Chapter I

It is always disturbing to me when things fall into pattern form, when in fact incidents of real life dovetail with each other in such a manner as to suggest the shape of a story. A story is a nice neat little thing with what is called a “working-up” and a climax, and life is a clumsy, ungraspable thing, very incomplete in its periods, and with a poor sense of climax. In fact, death—which is a very uncertain quantity—is the only definite note it strikes, and even death has an uncomfortable way of setting other things in motion. If, therefore, in telling you about my friend Mrs. Ward, I am driven to the usual shifts of the story-teller, you must believe me that it is because this narrative concerns visions: Mrs. Ward’s visions, my visions, and your visions. Consequently I am dependent upon my own poor powers of transcription to mold these visions into some sort of shape, and am driven into the position of a story-teller against my will.

The first vision, then, concerns the back view of the Sheldrake Road, which, as you know, butts on to the railway embankment near Dalston Junction station. If you are of an adventurous turn of mind you shall accompany me, and we will creep up to the embankment together and look down into these back yards. (We shall be liable to a fine of 40/-, according to a bye-law of the Railway Company, for doing so, but the experience will justify us.)

There are twenty-two of these small buff-brick houses huddled together in this road, and there is surely no more certain way of judging not only the character of the individual inhabitants, but of their mode of life, than by a survey of these somewhat pathetic yards. Is it not, for instance, easy to determine the timid, well-ordered mind of little Miss Porson, the dressmaker at number nine, by its garden of neat mud paths, with its thin patch of meager grass, and the small bed of skimpy geraniums? Cannot one read the tragedy of those dreadful Alleson people at number four? The garden is a wilderness of filth and broken bottles, where even the weeds seem chary of establishing themselves. In fact, if we listen carefully—and the trains are not making too much noise—we can hear the shrill crescendo of Mrs. Alleson’s voice cursing at her husband in the kitchen, the half-empty gin-bottle between them.

The methodical pushfulness and practicability of young Mr. and Mrs. Andrew MacFarlane is evident at number fourteen. They have actually grown a patch of potatoes, and some scarlet-runners, and there is a chicken run near the house.

Those irresponsible people, the O’Neals, have grown a bed of hollyhocks, but for the rest the garden is untidy and unkempt. One could almost swear they were connected in some obscure way with the theatrical profession.

Mrs. Abbot’s garden is a sort of playground. It has asphalt paths, always swarming with small and not too clean children, and there are five lines of washing suspended above the mud. Every day seems to be Mrs. Abbot’s washing-day. Perhaps she “does” for others. Sam Abbot is certainly a lazy, insolent old rascal, and such always seem destined to be richly fertile. Mrs. Abbot is a pleasant “body,” though. The Greens are the swells of the road. George Green is in the grocery line, and both his sons are earning good money, and one daughter has piano lessons. The narrow strip of yard is actually divided into two sections, a flower-garden and a kitchen-garden. And they are the only people who have flower-boxes in the front.

Number eight is a curious place. Old Mr. Bilge lives there. He spends most of his time in the garden, but nothing ever seems to come up. He stands about in his shirt-sleeves, and with a circular paper hat on his head, like a printer. They say he was formerly a corn merchant but has lost all his money. He keeps the garden very neat and tidy, but nothing seems to grow. He stands there staring at the beds, as though he found their barrenness quite unaccountable.

Number eleven is unoccupied, and number twelve is Mrs. Ward’s.

We now come to an important vision, and I want you to come down with me from the embankment and to view Mrs. Ward’s garden from inside, and also Mrs. Ward as I saw her on that evening when I had occasion to pay my first visit.

It had been raining, but the sun had come out. We wandered round the paths together, and I can see her old face now, lined and seamed with years of anxious toil and struggle; her long, bony arms, slightly withered, but moving restlessly in the direction of snails and slugs.

“O dear! O dear!” she was saying. “What with the dogs, and the cats, and the snails, and the trains, it’s wonderful anything comes up at all!”

Mrs. Ward’s garden has a character of its own, and I cannot account for it. There is nothing very special growing—a few pansies and a narrow border of London Pride, several clumps of unrecognizable things that haven’t flowered, the grass patch in only fair order, and at the end of the garden an unfinished rabbit-hutch. But there is about Mrs. Ward’s garden an atmosphere. There is something about it that reflects her placid eye, the calm, somewhat contemplative way she has of looking right through things, as though they didn’t concern her too closely. As though, in fact, she were too occupied with her own inner visions.

“No,” she says in answer to my query, “we don’t mind the trains at all. In fact, me and my Tom we often come out here and sit after supper. And Tom smokes his pipe. We like to hear the trains go by.”

She gazes abstractedly at the embankment.

“I like to hear things ... going on and that. It’s Dalston Junction a little further on. The trains go from there to all parts, right out into the country they do ... ever so far.... My Ernie went from Dalston.”

She adds the last in a changed tone of voice. And now perhaps we come to the most important vision of all—Mrs. Ward’s vision of “my Ernie.”

I ought perhaps to mention that I had never met “my Ernie.” I can only see him through Mrs. Ward’s eyes. At the time when I met her, he had been away at the war for nearly a year. I need hardly say that “my Ernie” was a paragon of sons. He was brilliant, handsome, and incredibly clever. Everything that “my Ernie” said was treasured. Every opinion that he expressed stood. If “my Ernie” liked any one, that person was always a welcome guest. If “my Ernie” disliked any one they were not to be tolerated, however plausible they might appear.

I had seen Ernie’s photograph, and I must confess that he appeared a rather weak, extremely ordinary-looking young man, but then I would rather trust to Mrs. Ward’s visions than the art of any photographer.

Tom Ward was a mild, ineffectual-looking old man, with something of Mrs. Ward’s placidity but with nothing of her strong individual poise. He had some job in a gas-works. There was also a daughter named Lily, a brilliant person who served in a tea-shop, and sometimes went to theaters with young men. To both husband and daughter Mrs. Ward adopted an affectionate, mothering, almost pitying attitude. But with “my Ernie” it was quite a different thing. I can see her stooping figure, and her silver-white hair gleaming in the sun as we come to the unfinished rabbit-hutch, and the curious wistful tones of her voice as she touches it and says:

“When my Ernie comes home....”

The war to her was some unimaginable but disconcerting affair centered round Ernie. People seemed to have got into some desperate trouble, and Ernie was the only one capable of getting them out of it. I could not at that time gauge how much Mrs. Ward realized the dangers the boy was experiencing. She always spoke with conviction that he would return safely. Nearly every other sentence contained some reference to things that were to happen “when my Ernie comes home.” What doubts and fears she had were only recognizable by the subtlest shades in her voice.

When we looked over the wall into the deserted garden next door, she said:

“O dear! I’m afraid they’ll never let that place. It’s been empty since the Stellings went away. Oh, years ago, before this old war.”