his printed work, and wonder, in abject self-abasement, by what miracle it was ever printed. He has trusted to some unknown psychology which strongly savours of the Black Art to reproduce in the minds of his readers the picture which was in his, and from which these fragmentary, marginal notes were traced. Only the words, the dead, meaningless words, stripped of all the fancy which once made them fair, to make for the thousands the wild, delirious bliss that the writer knew! To write with the tears falling upon the page, and afterward to read, in some particularly poignant and searching review, that “the book fails to convince!” Happy is he whose written pages reproduce but faintly the glow from whence they came. For “whoso with blood and tears would dig Art out of his soul, may lavish his golden prime in pursuit of emptiness, or, striking treasure, find only fairy gold, so that when his eyes are purged of the spell of morning, he sees his hands are full of withered leaves.”

A meadow-lark, rising from a distant field, dropped golden notes into the still, sunlit air, then vanished into the blue spaces beyond. A bough of apple bloom, its starry petals anchored only by invisible cobwebs, softly shook white fragrance into the grass. Then, like a vision straight from the golden city with the walls of pearl, came Elaine, the beautiful, her blue eyes laughing, and her scarlet lips parted in a smile.

Harlan’s heart sang within him. His trembling hands grasped feverishly at the sheaf of copy-paper which had waited for this, week in and week out. The pencil was ready to his hand, and the words fairly wrote themselves: