The Oxford Book of American Short Stories

by Joyce Carol Oates

  "Cupid here has led me a strange tour," said I to the dark-complexioned man before mentioned, whom I had ere this discovered not only to be an old bachelor, but also the principal proprietor. "Yours is a most wonderful factory. Your great machine is a miracle of inscrutable intricacy."

  "Yes, all our visitors think it so. But we don't have many. We are in a very out-of-the-way corner here. Few inhabitants, too. Most of our girls come from far-off villages."

  "The girls," echoed I, glancing round at their silent forms. "Why is it, Sir, that in most factories, female operatives, of whatever age, are indiscriminately called girls, never women?"

  "Oh! as to that—why, I suppose, the fact of their being generally unmarried—that's the reason, I should think. But it never struck me before. For our factory here, we will not have married women; they are apt to be off-and-on too much. We want none but steady workers: twelve hours to the day, day after day, through the three hundred and sixty-five days, excepting Sundays, Thanksgiving, and Fastdays. That's our rule. And so, having no married women, what females we have are rightly enough called girls."

  "Then these are all maids," said I, while some pained homage to their pale virginity made me involuntarily bow.

  "All maids."

  Again the strange emotion filled me.

  "Your cheeks look whitish yet, Sir," said the man, gazing at me narrowly. "You must be careful going home. Do they pain you at all now? It's a bad sign, if they do."

  "No doubt, Sir," answered I, "when once I have got out of the Devil's Dungeon, I shall feel them mending."

  "Ah, yes; the winter air in valleys, or gorges, or any sunken place, is far colder and more bitter than elsewhere. You would hardly believe it now, but it is colder here than at the top of Woe-dolor Mountain."

  "I dare say it is, Sir. But time presses me; I must depart."

  With that, remuffling myself in dread-naught and tippet, thrusting my hands into my huge seal-skin mittens, I sallied out into the nipping air, and found poor Black, my horse, all cringing and doubled up with the cold.

  Soon, wrapped in furs and meditations, I ascended from the Devil's Dungeon.

  At the Black Notch I paused, and once more bethought me of Temple-Bar. Then, shooting through the pass, all alone with inscrutable nature, I exclaimed—Oh! Paradise of Bachelors! and oh! Tartarus of Maids!

  EDGAR ALLAN POE (1809-1849)

  Though "The Raven" (1845) brought Edgar Allan Poe international fame, and poems like "Ulalume" and "The Bells" assured that fame, Poe's experience as a professional writer in mid-nineteenth-century America was as bitter and demoralizing as Melville's; and, in personal terms, yet more nightmarish. Orphaned at three, abandoned by the well-to-do Richmond merchant who adopted him, prone to illness, mental instability, and alcoholism through his short life, and, after his death, vilified by his very biographer, Poe has come to typify, in lurid excess, the fate of the imaginative genius who is forced to sell himself in the marketplace and to wear himself out tragically in the effort. Though his work is never autobiographical in any overt way, just as it is never "realistic," Poe's images and melodramatic Gothic plots seem but the reasonable analogues of his experience.

  Except for The Raven and Other Poems (1845), Poe's published works—Tamerlane and Other Poems (1827), The Narrative of A. Gordon Pym (1838), Tales of the Grotesque and Arabesque (1840), Eureka (1848)—brought in little income. The "Edgar Allan Poe" celebrated by contemporary critics is in fact a Poe distilled and heightened by foreign men of letters as diverse as Charles Baudelaire and Stéphane Mallarmé on the one hand and August Strindberg and George Bernard Shaw on the other: Poe as genius, not as frenzied hack writer. The value of Poe's best work for other writers lies in his bold use of surreal dream-images, the drama of his various deranged voices, the fluidity of his plots. "The Tell-Tale Heart" is at the very core of Poe: unhampered by the writerly turgidity of certain of his other stories, utterly convincing in its pathology, and in its obvious zest in its pathology. So much, so swiftly: this is genius.

  The Tell-Tale Heart

  TRUE!—nervous—very, very dreadfully nervous I had been and am; but why will you say that I am mad? The disease had sharpened my senses—not destroyed—not dulled them. Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. How, then, am I mad? Hearken! and observe how healthily—how calmly I can tell you the whole story.

  It is impossible to say how first the idea entered my brain; but once conceived, it haunted me day and night. Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! yes, it was this! One of his eyes resembled that of a vulture—a pale blue eye, with a film over it. Whenever it fell upon me, my blood ran cold; and so by degrees—very gradually—I made up my mind to take the life of the old man, and thus rid myself of the eye forever.

  Now this is the point. You fancy me mad. Madmen know nothing. But you should have seen me. You should have seen how wisely I proceeded—with what caution—with what foresight—with what dissimulation I went to work! I was never kinder to the old man than during the whole week before I killed him. And every night, about midnight, I turned the latch of his door and opened it—oh, so gently! And then, when I had made an opening sufficient for my head, I put in a dark lantern, all closed, closed, so that no light shone out, and then I thrust in my head. Oh, you would have laughed to see how cunningly I thrust it in! I moved it slowly—very, very slowly, so that I might not disturb the old man's sleep. It took me an hour to place my whole head within the opening so far that I could see him as he lay upon his bed. Ha!—would a madman have been so wise as this? And then, when my head was well in the room, I undid the lantern cautiously—oh, so cautiously—cautiously (for the hinges creaked)—I undid it just so much that a single thin ray fell upon the vulture eye. And this I did for seven long nights—every night just at midnight—but I found the eye always closed; and so it was impossible to do the work; for it was not the old man who vexed me, but his Evil Eye. And every morning, when the day broke, I went boldly into the chamber, and spoke courageously to him, calling him by name in a hearty tone, and inquiring how he had passed the night. So you see he would have been a very profound old man, indeed, to suspect that every night, just at twelve, I looked in upon him while he slept.

  Upon the eighth night I was more than usually cautious in opening the door. A watch's minute hand moves more quickly than did mine. Never before that night had I felt the extent of my own powers—of my sagacity. I could scarcely contain my feelings of triumph. To think that there I was, opening the door, little by little, and he not even to dream of my secret deeds or thoughts. I fairly chuckled at the idea; and perhaps he heard me, for he moved on the bed suddenly, as if startled. Now you may think that I drew back—but no. His room was as black as pitch with the thick darkness (for the shutters were close fastened, through fear of robbers), and so I knew that he could not see the opening of the door, and I kept pushing it on steadily, steadily.

  I had my head in, and was about to open the lantern, when my thumb slipped upon the tin fastening, and the old man sprang up in the bed, crying out—"Who's there?"

  I kept quite still and said nothing. For a whole hour I did not move a muscle, and in the meantime I did not hear him lie down. He was still sitting up in the bed, listening;—just as I have done, night after night, hearkening to the death watches in the wall.

  Presently I heard a slight groan, and I knew it was the groan of mortal terror. It was not a groan of pain or of grief—oh, no!—it was the low stifled sound that arises from the bottom of the soul when overcharged with awe. I knew the sound well. Many a night, just at midnight, when all the world slept, it has welled up from my own bosom, deepening, with its dreadful echo, the terrors that distracted me. I say I knew it well. I knew what the old man felt, and pitied him, although I chuckled at heart. I knew that he had been lying awa
ke ever since the first slight noise, when he had turned in the bed. His fears had been ever since growing upon him. He had been trying to fancy them causeless, but could not. He had been saying to himself—"It is nothing but the wind in the chimney—it is only a mouse crossing the floor," or "it is merely a cricket which has made a single chirp." Yes, he had been trying to comfort himself with these suppositions; but he had found all in vain.All in vain; because Death, in approaching him, had stalked with his black shadow before him, and enveloped the victim. And it was the mournful influence of the unperceived shadow that caused him to feel—although he neither saw nor heard—to feel the presence of my head within the room.

  When I had waited a long time, very patiently, without hearing him lie down, I resolved to open a little—a very, very little crevice in the lantern. So I opened it—you cannot imagine how stealthily, stealthily—until, at length, a single dim ray, like the thread of the spider, shot from out the crevice and fell upon the vulture eye.

  It was open—wide, wide open—and I grew furious as I gazed upon it. I saw it with perfect distinctness—all a dull blue, with a hideous veil over it that chilled the very marrow in my bones; but I could see nothing else of the old man's face or person; for I had directed the ray as if by instinct, precisely upon the damned spot.

  And now have I not told you that what you mistake for madness is but over-acuteness of the senses?—now, I say, there came to my ears a low, dull, quick sound, such as a watch makes when enveloped in cotton. I knew that sound well, too. It was the beating of the old man's heart. It increased my fury, as the beating of a drum stimulates the soldier into courage.

  But even yet I refrained and kept still. I scarcely breathed, I held the lantern motionless. I tried how steadily I could maintain the ray upon the eye. Meantime the hellish tattoo of the heart increased. It grew quicker and quicker, and louder and louder every instant. The old man's terror must have been extreme! It grew louder, I say, louder every moment!—do you mark me well? I have told you that I am nervous; so I am. And now at the dead hour of the night, amid the dreadful silence of that old house, so strange a noise as this excited me to uncontrollable terror. Yet, for some minutes longer I refrained and stood still. But the beating grew louder, louder! I thought the heart must burst. And now a new anxiety seized me—the sound would be heard by a neighbor! The old man's hour had come! With a loud yell, I threw open the lantern and leaped into the room. He shrieked once—once only. In an instant I dragged him to the floor, and pulled the heavy bed over him. I then smiled gaily, to find the deed so far done. But, for many minutes, the heart beat on with a muffled sound. This, however, did not vex me; it would not be heard through the wall.

  At length it ceased. The old man was dead. I removed the bed and examined the corpse. Yes, he was stone, stone dead. I placed my hand upon the heart and held it there many minutes. There was no pulsation. He was stone dead. His eye would trouble me no more.

  If still you think me mad, you will think so no longer when I describe the wise precautions I took for the concealment of the body. The night waned, and I worked hastily, but in silence. First of all I dismembered the corpse. I cut off the head and the arms and the legs.

  I then took up three planks from the flooring of the chamber, and deposited all between the scantlings. I then replaced the boards so cleverly, so cunningly, that no human eye—not even his—could have detected anything wrong. There was nothing to wash out— no stain of any kind—no blood-spot whatever. I had been too wary for that. A tub had caught all—ha! ha!

  When I had made an end of these labors, it was four o'clock— still dark as midnight. As the bell sounded the hour, there came a knocking at the street door. I went down to open it with a light heart,—for what had I nowto fear? There entered three men who introduced themselves, with perfect suavity, as officers of the police. A shriek had been heard by a neighbor during the night; suspicion of foul play had been aroused; information had been lodged at the police office, and they (the officers) had been deputed to search the premises.

  I smiled—for what had I to fear? I bade the gentlemen welcome. The shriek, I said, was my own in a dream. The old man, I mentioned, was absent in the country. I took my visitors all over the house. I bade them search—search well. I led them, at length, to his chamber. I showed them his treasures, secure, undisturbed. In the enthusiasm of my confidence, I brought chairs into the room, and desired them here to rest from their fatigues, while I myself, in the wild audacity of my perfect triumph, placed my own seat upon the very spot beneath which reposed the corpse of the victim.

  The officers were satisfied. My manner had convinced them. I was singularly at ease. They sat, and while I answered cheerily, they chatted of familiar things. But, ere long, I felt myself getting pale and wished them gone. My head ached, and I fancied a ringing in my ears: but still they sat and still chatted. The ringing became more distinct:—it continued and became more distinct:— I talked more freely to get rid of the feeling: but it continued and gained definitiveness—until, at length, I found that the noise was not within my ears.

  No doubt I now grew very pale;—but I talked more fluently, and with a heightened voice. Yet the sound increased—and what could I do? It was a low, dull, quick sound—much such a sound as a watch makes when enveloped in cotton. I gasped for breath— and yet the officers heard it not. I talked more quickly—more vehemently: but the noise steadily increased. I arose and argued about trifles, in a high key and with violent gesticulations; but the noise steadily increased. Why would they not be gone? I paced the floor to and fro with heavy strides, as if excited to fury by the observations of the men—but the noise steadily increased. Oh God! what could I do? I foamed—I raved—I swore! I swung the chair upon which I had been sitting, and grated it upon the boards, but the noise arose over all and continually increased. It grew louder— louder—louder! And still the men chatted pleasantly, and smiled. Was it possible they heard not? Almighty God!—no, no! They heard!—they suspected!—they knew!—they were making a mockery of my horror!—this I thought, and this I think. But anything was better than this agony! Anything was more tolerable than this derision! I could bear those hypocritical smiles no longer! I felt that I must scream or die!—and now—again!—hark! louder! louder! louder! louder!—

  "Villains!" I shrieked, "dissemble no more! I admit the deed!— tear up the planks!—here, here!—it is the beating of his hideous heart!"

  HARRIET BEECHER STOWE (1811-1896)

  "Is this the little lady who started such a big war?" Abraham Lincoln was reputed to have said to Harriet Beecher Stowe when they met during the Civil War. The author of Uncle Tom's Cabin (1852), based upon the slave life she witnessed firsthand, Mrs. Stowe was not only the first American woman writer of significance, but one of the most popular and celebrated American writers in our history. Indeed, to consider Melville and Toe as "nineteenth-century American writers" if one considers Harriet Beecher Stowe as a "nineteenth-century American writer" is to have imagined a category broad, deep, and vertiginous as the Grand Canyon. Except in the most self-evident of terms, Melville and Toe do not belong to the same universe as Mrs. Stowe.

  Though Mrs. Stowe had some initial difficulty publishing Uncle Tom's Cabin as a book, it was an immediate success when published, and was but the first of the author's numerous popular successes through a career of thirty-five years. Stowe published regularly in Atlantic Monthly and other prestigious magazines; among her more important works are the novels The Pearl of Orr's Island (1862) and Oldtown Folks (1869). "The Ghost in the Mill" is taken from Sam Lawson's Oldtown Fireside Stories (1872), which went through fourteen printings. The stories are linked by the children, primarily boys, of Oldtown, Massachusetts, who sit at the knee of Sam Lawson, a storyteller of scary but moral tales. Quaint by contemporary standards, and hardly adult fare, "The Ghost in the Mill" is intriguing for its depiction of the unassimilated Indian woman Ketury with her "scornful ways" and "snaky eyes," who appears elsewhere in the volume, e
mpowered as an outsider of possibly demonic origin.

  The Ghost in the Mill

  "COME, Sam, tell us a story," said I, as Harry and I crept to his knees, in the glow of the bright evening firelight; while Aunt Lois was busily rattling the tea-things, and grandmamma, at the other end of the fireplace, was quietly setting the heel of a blue-mixed yarn stocking.

  In those days we had no magazines and daily papers, each reeling off a serial story. Once a week, "The Columbian Sentinel" came from Boston with its slender stock of news and editorial; but all the multiform devices—pictorial, narrative, and poetical—which keep the mind of the present generation ablaze with excitement, had not then even an existence. There was no theatre, no opera; there were in Oldtown no parties or balls, except, perhaps, the annual election, or Thanksgiving festival; and when winter came, and the sun went down at half-past four o'clock, and left the long, dark hours of evening to be provided for, the necessity of amusement became urgent. Hence, in those days, chimney-corner storytelling became an art and an accomplishment. Society then was full of traditions and narratives which had all the uncertain glow and shifting mystery of the firelit hearth upon them. They were told to sympathetic audiences, by the rising and falling light of the solemn embers, with the hearth-crickets filling up every pause. Then the aged told their stories to the young,—tales of early life; tales of war and adventure, of forest-days, of Indian captivities and escapes, of bears and wild-cats and panthers, of rattlesnakes, of witches and wizards, and strange and wonderful dreams and appearances and providences.

  In those days of early Massachusetts, faith and credence were in the very air. Two-thirds of New England was then dark, unbroken forests, through whose tangled paths the mysterious winter wind groaned and shrieked and howled with weird noises and unaccountable clamors. Along the iron-bound shore, the stormful Atlantic raved and thundered, and dashed its moaning waters, as if to deaden and deafen any voice that might tell of the settled life of the old civilized world, and shut us forever into the wilderness. A good story-teller, in those days, was always sure of a warm seat at the hearth-stone, and the delighted homage of children; and in all Oldtown there was no better story-teller than Sam Lawson.