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The Brass Bowl by Louis Joseph Vance

L >> Louis Joseph Vance >> The Brass Bowl

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The girl laughed quietly and passed through the gateway (which was closed
behind her) into the basement hall, where she lingered a brief moment.

"My father, Annie?" she inquired.

"He ain't--hasn't stirred since you went out, Miss Sylvia. He's sleepin'
peaceful as a lamb."

"Everything is all right, then?"

"Now that you're home, it is, praises be!" The servant secured the inner
door and turned up the gas. "Not if I was to be given notice to-morrow
mornin'," she announced firmly, "will I ever consent to be a party to such
goin's-on another night."

"There will be no occasion, Annie," said the girl. "Thank you, and--good
night."

A resigned sigh,--"Good night, Miss Sylvia,"--followed her up the stairs.

She went very cautiously, careful to brush against no article of movable
furniture in the halls, at pains to make no noise on the stairs. At the
door of her father's room on the second floor she stopped and listened for
a full moment; but he was sleeping as quietly, as soundly, as the servant
had declared. Then on, more hurriedly, up another flight, to her own room,
where she turned on the electric bulb in panic haste. For it had just
occurred to her that the telephone bell might ring before she could change
her clothing and get down-stairs and shut herself into the library, whose
closed door would prevent the bell from being audible through the house.

In less than ten minutes she was stealing silently down to the
drawing-room floor again, quiet as a spirit of the night. The library door
shut without a sound: for the first time she breathed freely. Then,
pressing the button on the wall, she switched on the light in the
drop-lamp on the center-table. The telephone stood beside it.

She drew up a chair and sat down near the instrument, ready to lift the
receiver off its hook the instant the bell began to sound; and waited, the
soft light burning in the loosened tresses of her hair, enhancing the soft
color that pulsed in her cheeks, fading before the joy that lived in her
eyes when she hoped....

For she dared hope--at times; and at times could not but fear. So greatly
had she dared, who greatly loved, so heavy upon her untarnished heart was
the burden of the sin that she had put upon it, because she loved....
Perhaps he would not call; perhaps the world was to turn cold and be for
ever grey to her eyes. He was even then deciding; at that very moment her
happiness hung in the scales of his mercy. If he could forgive....

There was a click. And her face flamed scarlet, as hastily she lifted the
receiver to her ear. The armature buzzed sharply. Then Central's voice cut
the stillness.

"Hello! Nine-o-five-one?"

"Yes...."

"Wait a minute."

She waited, breathless, in a quiver. The silence sang upon the wire, the
silence of the night through which he was groping toward her....

"Hello! Is this Nine-o--"

"Yes, yes!"

"Is this the residence of Alexander C. Graeme?"

"Yes." The syllable almost choked her.

"Is this Miss Graeme at the 'phone?"

"It is."

"Miss Sylvia Graeme?"

"Yes."

"This is Daniel Maitland ... Sylvia!"

"As if I did not know your voice!" she cried involuntarily.

There followed a little pause; and in her throat the pulses tightened and
drummed.

"I have opened the bag, Sylvia...."

"Please go on."

"And I've sounded the depths of your hideous infamy!"

"Oh!" He was laughing.

"I've done more. I've made a burnt offering, within the last five minutes.
Can you guess what it is?"

"I--I--don't want to guess! I want to be told."

"A burnt offering on the altar of your happiness, dear. The papers in the
case of the Dougherty Investment Company no longer exist."

"Dan!"

"Sylvia.... Does it please you?"

"Don't you _know_?... How can it do anything but please me? If you
knew how I have suffered because my father suffered, fearing the.... No,
but you must listen! Dan, it was wearing him down to his grave, and I
thought--"

"You thought that if you could get the papers and give them to him--"

"Yes. I could see no harm, because he was as innocent as you--"

"Of course. But why didn't you ask me?"

"_He_ did, and you refused."

"But how could I tell, Sylvia, that you were his daughter, and that I
should--"

"Hush! Central will hear!"

"Central's got other things to do, besides listening to early morning
confabulations. I love you."

"Dan...."

"Yes?"

"I love--to hear you say so, dear."

"Please say that last word over again. I didn't get it."

"Dear...."

"And that means that you'll marry me?"

A pause.

"I say, that means--"

"I heard you, Dan."
"But it does, doesn't it?"

"Yes."

"When?"

"Whenever you please."

"I'll come up now."

"Don't be a silly."

"Well, when then? To-day?"

"Yes--_no_!"

"But when?"

"To-morrow--I mean next week--I mean next month."

"No; to-day at four. I'll call for you."

"But, Dan...."

"Sweetheart!"

"But you mustn't!... How can I--"

"Easily enough. There's the Little-Church-Around-the-Corner--"

"But I've nothing to wear!"

"Oh!"

Another pause.

"Dan.... You don't wish it--truly?"

"I do wish it, truly. To-day, at four. The Church of the Transfiguration.
Yes, I'll scare up a best man if you'll find bridesmaids. Now you will,
won't you?"

"I--if you wish it, dear."

"I'll have to ask you to repeat that."

"I shan't. There!"

"Very well," meekly. "But will you tell me one thing, please?"

"What is it?"

"Where on earth did you get hold of that kit of tools?"

She laughed softly. "My big Brother caught a burglar once, and kept the
kit for a remembrance. I borrowed them."

"Give me your big brother's address and I'll send 'em back with my
thanks--No, by George! I won't, either. I've as much right to keep 'em as
he has on _that_ principle."

And again she laughed, very gently and happily. Dear God, that such
happiness could come to one!

"Sylvia?"

"Yes, dear?"

"Do you love me?"

"I think you may believe it, when I sit here at four o'clock in the
morning, listening to a silly boy talk nonsense over a telephone wire."

"But I want to hear you say so!"

"But Central--"

"I tell you Central has other things to do!"

At this juncture the voice of Central, jaded and acidulated, broke in
curtly:

"Are you through?"







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A Stephen King fan has published an 80-page version of the book which novelist Jack Torrance obsessively writes during King's The Shining, where his descent into madness is revealed when his wife discovers that his work consists of just one phrase, endlessly repeated.

Torrance, played by Jack Nicholson in terrifying form in Stanley Kubrick's 1980 film, is a frustrated writer who goes with his wife and son to spend the winter in the isolated Overlook Hotel in an attempt to get the novel he has always wanted to write started. But the hotel's grisly past and unquiet ghosts have their way with him, and his wife Wendy eventually finds that the manuscript he has been working on actually only contains the phrase "All work and no play makes Jack a dull boy", typed over and over again.

Now New York artist Phil Buehler, who describes himself as "a big fan of Stanley Kubrick and Stephen King", has self-published a book credited to Torrance, repeating the phrase throughout but formatting each page differently, using the words to create different shapes from zigzags to spirals.

"The idea has probably been marinating for years, because I loved the movie and the Stephen King book," said Buehler. "I'd just finished my own obsessive art project [and] it was an idea I had over the Christmas holidays."

He said he decided to stick to type and formatting that could have been created on a typewriter, with the first ten pages duplicating shots of Torrance's work from the film. "I thought 'if he continues to get crazier, what would those pages look like?'" he said. "I hit writer's block about 60 pages in, and I had to get to 80 - that went on for about a week." His fiancée, who had neither read the book nor seen the film, became a little concerned about his actions. "I finally showed her the movie, and she realised I wasn't really losing it," said Buehler.

He's included a spoof review from the blog OverThinkingIt.com on the book's back jacket, which compares it to "the best of Beckett" in its "lack of forward momentum", and considers the struggles of the author, "heroically pitting himself against the Sisyphusean sentence". "It's that metatextual struggle of Man vs. Typewriter that gives this book its spellbinding power," the review says. "Some will dismiss it as simplistic; that's like dismissing a Pollack canvas as mere splatters of paint."

So far, Buehler says that around 1,000 people have viewed the book, for sale on Blurb.com for $8.95 in paperback, or $22.95 in hardback, and he's sold "a few" copies, with sales now starting to pick up steam. "A few people have asked me to sign it - they're looking it as a piece of art rather than a funny thing to give to a Kubrick fan," he said. "If you're not a Kubrick or King fan, you might not even get it."

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