William John Locke
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ABOUT ME
STORY BY William John Locke
The Town of Tombarel
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My acquaintance with Monsieur Alcide Tombarel was formed in a very pleasant way; for Bacchus at his most innocent and most charming brought us together.No one who lives in any part of wine-growing France can despise the little wines of the country—the little wines, like the children of the soil, that pine away and die if transplanted far from their own district, that laugh out their butterfly life for a season or two, and then perish from premature old age. In the south especially they are part and parcel of the sunshine of the midday meal. Now, such a wine, pale gold, full, with a faint perfume of hyacinth and a touch of the flavour of flint to give it character, did I drink at the table of my friend, General Duhamel, who has a villa of the modern stucco world in the Mont Boron quarter of Nice, super-imposed on a cellar of Paradise. He was good enough to give me the address of the vine-grower; for thus do the wise buy their little wines of the country—not in commonplace bottles from pettifogging wine merchants, but in casks filled from generous tuns in the vineyards themselves.
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The House of Baltazar
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THE early story of Baltazar is not the easiest one to tell. It is episodic. It obeys not the Unities of Time, Place and Action. The only unity to be found in it is the oneness of character in that absurd and accomplished man. The fact of his being lustily alive at the present moment does not matter. To get him in perspective, one must regard him as belonging to the past. Now the past is a relative conception. Save to the academic student of History, Charlemagne is as remote as Sesostris. To the world emerging from the stupor of the great war, Mons is as distant as Balaclava. Time is really reckoned by the heart-throbs of individuals or nations. Yester-year is infinitely far away. . . . To get back to Baltazar and his story. In the first place it may be said that he was a man of fits and starts; a description which does not imply irresponsible mobility of purpose and spasmodic achievement. The phrase must be taken in the literal significance of the two terms. A man of fits—of mental, moral and emotional paroxysms; of starts—of swift courses of action which these paroxysms irresistibly determined. Which same causes of action, in each case, he doggedly and ruthlessly pursued. One, an intimate teacher of Baltazar, one who, possessed of the knowledge of the scholar and the wisdom of the man of the world, might be qualified to judge, called him a Fool of Genius. Now the genius is steadfast; the fool erratic. In this apparent irreconcilability of attributes lies the difficulty of presenting the story of Baltazar. But for the war, the story would scarcely be worth the telling, however interesting might be his sheer personality and his calculated waywardness. It would have led no whither, save to a stage or two further on his journey to the grave. But there is scarcely a human being alive with whose apparently predestined lot the war has not played the very devil. It knocked Baltazar’s world to bits—as soon as the realization of it burst on his astonished senses; yet it seemed to bring finality or continuity into his hitherto disconnected life. It was during the war that his name was mentioned and his character discussed for the first time for many years, by two persons not without interest in his fate.
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The Wonderful Year
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THERE is a letter for you, monsieur,” said the concierge of the Hôtel du Soleil et de l’Ecosse. He was a shabby concierge sharing in the tarnish of the shabby hotel which (for the information of those fortunate ones who only know of the Ritz, and the Meurice and other such-like palaces) is situated in the unaristocratic neighbourhood of the Halles Centrales. “As it bears the Paris postmark, it must be the one which monsieur was expecting,” said he, detaching it from the clip on the keyboard. “You are perfectly right,” said Martin Overshaw. “I recognise the handwriting.” The young Englishman sat on the worn cane seat in the little vestibule and read his letter. It ran: Dear Martin, I’ve been away. Otherwise I should have answered your note sooner. I’m delighted you’re in this God-forsaken city, but what brought you here in August, Heaven only knows. We must meet at once. I can’t ask you to my abode, because I’ve only one room, one chair and a bed, and you would be shocked to sit on the chair while I sat on the bed, or to sit on the bed while I sat on the chair. And I couldn’t offer you anything but a cigarette (caporal, à quatre sous le paquet) and the fag end of a bottle of grenadine syrup and water. So let us dine together at the place where I take such meals as I can afford. Au Petit Cornichon, or as the snob of a proprietor yearns to call it, The “Restaurant Dufour.” It’s a beast of a hole in the Rue Baret off the Rue Bonaparte; but I don’t think either of us could run to the Café de Paris or Paillard’s and we’ll have it all to ourselves. Meet me there at seven.
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The Glory of Clementina Wing
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Unless you knew that by taking a few turnings in any direction and walking for five minutes you would inevitably come into one of the great, clashing, shrieking thoroughfares of London, you might think that Romney Place, Chelsea, was situated in some world-forgotten cathedral city. Why it is called a “place,” history does not record. It is simply a street, or double terrace, the quietest, sedatest, most unruffled, most old-maidish street you can imagine. Its primness is painful. It is rigorously closed to organ-grinders and German bands; and itinerant vendors of coal would have as much hope of selling their wares inside the British Museum as of attracting custom in Romney Place by their raucous appeal. Little dogs on leads and lazy Persian cats are its genii loci. It consists of a double row of little Early Victorian houses, each having a basement protected by area railings, an entrance floor reached by a prim little flight of steps, and an upper floor. Three little houses close one end of the street, a sleepy little modern church masks the other. Each house has a tiny back garden which, on the south side, owing to the gradual slope of the ground riverwards, is on a level with the basement floor and thus on a lower level than the street. Some of the houses on this south side are constructed with a studio on the garden level running the whole height of the house. A sloping skylight in the roof admits the precious north light, and a French window leads on to the garden. A gallery runs round the studio, on a level and in communication with the entrance floor; and from this to the ground is a spiral staircase. From such a gallery did Tommy Burgrave, one November afternoon, look down into the studio of Clementina Wing. She was not alone, as he had expected; for in front of an easel carrying a nearly finished portrait stood the original, a pretty, dainty girl accompanied by a well-dressed, well-fed, bullet-headed, bull-necked, commonplace young man. Clementina, on hearing footsteps, looked up.
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