BEHIND THE CURTAIN (3)
By:
June 13, 2023
“Behind the Curtain” was originally published in the September 21, 1918 issue of All-Story Weekly. HiLoBooks is pleased to serialize it here for HILOBROW’s readers.
ALL INSTALLMENTS: 1 | 2 | 3 | 4.
I laughed. “Why not? Wouldn’t that be the very apotheosis of hatred? I’m trying to interpret the Latin nature, as you asked me to do.”
“Confound you, for an instant I thought you were serious. The way you said it made me actually shiver!”
“Yes,” I observed, “or perhaps it was the draft. See, Quentin, how that curtain billows out.”
His eyes followed my glance. Continually the heavy, rose-colored curtain that wag hung before the door of my wife’s bedroom bulged outward, shook and quivered like a bellying sail, as draperies will with a wind behind them.
His eyes strayed from the curtain, met mine and fell again to the wine in his glass. Suddenly he drained it, not as would a man who was a judge of wines, but hastily, indifferently, without thought for its flavor or bouquet. I raised my glass in the toast he had forgotten.
“To our Beatrice,” I said, and drained mine also, though with more appreciation.
“To Beatrice — of course.” He looked at the bottom of his empty glass, then before I could offer to refill it, rose from his chair.
“I must go, old man. When you write to Bee, tell her I’m sorry to have missed her.”
“Before she could receive a letter from me I shall be with her — I hope. How cold the house is tonight, and the wind breathes everywhere. See how the curtain blows, Quentin.”
“So it does.” He set his glass on the tray beside the decanter. Upon first entering the room he had been smiling, but now his straight, fine brows were drawn in a perpetual, troubled frown, his eyes looked here and there, and would never meet mine— which were steady. “There’s a wind,” he added, “that blows along this wall — curious. One can’t notice any draft there, either. But it must blow there, and of course the curtain billows out.”
“Yes,” I said. “Of course it billows out.”
“Or is there another door behind that curtain?”
His careful ignorance of what any fool might infer from mere appearance brought an involuntary smile to my lips. Nevertheless, I answered him.
“Yes, of course there is a door. An open door.”
His frown deepened. My true and simple replies appeared to cause him a certain irritation.
“As I feel now,” I added, “even to cross the room would be an effort. I am tired and weak tonight. As Beatrice once said, my strength beside yours is as a child’s to that of a grown man. Won’t you close that door for me, dear friend?”
“Why — yes, I will. I didn’t know you were ill. If that’s the case, you shouldn’t be alone in this empty house. Shall I stay with you for a while?”
As he spoke he walked across the room. His hand was on the curtain, but before it could be drawn aside my voice checked him.
“Quentin,” I said, “are even you quite strong enough to close that door?”
Looking back at me, chin on shoulder, his face appeared scarcely familiar, so drawn was it in lines of bewilderment and half-suspicion.
“What do you mean? You are very odd tonight. Is the door so heavy then? What door is it?”
I made no reply.
As if against their owner’s will his eyes fled from mine, he turned and hastily pushed aside the heavy drapery.
Behind it my wife’s bedroom lay dark and cold, with windows open to the invading winds.
And erect in the doorway, uncovered, stood an ancient gilded coffin-case. It was the golden casket of Ta-Nezem, but its occupant was more beautiful than the poor, shriveled Songstress of Naam.
Bound across her bosom were the strange, quaint jewels which had been found in the sarcophagus. Ta-Nezem’s amulets—heads of Hathor and Horus the sacred eye, the uroeus, even the heavy dull-green scarab, the amulet for purity of heart — there they rested upon the bosom of her who had been mistress of my house, now Beatrice the Osirian. Beneath them her white, stiff body was enwrapped in the same crackling dry, brown linen bands, impregnated with the gums and resins of embalmers dead these many thousand years, which had been about the body of Ta-Nezem.
Above the white translucence of her brow appeared the winged disk, emblem of Ra. The twining golden bodies of its supporting uraeii, its cobras of Egypt, were lost in the dusk of her hair, whose soft fineness yet lived and would live so much longer than the flesh of any of us three.
Yes, I had kept my word and given to Beatrice all that had been Ta-Nezem’s, even to the sarcophagus itself, for in my will it was written that she be placed in it for final burial.
Like the fool he was, Quentin stood there, staring at the unclosed, frozen eyes of my Beatrice — and his. Stood till that which had been in the wine began to make itself felt. He faced me then, but with so absurd and childish a look of surprise that, despite the courtesy due a guest, I laughed and laughed.
I, too, felt warning throes, but to me the pain was no more than a gage — a measure of his sufferings stimulus to point the phrases in which I told him all I knew and had guessed of him and Beatrice, and thus drive home the jest.
But I had never thought that a man of Quentin’s youth and strength could die so easily. Beatrice, frail though she was, had taken longer to die.
RADIUM AGE PROTO-SF: “Radium Age” is Josh Glenn’s name for the nascent sf genre’s c. 1900–1935 era, a period which saw the discovery of radioactivity, i.e., the revelation that matter itself is constantly in movement — a fitting metaphor for the first decades of the 20th century, during which old scientific, religious, political, and social certainties were shattered. More info here.
SERIALIZED BY HILOBOOKS: Jack London’s The Scarlet Plague | Rudyard Kipling’s With the Night Mail (and “As Easy as A.B.C.”) | Arthur Conan Doyle’s The Poison Belt | H. Rider Haggard’s When the World Shook | Edward Shanks’ The People of the Ruins | William Hope Hodgson’s The Night Land | J.D. Beresford’s Goslings | E.V. Odle’s The Clockwork Man | Cicely Hamilton’s Theodore Savage | Muriel Jaeger’s The Man With Six Senses | Jack London’s “The Red One” | Philip Francis Nowlan’s Armageddon 2419 A.D. | Homer Eon Flint’s The Devolutionist | W.E.B. DuBois’s “The Comet” | Edgar Rice Burroughs’s The Moon Men | Charlotte Perkins Gilman’s Herland | Sax Rohmer’s “The Zayat Kiss” | Eimar O’Duffy’s King Goshawk and the Birds | Frances Hodgson Burnett’s The Lost Prince | Morley Roberts’s The Fugitives | Helen MacInnes’s The Unconquerable | Geoffrey Household’s Watcher in the Shadows | William Haggard’s The High Wire | Hammond Innes’s Air Bridge | James Branch Cabell’s Jurgen | John Buchan’s “No Man’s Land” | John Russell’s “The Fourth Man” | E.M. Forster’s “The Machine Stops” | John Buchan’s Huntingtower | Arthur Conan Doyle’s When the World Screamed | Victor Bridges’ A Rogue By Compulsion | Jack London’s The Iron Heel | H. De Vere Stacpoole’s The Man Who Lost Himself | P.G. Wodehouse’s Leave It to Psmith | Richard Connell’s “The Most Dangerous Game” | Houdini and Lovecraft’s “Imprisoned with the Pharaohs” | Arthur Conan Doyle’s “The Sussex Vampire” | Francis Stevens’s “Friend Island” | George C. Wallis’s “The Last Days of Earth” | Frank L. Pollock’s “Finis” | A. Merritt’s The Moon Pool | E. Nesbit’s “The Third Drug” | George Allan England’s “The Thing from — ‘Outside'” | Booth Tarkington’s “The Veiled Feminists of Atlantis” | H.G. Wells’s “The Land Ironclads” | J.D. Beresford’s The Hampdenshire Wonder | Valery Bryusov’s “The Republic of the Southern Cross” | Algernon Blackwood’s “A Victim of Higher Space” | A. Merritt’s “The People of the Pit” | Max Brand’s The Untamed | Julian Huxley’s “The Tissue-Culture King” | Clare Winger Harris’s “A Runaway World” | Francis Stevens’s “Thomas Dunbar” | George Gurdjieff’s “Beelzebub’s Tales” | Robert W. Chambers’s “The Harbor-Master”.