Short Fiction - O. Henry (books recommended by bts .TXT) 📗

Of all the curious knickknacks, mysteries, puzzles, Indian gifts, rattraps, and well-disguised blessings that the gods chuck down to us from the Olympian peaks, the most disquieting and evil-bringing is the snow. By scientific analysis it is absolute beauty and purity⁠—so, at the beginning we look doubtfully at chemistry.

It falls upon the world, and lo! we live in another. It hides in a night the old scars and familiar places with which we have grown heartsick or enamored. So, as quietly as we can, we hustle on our embroidered robes and hie us on Prince Camaralzaman’s horse or in the reindeer sleigh into the white country where the seven colors converge. This is when our fancy can overcome the bane of it.

But in certain spots of the earth comes the snow-madness, made known by people turned wild and distracted by the bewildering veil that has obscured the only world they know. In the cities, the white fairy who sets the brains of her dupes whirling by a wave of her wand is cast for the comedy role. Her diamond shoe buckles glitter like frost; with a pirouette she invites the spotless carnival.

But in the waste places the snow is sardonic. Sponging out the world of the outliers, it gives no foothold on another sphere in return. It makes of the earth a firmament under foot; it leaves us clawing and stumbling in space in an inimical fifth element whose evil outdoes its strangeness and beauty. There Nature, low comedienne, plays her tricks on man. Though she has put him forth as her highest product, it appears that she has fashioned him with what seems almost incredible carelessness and indexterity. One-sided and without balance, with his two halves unequally fashioned and joined, must he ever jog his eccentric way. The snow falls, the darkness caps it, and the ridiculous man-biped strays in accurate circles until he succumbs in the ruins of his defective architecture.

In the throat of the thirsty the snow is vitriol. In appearance as plausible as the breakfast food of the angels, it is as hot in the mouth as ginger, increasing the pangs of the water-famished. It is a derivative from water, air, and some cold, uncanny fire from which the caloric has been extracted. Good has been said of it; even the poets, crazed by its spell and shivering in their attics under its touch, have indited permanent melodies commemorative of its beauty.

Still, to the saddest overcoated optimist it is a plague⁠—a corroding plague that Pharaoh successfully sidestepped. It beneficently covers the wheat fields, swelling the crop⁠—and the Flour Trust gets us by the throat like a sudden quinsy. It spreads the tail of its white kirtle over the red seams of the rugged north⁠—and the Alaskan short story is born. Etiolated perfidy, it shelters the mountain traveler burrowing from the icy air⁠—and, melting tomorrow, drowns his brother in the valley below.

At its worst it is lock and key and crucible, and the wand of Circe. When it corrals man in lonely ranches, mountain cabins, and forest huts, the snow makes apes and tigers of the hardiest. It turns the bosoms of weaker ones to glass, their tongues to infants’ rattles, their hearts to lawlessness and spleen. It is not all from the isolation; the snow is not merely a blockader; it is a Chemical Test. It is a good man who can show a reaction that is not chiefly composed of a drachm or two of potash and magnesia, with traces of Adam, Ananias, Nebuchadnezzar, and the fretful porcupine.

This is no story, you say; well, let it begin.

There was a knock at the door (is the opening not full of context and reminiscence oh, best buyers of best sellers?).

We drew the latch, and in stumbled Etienne Girod (as he afterward named himself). But just then he was no more than a worm struggling for life, enveloped in a killing white chrysalis.

We dug down through snow, overcoats, mufflers, and waterproofs, and dragged forth a living thing with a Van Dyck beard and marvellous diamond rings. We put it through the approved curriculum of snow-rubbing, hot milk, and teaspoonful doses of whiskey, working him up to a graduating class entitled to a diploma of three fingers of rye in half a glassful of hot water. One of the ranch boys had already come from the quarters at Ross’s bugle-like yell and kicked the stranger’s staggering pony to some sheltered corral where beasts were entertained.

Let a paragraphic biography of Girod intervene.

Etienne was an opera singer originally, we gathered; but adversity and the snow had made him non compos vocis. The adversity consisted of the stranded San Salvador Opera Company, a period of hotel second-story work, and then a career as a professional palmist, jumping from town to town. For, like other professional palmists, every time he worked the Heart Line too strongly he immediately moved along the Line of Least Resistance. Though Etienne did not confide this to us, we surmised that he had moved out into the dusk about twenty minutes ahead of a constable, and had thus encountered the snow. In his most sacred blue language he dilated upon the subject of snow; for Etienne was Paris-born and loved the snow with the same passion that an orchid does.

“Mee-ser-rhable!” commented Etienne, and took another three fingers.

“Complete, cast-iron, pussyfooted, blank⁠ ⁠… blank!” said Ross, and followed suit.

“Rotten,” said I.

The cook said nothing. He stood in the door weighing our outburst; and insistently from behind that frozen visage I got two messages (via the M.A.M. wireless). One was that George considered our vituperation against the snow childish; the other was that George did not love Dagoes. Inasmuch as Etienne was a Frenchman, I concluded I had the message wrong. So I queried the other: “Bright eyes, you don’t really mean Dagoes, do you?” and over the wireless came three deathly, psychic taps: “Yes.” Then I reflected that to