Dark Carnival, 1947
1. Intoductions, 2001
2. The Homecoming, 1946
"Here they come," said Cecy, lying there flat in her bed.
"Where are they?" cried Timothy from the doorway.
"Some of them are over Europe, some over Asia, some of them over the Islands, some over South America!" said Cecy, her eyes closed, the lashes long, brown, and quivering.
Timothy came forward upon the bare plankings of the upstairs room. "Who are they?"
"Uncle Einar and Uncle Fry, and there's Cousin William, and I see Frulda and Helgar and Aunt Morgiana and Cousin Vivian, and I see Uncle Johann! They're all coming fast!"
6. Skeleton, 1945
It was past time for him to see the doctor again. Mr. Harris turned palely in at the stair well, and on his way up the flight saw Dr. Burleigh's name gilded over a pointing arrow. Would Dr. Burleigh sigh when he walked in? After all, this would make the tenth trip so far this year. But Burleigh shouldn't complain; he was paid for the examinations!
The nurse looked Mr. Harris over and smiled, a bit amusedly, as she tiptoed to the glazed glass door, opened it, and put her head in. Harris thought he heard her say, "Guess who's here, Doctor." And didn't the doctor's voice reply, faintly, "Oh, my God, _again?_" Harris swallowed uneasily.
3. The Jar, 1944
It was one of those things they keep in a jar in the tent of a sideshow on the outskirts of a little, drowsy town. One of those pale things drifting in alcohol plasma, forever dreaming and circling, with its peeled, dead eyes staring out at you and never seeing you. It went with the noiselessness of late night, and only the crickets chirping, the frogs sobbing off in the moist swampland. One of those things in a big jar that makes your stomach jump as it does when you see a preserved arm in a laboratory vat.
2. The Lake, 1944
The wave shut me off from the world, from the birds in the sky, the children on the beach, my mother on the shore. There was a moment of green silence. Then the wave gave me back to the sky, the sand, the children yelling. I came out of the lake and the world was waiting for me, having hardly moved since I went away.
I ran up on the beach.
Mama swabbed me with a furry towel. "Stand there and dry," she said.
I stood there, watching the sun take away the water beads on my arms. I replaced them with goose-pimples.
5. The Maiden, 1947
6. The Tombstone, 1945
7. The Smiling People, 1947
8. The Emissary, 1947
Martin knew it was autumn again, for Dog ran into the house bringing wind and frost and a smell of apples turned to cider under trees. In dark clock-springs of hair, Dog fetched goldenrod, dust of farewell-summer, acornhusk, hair of squirrel, feather of departed robin, sawdust from fresh-cut cordwood, and leaves like charcoals shaken from a blaze of maple trees. Dog jumped. Showers of brittle fern, blackberry vine, marsh-grass sprang over the bed where Martin shouted. No doubt, no doubt of it at all, this incredible beast was October!
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2. The Traveller, 1946
3. The Small Assassin, 1946
Just when the idea occurred to her that she was being murdered she could not tell. There had been little subtle signs, little suspicions for the past month; things as deep as sea tides in her, like looking at a perfectly calm stretch of tropic water, wanting to bathe in it and finding, just as the tide takes your body, that monsters dwell just under the surface, things unseen, bloated, many-armed, sharp-finned, malignant and inescapable.
A room floated around her in an effiuvium of hysteria. Sharp instruments hovered and there were voices, and people in sterile white masks.
3. The Crowd, 1943
Mr. Spallner put his hands over his face.
There was the feeling of movement in space, the beautifully tortured scream, the impact and tumbling of the car with wall, through wall, over and down like a toy, and him hurled out of it. Then--silence.
The crowd came running. Faintly, where he lay, he heard them running. He could tell their ages and their sizes by the sound of their numerous feet over the summer grass and on the lined pavement, and over the asphalt street, and picking through the cluttered bricks to where his car hung half into the night sky, still spinning its wheels with a senseless centrifuge.
4. Reunion, 1944
5. The Handler, 1947
6. The Coffin / Wake for the Living, 1947
7. Interim, 1947
8. Jack-In-The-Box, 1947
He looked through the cold morning windows with the Jack-in-the-Box in his hands, prying the rusted lid. But no matter how he struggled, the Jack would not jump to the light with a cry, or slap its velvet mittens on the air, or bob in a dozen directions with a wild and painted smile. Crushed under the lid, in its jail, it stayed crammed tight coil on coil. With your ear to the box, you felt pressure beneath, the fear and panic of the trapped toy. It was like holding someone's heart in your hand. Edwin could not tell if the box pulsed or if his own blood beat against the lid.
2. The Scythe, 1943
Quite suddenly there was no more road. It ran down the valley like any other road, between slopes of barren, stony ground and live oak trees, and then past a broad field of wheat standing alone in the wilderness. It came up beside the small white house that belonged to the wheat field and then just faded out, as though there was no more use for it.
It didn't matter much, because just there the last of the gas was gone. Drew Erickson braked the ancient car to a stop and sat there, not speaking, staring at his big, rough farmer's hands.
3. Let's Play "Poison", 1946
4. Uncle Einar, 1947
It will take only a minute," said Uncle Einar's sweet wife.
"I refuse," he said. "And that takes but a _second_."
"I've worked all morning," she said, holding to her slender back, "and you won't help? It's drumming for a rain."
"Let it rain," he cried, morosely. "I'll not be pierced by lightning just to air your clothes."
"But you're so quick at it."
"Again, I refuse." His vast tarpaulin wings hummed nervously behind his indignant back.
She gave him a slender rope on which were tied four dozen fresh-washed clothes. He turned it in his fingers with distaste. "So it's come to this," he muttered, bitterly. "To this, to this, to this." He almost wept angry and acid tears.
8. The Wind, 1943
The phone rang at five-thirty that evening. It was December, and long since dark as Thompson picked up the phone.
"Oh, it's you, Allin."
"Is your wife home, Herb?"
Herb Thompson held the receiver quietly. "What's up? You sound funny."
"I wanted you to come over tonight."
"We're having company."
"I wanted you to spend the night. When's your wife going away?"
"That's next week," said Thompson. "She'll be in Ohio for about nine days. Her mother's sick. I'll come over then."
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13. The Night, 1947
14. There Was an Old Woman, 1944
"No, there's no lief arguin'. I got my mind fixed. Run along with your silly wicker basket. Land, where you ever get notions like that? You just skit out of here; don't bother me, I got my tattin' and knittin' to do, and no never minds about tall, dark gentlemen with fangled ideas."
The tall, dark young man stood quietly, not moving. Aunt Tildy hurried on with her talk.
"You _heard_ what I said! If you got a mind to talk to me, well, you can talk, but meantime I hope you don't mind if I pour myself coffee. There. If you'd been more polite, I'd offer you some, but you jump in here high and mighty and you never rapped on the door or nothin'. You think you own the place."
4. The Dead Man, 1945
5. The Man Upstairs, 1947
He remembered how carefully and expertly Grandmother would fondle the cold cut guts of the chicken and withdraw the marvels therein; the wet shining loops of meat- smelling intestine, the muscled lump of heart, the gizzard with the collection of seeds in it. How neatly and nicely Grandma would slit the chicken and push her fat little hand in to deprive it of its medals. These would be segregated, some in pans of water, others in paper to be thrown to the dog later, perhaps. And then the ritual of taxidermy, stuffing the bird with watered, seasoned bread, and performing surgery with a swift, bright needle, stitch after pulled-tight stitch.
2. The Night Sets, 1947
3. The Cistern, 1947
It was an afternoon of rain, and lamps lighted against the gray. For a long while the two sisters had been in the dining-room. One of them, Juliet, embroidered tablecloths; the younger, Anna, sat quietly on the window seat, staring out at the dark street and the dark sky.
Anna kept her brow pressed against the pane, but her lips moved and after reflecting a long moment, she said, "I never thought of that before."
"Of what?" asked Juliet.
"It just came to me. There's actually a city under a city. A dead city, right here, right under our feet."
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5. The Next in Line, 1947
It was a little caricature of a town square. In it were the following fresh ingredients: a candy-box of a bandstand where men stood on Thursday and Sunday nights exploding music; fine, green-patinated bronze-copper benches all scrolled and flourished; fine blue and pink tiled walks— blue as women's newly lacquered eyes, pink as women's hidden wonders; and fine French-clipped trees in the shapes of exact hatboxes. The whole, from your hotel window, had the fresh ingratiation and unbelievable fantasy one might expect of a French villa in the nineties. But no, this was Mexico! and this a plaza in a small colonial Mexican town, with a fine State Opera House (in which movies were shown for two pesos admission: Rasputin and the Empress, The Big House, Madame Curie, Love Affair, Mama Loves Papa).