All my life I have had a rather curious horror of small towns: not suburbs; they are quite a different matter—but the little lost cities of New Hampshire and Georgia and Kansas, and upper New York. I was born in New York City, and even as a little girl I never had any fear of the streets or the strange foreign faces—but on the occasions when I’ve been in the sort of place I’m referring to, I’ve been oppressed with the consciousness that there was a whole hidden life, a whole series of secret implications, significances and terrors, just below the surface, of which I knew nothing. In the cities everything good or bad eventually comes out, comes out of people’s hearts, I mean. Life moves about, moves on, vanishes. In the small towns—those of between five and twenty-five thousand people—old hatreds, old and unforgotten affairs, ghostly scandals and tragedies, seem unable to die, but live on all tangled up with the natural ebb and flow of outward life.
Nowhere has this sensation come over me more insistently than in the South. Once out of Atlanta and Birmingham and New Orleans, I often have the feeling that I can no longer communicate with the people around me. The men and the girls speak a language wherein courtesy is combined with violence, fanatic morality with corn-drinking recklessness, in a fashion which I can’t understand. In “Huckleberry Finn” Mark Twain described some of those towns perched along the Mississippi River, with their fierce feuds and their equally fierce revivals—and some of them haven’t fundamentally changed beneath their new surface of flivvers and radios. They are deeply uncivilized to this day.
I speak of the South because it was in a small Southern city of this type that I once saw the surface crack for a minute and something savage, uncanny and frightening rear its head. Then the surface closed again—and when I have gone back there since, I’ve been surprised to find myself as charmed as ever by the magnolia trees and the singing darkies in the street and the sensuous warm nights. I have been charmed, too, by the bountiful hospitality and the languorous easy-going outdoor life and the almost universal good manners. But all too frequently I am the prey of a vivid nightmare that recalls what I experienced in that town five years ago.
Davis—that is not its real name—had a population of about twenty thousand people, one-third of them colored. It is a cotton-mill town, and the workers of that trade, several thousand gaunt and ignorant “poor whites”, live together in an ill-reputed section known as “Cotton Hollow.” The population of Davis has varied in its seventy-five years. Once it was under consideration for the capital of the State, and so the older families and their kin form a proud little aristocracy, even when individually they have sunk to destitution.
That winter I’d made the usual round in New York until about April, when I decided I never wanted to see another invitation again. I was tired and I wanted to go to Europe for a rest; but the baby panic of 1921 hit Father’s business, and so it was suggested that I go South and visit Aunt Musidora Hale instead.
Vaguely I imagined that I was going to the country, but on the day I arrived, the Davis Courier published a hilarious old picture of me on its society page, and I found I was in for another season. On a small scale, of course: there were Saturday-night dances at the little country-club with its nine-hole golf-course, and some informal dinner parties and several attractive and attentive boys. I didn’t have a dull time at all, and when after three weeks I wanted to go home, it wasn’t because I was bored. On the contrary I wanted to go home because I’d allowed myself to get rather interested in a good-looking young man named Charley Kincaid, without realizing that he was engaged to another girl.
We’d been drawn together from the first because he was almost the only boy in town who’d gone North to college, and I was still young enough to think that America revolved around Harvard and Princeton and Yale. He liked me too—I could see that; but when I heard that his engagement to a girl named Marie Bannerman had been announced six months before, there was nothing for me except to go away. The town was too small to avoid people, and though so far there hadn’t been any talk, I was sure that—well, that if we kept meeting, the emotion we were beginning to feel would somehow get into words. I’m not mean enough to take a man away from another girl.
Marie Bannerman was almost a beauty. Perhaps she would have been a beauty if she’d had any clothes, and if she hadn’t used bright pink rouge in two high spots on her cheeks and powdered her nose and chin to a funereal white. Her hair was shining black; her features were lovely; and an affection of one eye kept it always half-closed and gave an air of humorous mischief to her face.
I was leaving on a Monday, and on Saturday night a crowd of us dined at the country-club as usual before the dance. There was Joe Cable, the son of a former governor, a handsome, dissipated and yet somehow charming young man; Catherine Jones, a pretty, sharp-eyed girl with an exquisite figure, who under her rouge might have been any age from eighteen to twenty-five; Marie Bannerman; Charley Kincaid; myself and two or three others.
I loved to listen to the genial flow of bizarre neighborhood anecdote at this kind of party. For instance, one of the girls, together with her entire family, had that afternoon been evicted from her house for nonpayment of rent. She told the story wholly without self-consciousness, merely as something troublesome but amusing. And I loved the banter which presumed every girl to be infinitely beautiful and attractive, and every man to have been secretly and hopelessly in love with every girl present from their respective cradles.
“—we liked to die laughin’” … “—said he was fixin’ to shoot him without he stayed away”. The girls “’clared to heaven”; the men “took oath” on inconsequential statements. “How come you nearly about forgot to come by for me—” and the incessant Honey, Honey, Honey, Honey, until the word seemed to roll like a genial liquid from heart to heart.
Outside, the May night was hot, a still night, velvet, soft-pawed, splattered thick with stars. It drifted heavy and sweet into the large room where we sat and where we would later dance, with no sound in it except the occasional long crunch of an arriving car on the drive. Just at that moment I hated to leave Davis as I never had hated to leave a town before—I felt that I wanted to spend my life in this town, drifting and dancing forever through these long, hot, romantic nights.
Yet horror was already hanging over that little party, was waiting tensely among us, an uninvited guest, and telling off the hours until it could show its pale and blinding face. Beneath the chatter and laughter something was going on, something secret and obscure that I didn’t know.
Presently the colored orchestra arrived, followed by the first trickle of the dance crowd. An enormous red-faced man in muddy knee boots and with a revolver strapped around his waist, clumped in and paused for a moment at our table before going upstairs to the locker-room. It was Bill Abercrombie, the Sheriff, the son of Congressman Abercrombie. Some of the boys asked him half-whispered questions, and he replied in an attempt at an undertone.
“Yes… He’s in the swamp all right; farmer saw him near the crossroads store… Like to have a shot at him myself.”
I asked the boy next to me what was the matter.
“Nigger case,” he said, “over in Kisco, about two miles from here. He’s hiding in the swamp, and they’re going in after him tomorrow.”
“What’ll they do to him?”
“Hang him, I guess.”
The notion of the forlorn darky crouching dismally in a desolate bog waiting for dawn and death depressed me for a moment. Then the feeling passed and was forgotten.
After dinner Charley Kincaid and I walked out on the veranda—he had just heard that I was going away. I kept as close to the others as I could, answering his words but not his eyes—something inside me was protesting against leaving him on such a casual note. The temptation was strong to let something flicker up between us here at the end. I wanted him to kiss me—my heart promised that if he kissed me, just once, it would accept with equanimity the idea of never seeing him any more; but my mind knew it wasn’t so.
The other girls began to drift inside and upstairs to the dressing-room to improve their complexions, and with Charley still beside me, I followed. Just at that moment I wanted to cry—perhaps my eyes were already blurred, or perhaps it was my haste lest they should be, but I opened the door of a small card-room by mistake, and with my error the tragic machinery of the night began to function. In the card-room, not five feet from us, stood Marie Bannerman, Charley’s fiancee, and Joe Cable. They were in each other’s arms, absorbed in a passionate and oblivious kiss.
I closed the door quickly, and without glancing at Charley opened the right door and ran upstairs.
A few minutes later Marie Bannerman entered the crowded dressing-room. She saw me and came over, smiling in a sort of mock despair, but she breathed quickly, and the smile trembled a little on her mouth.
“You won’t say a word, honey, will you?” she whispered.
“Of course not.” I wondered how that could matter, now that Charley Kincaid knew.
“Who else was it that saw us?”
“Only Charley Kincaid and I.”
“Oh!” She looked a little puzzled; then she added: “He didn’t wait to say anything, honey. When we came out, he was just going out the door. I thought he was going to wait and romp all over Joe.”
“How about his romping all over you?” I couldn’t help asking.
“Oh, he’ll do that.” She laughed wryly. “But, honey, I know how to handle him. It’s just when he’s first mad that I’m scared of him—he’s got an awful temper.” She whistled reminiscently. “I know, because this happened once before.”
I wanted to slap her. Turning my back, I walked away on the pretext of borrowing a pin from Katie, the negro maid. Catherine Jones was claiming the latter’s attention with a short gingham garment which needed repair.
“What’s that?” I asked.
“Dancing-dress,” she answered shortly, her mouth full of pins.
When she took them out, she added: “It’s all come to pieces—I’ve used it so much.”
“Are you going to dance here tonight?”
“Going to try.”
Somebody had told me that she wanted to be a dancer—that she had taken lessons in New York.
“Can I help you fix anything?”
“No, thanks—unless—you can sew? Katie gets so excited Saturday night that she’s no good for anything except fetching pins. I’d be everlasting grateful to you, honey.”
I had reasons for not wanting to go downstairs just yet, and so I sat down and worked on her dress for half an hour. I wondered if Charley had gone home, if I would ever see him again—I scarcely dared to wonder if what he had seen would set him free, ethically. When I went down finally he was not in sight.
The room was now crowded; the tables had been removed and dancing was general. At that time, just after the war, all Southern boys had a way of agitating their heels from side to side, pivoting on the ball of the foot as they danced, and to acquiring this accomplishment I had devoted many hours. There were plenty of stags, almost all of them cheerful with corn-liquor; I refused on an average at least two drinks a dance. Even when it is mixed with a soft drink, as is the custom, rather than gulped from the neck of a warm bottle, it is a formidable proposition. Only a few girls like Catherine Jones took an occasional sip from some boy’s flask down at the dark end of the veranda.
I liked Catherine Jones—she seemed to have more energy than these other girls, though Aunt Musidora sniffed rather contemptuously whenever Catherine stopped for me in her car to go to the movies, remarking that she guessed “the bottom rail had gotten to be the top rail now”. Her family were “new and common”, but it seemed to me that perhaps her very commonness was an asset. Almost every girl in Davis confided in me at one time or another that her ambition was to “get away and come to New York”, but only Catherine Jones had actually taken the step of studying stage dancing with that end in view.
She was often asked to dance at these Saturday night affairs, something “classic” or perhaps an acrobatic clog—on one memorable occasion she had annoyed the governing board by a “shimee” (then the scapegrace of jazz), and the novel and somewhat startling excuse made for her was that she was “so tight she didn’t know what she was doing, anyhow”. She impressed me as a curious personality, and I was eager to see what she would produce tonight.
At twelve o’clock the music always ceased, as dancing was forbidden on Sunday morning. So at eleven-thirty a vast fanfaronade of drum and cornet beckoned the dancers and the couples on the verandas, and the ones in the cars outside, and the stragglers from the bar, into the ballroom. Chairs were brought in and galloped up en masse and with a great racket to the slightly raised platform. The orchestra had evacuated this and taken a place beside. Then, as the rearward lights were lowered, they began to play a tune accompanied by a curious drum-beat that I had never heard before and simultaneously Catherine Jones appeared upon the platform. She wore the short, country girl’s dress upon which I had lately labored, and a wide sunbonnet under which her face, stained yellow with powder, looked out at us with rolling eyes and a vacant negroid leer. She began to dance.
I had never seen anything like it before, and until five years later I wasn’t to see it again. It was the Charleston—it must have been the Charleston. I remember the double drum-beat like a shouted “Hey! Hey!” and the familiar swing of the arms and the odd knock-kneed effect. She had picked it up, heaven knows where.
Her audience, familiar with negro rhythms, leaned forward eagerly—even to them it was something new, but it is stamped on my mind as clearly and indelibly as though I had seen it yesterday. The figure on the platform swinging and stamping, the excited orchestra, the waiters grinning in the doorway of the bar, and all around, through many windows, the soft languorous Southern night seeping in from swamp and cotton field and lush foliage and brown, warm streams. At what point a feeling of tense uneasiness began to steal over me I don’t know. The dance could scarcely have taken ten minutes; perhaps the first beats of the barbaric music disquieted me—long before it was over, I was sitting rigid in my seat, and my eyes were wandering here and there around the hall, passing along the rows of shadowy faces as if seeking some security that was no longer there.
I’m not a nervous type; nor am I given to panic; but for a moment I was afraid that if the music and the dance didn’t stop, I’d be hysterical. Something was happening all about me. I knew it as well as if I could see into these unknown souls. Things were happening, but one thing especially was leaning over so close that it almost touched us, that it did touch us… I almost screamed as a hand brushed accidentally against my back.
The music stopped. There was applause and protracted cries of encore, but Catherine Jones shook her head definitely at the orchestra leader and made as though to leave the platform. The appeals for more continued—again she shook her head, and it seemed to me that her expression was rather angry. Then a strange incident occurred. At the protracted pleading of someone in the front row, the colored orchestra leader began the vamp of the tune, as if to lure Catherine Jones into changing her mind. Instead she turned toward him, snapped out, “Didn’t you hear me say no?” and then, surprisingly, slapped his face. The music stopped, and an amused murmur terminated abruptly as a muffled but clearly audible shot rang out.
Immediately we were on our feet, for the sound indicated that it had been fired within or near the house. One of the chaperons gave a little scream, but when some wag called out, “Caesar’s in that henhouse again,” the momentary alarm dissolved into laughter. The club manager, followed by several curious couples, went out to have a look about, but the rest were already moving around the floor to the strains of “Good Night, Ladies,” which traditionally ended the dance.
I was glad it was over. The man with whom I had come went to get his car, and calling a waiter, I sent him for my golf-clubs, which were in the stack upstairs. I strolled out on the porch and waited, wondering again if Charley Kincaid had gone home.
Suddenly I was aware, in that curious way in which you become aware of something that has been going on for several minutes, that there was a tumult inside. Women were shrieking; there was a cry of “Oh, my God!” then the sounds of a stampede on the inside stairs, and footsteps running back and forth across the ballroom. A girl appeared from somewhere and pitched forward in a dead faint—almost immediately another girl did the same, and I heard a frantic male voice shouting into a telephone. Then, hatless and pale, a young man rushed out on the porch, and with hands that were cold as ice, seized my arm.
“What is it?” I cried. “A fire? What’s happened?”
“Marie Bannerman’s dead upstairs in the women’s dressing-room. Shot through the throat!”
The rest of that night is a series of visions that seem to have no connection with one another, that follow each other with the sharp instantaneous transitions of scenes in the movies. There was a group who stood arguing on the porch, in voices now raised, now hushed, about what should be done and how every waiter in the club, “even old Moses”, ought to be given the third degree tonight. That a “nigger” had shot and killed Marie Bannerman was the instant and unquestioned assumption—in the first unreasoning instant, anyone who doubted it would have been under suspicion. The guilty one was said to be Katie Golstien, the colored maid, who had discovered the body and fainted. It was said to be “the nigger they were looking for over near Kisco”. It was any darky at all.
Within half an hour people began to drift out, each with his little contribution of new discoveries. The crime had been committed with Sheriff Abercrombie’s gun—he had hung it, belt and all, in full view on the wall before coming down to dance. It was missing—they were hunting for it now. Instantly killed, the doctor said—bullet had been fired from only a few feet away.
Then a few minutes later another young man came out and made the announcement in a loud, grave voice:
“They’ve arrested Charley Kincaid.”
My head reeled. Upon the group gathered on the veranda fell an awed, stricken silence.
“—arrested Charley Kincaid!”
Why, he was one of the best, one of themselves.
“That’s the craziest thing I ever heard of!”
The young man nodded, shocked like the rest, but self-important with his information.
“He wasn’t downstairs when Catherine Jones was dancing—he says he was in the men’s locker-room. And Marie Bannerman told a lot of girls that they’d had a row, and she was scared of what he’d do.”
Again an awed silence.
“That’s the craziest thing I ever heard!” someone said again.
The narrator waited a moment. Then he added:
“He caught her kissing Joe Cable—”
I couldn’t keep silence a minute longer.
“What about it?” I cried out. “I was with him at the time. He wasn’t—he wasn’t angry at all.”
They looked at me, their faces startled, confused, unhappy. Suddenly the footsteps of several men sounded loud through the ballroom, and a moment later Charley Kincaid, his face dead white, came out the front door between the Sheriff and another man. Crossing the porch quickly, they descended the steps and disappeared in the darkness. A moment later there was the sound of a starting car.
When an instant later far away down the road I heard the eerie scream of an ambulance, I got up desperately and called to my escort, who formed part of the whispering group.
“I’ve got to go,” I said. “I can’t stand this. Either take me home or I’ll find a place in another car.” Reluctantly he shouldered my clubs—the sight of them made me realize that I now couldn’t leave on Monday after all—and followed me down the steps just as the black body of the ambulance curved in at the gate—a ghastly shadow on the bright, starry night.
The situation, after the first wild surmises, the first burst of unreasoning loyalty to Charley Kincaid, had died away, was outlined by the Davis Courier and by most of the State newspapers in this fashion: Marie Bannerman died in the women’s dressing-room of the Davis Country Club from the effects of a shot fired at close quarters from a revolver just aftereleven forty-five o’clock on Saturday night. Many persons had heard the shot; moreover it had undoubtedly been fired from the revolver of Sheriff Abercrombie, which had been hanging in full sight on the wall of the next room. Abercrombie himself was down in the ballroom when the murder took place, as many witnesses could testify. The revolver was not found.
So far as was known, the only man who had been upstairs at the time the shot was fired was Charles Kincaid. He was engaged to Miss Bannerman, but according to several witnesses they had quarreled seriously that evening. Miss Bannerman herself had mentioned the quarrel, adding that she was afraid and wanted to keep away from him until he cooled off.
Charles Kincaid asserted that at the time the shot was fired he was in the men’s locker-room—where, indeed, he was found, immediately after the discovery of Miss Bannerman’s body. He denied having had any words with Miss Bannerman at all. He had heard the shot but it had had no significance for him—if he thought anything of it, he thought that “someone was potting cats outdoors.”
Why had he chosen to remain in the locker-room during the dance?
No reason at all. He was tired. He was waiting until Miss Bannerman wanted to go home.
The body was discovered by Katie Golstien, the colored maid, who herself was found in a faint when the crowd of girls surged upstairs for their coats. Returning from the kitchen, where she had been getting a bite to eat, Katie had found Miss Bannerman, her dress wet with blood, already dead on the floor.
Both the police and the newspapers attached importance to the geography of the country-club’s second story. It consisted of a row of three rooms—the women’s dressing-room and the men’s locker-room at either end, and in the middle a room which was used as a cloak-room and for the storage of golf-clubs. The women’s and men’s rooms had no outlet except into this chamber, which was connected by one stairs with the ballroom below, and by another with the kitchen. According to the testimony of three negro cooks and the white caddy-master, no one but Katie Golstien had gone up the kitchen stairs that night.
As I remember it after five years, the foregoing is a pretty accurate summary of the situation when Charley Kincaid was accused of first-degree murder and committed for trial. Other people, chiefly negroes, were suspected (at the loyal instigation of Charley Kincaid’s friends), and several arrests were made, but nothing ever came of them, and upon what grounds they were based I have long forgotten. One group, in spite of the disappearance of the pistol, claimed persistently that it was a suicide and suggested some ingenious reasons to account for the absence of the weapon.
Now when it is known how Marie Bannerman happened to die so savagely and so violently, it would be easy for me, of all people, to say that I believed in Charley Kincaid all the time. But I didn’t. I thought that he had killed her, and at the same time I knew that I loved him with all my heart. That it was I who first happened upon the evidence which set him free was due not to any faith in his innocence but to a strange vividness with which, in moods of excitement, certain scenes stamp themselves on my memory, so that I can remember every detail and how that detail struck me at the time.
It was one afternoon early in July, when the case against Charley Kincaid seemed to be at its strongest, that the horror of the actual murder slipped away from me for a moment and I began to think about other incidents of that same haunted night. Something Marie Bannerman had said to me in the dressing-room persistently eluded me, bothered me—not because I believed it to be important, but simply because I couldn’t remember. It was gone from me, as if it had been a part of the fantastic undercurrent of small-town life which I had felt so strongly that evening, the sense that things were in the air, old secrets, old loves and feuds, and unresolved situations, that I, an outsider, could never fully understand. Just for a minute it seemed to me that Marie Bannerman had pushed aside the curtain; then it had dropped into place again—the house into which I might have looked was dark now forever.
Another incident, perhaps less important, also haunted me. The tragic events of a few minutes after had driven it from everyone’s mind, but I had a strong impression that for a brief space of time I wasn’t the only one to be surprised. When the audience had demanded an encore from Catherine Jones, her unwillingness to dance again had been so acute that she had been driven to the point of slapping the orchestra leader’s face. The discrepancy between his offense and the venom of the rebuff recurred to me again and again. It wasn’t natural—or, more important, it hadn’t seemed natural. In view of the fact that Catherine Jones had been drinking, it was explicable, but it worried me now as it had worried me then. Rather to lay its ghost than to do any investigating, I pressed an obliging young man into service and called on the leader of the band.
His name was Thomas, a very dark, very simple-hearted virtuoso of the traps, and it took less than ten minutes to find out that Catherine Jones’ gesture had surprised him as much as it had me. He had known her a long time, seen her at dances since she was a little girl—why, the very dance she did that night was one she had rehearsed with his orchestra a week before. And a few days later she had come to him and said she was sorry.
“I knew she would,” he concluded. “She’s a right good-hearted girl. My sister Katie was her nurse from when she was born up to the time she went to school.”
“Katie. She’s the maid out at the country-club. Katie Golstien. You been reading ‘bout her in the papers in ‘at Charley Kincaid case. She’s the maid. Katie Golstien. She’s the maid at the country-club what found the body of Miss Bannerman.”
“So Katie was Miss Catherine Jones’ nurse?”
Going home, stimulated but unsatisfied, I asked my companion a quick question.
“Were Catherine and Marie good friends?”
“Oh, yes,” he answered without hesitation. “All the girls are good friends, here, except when two of them are tryin’ to get hold of the same man. Then they warm each other up a little.”
“Why do you suppose Catherine hasn’t married? Hasn’t she got lots of beaux?”
“Off and on. She only likes people for a day or so at a time. That is—all except Joe Cable.”
Now a scene burst upon me, broke over me like a dissolving wave. And suddenly, my mind shivering from the impact, I remembered what Marie Bannerman had said to me in the dressing-room: “Who else was it that saw?” She had caught a glimpse of someone else, a figure passing so quickly that she could not identify it, out of the corner of her eye.
And suddenly, simultaneously, I seemed to see that figure, as if I too had been vaguely conscious of it at the time, just as one is aware of a familiar gait or outline on the street long before there is any flicker of recognition. On the corner of my own eye was stamped a hurrying figure—that might have been Catherine Jones.
But when the shot was fired, Catherine Jones was in full view of over fifty people. Was it credible that Katie Golstien, a woman of fifty, who as a nurse had been known and trusted by three generations of Davis people, would shoot down a young girl in cold blood at Catherine Jones’ command?
“But when the shot was fired, Catherine Jones was in full view of over fifty people.”
That sentence beat in my head all night, taking on fantastic variations, dividing itself into phrases, segments, individual words.
“But when the shot was fired… Catherine Jones was in full view… of over fifty people.”
When the shot was fired! What shot? The shot we heard. When the shot was fired… When the shot was fired…
The next morning at nine o’clock, with the pallor of sleeplessness buried under a quantity of paint such as I had never worn before or have since, I walked up a rickety flight of stairs to the Sheriff’s office.
Abercrombie, engrossed in his morning’s mail, looked up curiously as I came in the door.
“Catherine Jones did it,” I cried, struggling to keep the hysteria out of my voice. “She killed Marie Bannerman with a shot we didn’t hear because the orchestra was playing and everybody was pushing up the chairs. The shot we heard was when Katie fired the pistol out of the window after the music was stopped. To give Catherine an alibi!”
I was right—as everyone now knows; but for a week, until Katie Golstien broke down under a fierce and ruthless inquisition, nobody believed me. Even Charley Kincaid, as he afterward confessed, didn’t dare to think it could be true.
What had been the relations between Catherine and Joe Cable no one ever knew, but evidently she had determined that his clandestine affair with Marie Bannerman had gone too far.
Then Marie chanced to come into the women’s room while Catherine was dressing for her dance—and there again there is a certain obscurity, for Catherine always claimed that Marie got the revolver, threatened her with it and that in the ensuing struggle the trigger was pulled. In spite of everything I always rather liked Catherine Jones, but in justice it must be said that only a simple-minded and very exceptional jury would have let her off with five years. And in just about five years from her commitment my husband and I are going to make a round of the New York musical shows and look hard at all the members of the chorus from the very front row.
After the shooting she must have thought quickly. Katie was told to wait until the music stopped, fire the revolver out the window and then hide it—Catherine Jones neglected to specify where. Katie, on the verge of collapse, obeyed instructions, but she was never able to specify where she had hid the revolver. And no one ever knew until a year later, when Charley and I were on our honeymoon and Sheriff Abercrombie’s ugly weapon dropped out of my golf-bag onto a Hot Springs golf-links. The bag must have been standing just outside the dressing-room door; Katie’s trembling hand had dropped the revolver into the first aperture she could see.
We live in New York. Small towns make us both uncomfortable. Every day we read about the crime-waves in the big cities, but at least a wave is something tangible that you can provide against. What I dread above all things is the unknown depths, the incalculable ebb and flow, the secret shapes of things that drift through opaque darkness under the surface of the sea.
The Red Book Magazine (June 1926)
Перевод: В маленьком городке (На танцах) (Антон Руднев).