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Vladimir Nabokov. The Vane Sisters

© 1959 Copiright by Vladimir Nabokov


I might never have heard of Cynthia's death, had I not run, that night, into D., whom I had also lost track of for the last four years or so; and I might never have run into D. had I not got involved in a series of trivial investigations. The day, a compunctious Sunday after a week of blizzards, had been part jewel, part mud. In the midst of my usual afternoon stroll through the small hilly town attached to the girls' college where I taught French literature, I had stopped to watch a family of brilliant icicles drip-dripping from the eaves of a frame house. So clear-cut were their pointed shadows on the white boards behind them that I was sure the shadows of the falling drops should be visible too. But they were not. The roof jutted too far out, perhaps, or the angle of vision was faulty, or, again, I did not chance to be watching the right icicle when the right drop fell. There was a rhythm, an alternation in the dripping that I found as teasing as a coin trick. It led me to inspect the corners of several house blocks, and this brought me to Kelly Road, and right to the house where D. used to live when he was instructor here. And as I looked up at the eaves of the adjacent garage with its full display of transparent stalactites backed by their blue silhouettes, I was rewarded at last, upon choosing one, by the sight of what might be described as the dot of an exclamation mark leaving its ordinary position to glide down very fast-- a jot faster than the thaw-drop it raced. This twinned twinkle was delightful but not completely satisfying; or rather it only sharpened my appetite for other tidbits of light and shade, and I walked on in a state of raw awareness that seemed to transform the whole of my being into one big eyeball rolling in the world's socket. Through peacocked lashes I saw the dazzling diamond reflection of the low sun on the round back of a parked automobile. To all kinds of things a vivid pictorial sense had been restored by the sponge of the thaw. Water in overlapping festoons flowed down one sloping street and turned gracefully into another. With ever so slight a note of meretricious appeal, narrow passages between buildings revealed treasures of brick and purple. I remarked for the first time the humble fluting-- last echoes of grooves on the shafts of columns-- ornamenting a garbage can, and I also saw the rippling upon its lid-- circles diverging from a fantastically ancient center. Erect, dark-headed shapes of dead snow (left by the blades of a bulldozer last Friday) were lined up like rudimentary penguins along the curbs, above the brilliant vibration of live gutters. I walked up, and I walked down, and I walked straight into a delicately dying sky, and finally the sequence of observed and observant things brought me, at my usual eating time, to a street so distant from my usual eating place that I decided to try a restaurant which stood on the fringe of the town. Night had fallen without sound or ceremony when I came out again. The lean ghost, the elongated umbra cast by a parking meter upon some damp snow, had a strange ruddy tinge; this I made out to be due to the tawny red light of the restaurant sign above the sidewalk; and it was then-- as I loitered there, wondering rather wearily if in the course of my return tramp I might be lucky enough to find the same in neon blue-- it was then that a car crunched to a standstill near me and D. got out of it with an exclamation of feigned pleasure. He was passing, on his way from Albany to Boston, through the town he had dwelt in before, and more than once in my life have I felt that stab of vicarious emotion followed by a rush of personal irritation against travelers who seem to feel nothing at all upon revisiting spots that ought to harass them at every step with wailing and writhing memories. He ushered me back into the bar that I had just left, and after the usual exchange of buoyant platitudes came the inevitable vacuum which he filled with the random words: "Say, I never thought there was anything wrong with Cynthia Vane's heart. My lawyer tells me she died last week."


He was still young, still brash, still shifty, still married to the gentle, exquisitely pretty woman who had never learned or suspected anything about his disastrous affair with Cynthia's hysterical young sister, who in her turn had known nothing of the interview I had had with Cynthia when she suddenly summoned me to Boston to make me swear I would talk to D. and get him "kicked out" if he did not stop seeing Sybil at once-- or did not divorce his wife (whom incidentally she visualized through the prism of Sybil's wild talk as a termagant and a fright). I had cornered him immediately. He had said there was nothing to worry about-- had made up his mind, anyway, to give up his college job and move with his wife to Albany, where he would work in his father's firm; and the whole matter, which had threatened to become one of those hopelessly entangled situations that drag on for years, with peripheral sets of well-meaning friends endlessly discussing it in universal secrecy-- and even founding, among themselves, new intimacies upon its alien woes-- came to an abrupt end. I remember sitting next day at my raised desk in the large classroom where a midyear examination in French Lit. was being held on the eve of Sybil's suicide. She came in on high heels, with a suitcase, dumped it in a corner where several other bags were stacked, with a single shrug slipped her fur coat off her thin shoulders, folded it on her bag, and with two or three other girls stopped before my desk to ask when I would mail them their grades. It would take me a week, beginning from tomorrow, I said, to read the stuff. I also remember wondering whether D. had already informed her of his decision-- and I felt acutely unhappy about my dutiful little student as during 150 minutes my gaze kept reverting to her, so childishly slight in close-fitting gray, and kept observing that carefully waved dark hair, that small, small-flowered hat with a little hyaline veil as worn that season, and under it her small face broken into a cubist pattern by scars due to a skin disease, pathetically masked by a sunlamp tan that hardened her features, whose charm was further impaired by her having painted everything that could be painted, so that the pale gums of her teeth between cherry-red chapped lips and the diluted blue ink of her eyes under darkened lids were the only visible openings into her beauty. Next day, having arranged the ugly copybooks alphabetically, I plunged into their chaos of scripts and came prematurely to Valevsky and Vane, whose books I had somehow misplaced. The first was dressed up for the occasion in a semblance of legibility, but Sybil's work displayed her usual combination of several demon hands. She had begun in very pale, very hard pencil which had conspicuously embossed the black verso, but had produced little of permanent value on the upper side of the page. Happily the tip soon broke, and Sybil continued in another, darker lead, gradually lapsing into the blurred thickness of what looked almost like charcoal, to which, by sucking the blunt point, she had contributed some traces of lipstick. Her work, although even poorer than I had expected, bore all the signs of a kind of desperate conscientiousness, with underscores, transposes, unnecessary footnotes, as if she were intent upon rounding up things in the most respectable manner possible. Then she had borrowed Mary Valevsky's fountain pen and added: "Cette examain est finie ainsi que ma vie. Adieu, jeunes filles! Please, Monsieur le Professeur, contact ma soeur and tell her that Death was not better than D minus, but definitely better than Life minus D." I lost no time in ringing up Cynthia, who told me it was all over-- had been all over since eight in the morning-- and asked me to bring her the note, and when I did, beamed through her tears with proud admiration for the whimsical use ("Just like her!") Sybil had made of an examination in French literature. In no time she "fixed" two highballs, while never parting with Sybil's notebook-- by now splashed with soda water and tears-- and went on studying the death message, whereupon I was impelled to point out to her the grammatical mistakes in it and to explain the way "girl" is translated in American colleges lest students innocently bandy around the French equivalent of "wench," or worse. These rather tasteless trivialities pleased Cynthia hugely as she rose, with gasps, above the heaving surface of her grief. And then, holding that limp notebook as if it were a kind of passport to a casual Elysium (where pencil points do not snap and a dreamy young beauty with an impeccable complexion winds a lock of her hair on a dreamy forefinger, as she meditates over some celestial test), Cynthia led me upstairs to a chilly little bedroom, just to show me, as if I were the police or a sympathetic Irish neighbor, two empty pill bottles and the tumbled bed from which a tender, inessential body, that D. must have known down to its last velvet detail, had been already removed.


It was four or five months after her sister's death that I began seeing Cynthia fairly often. By the time I had come to New York for some vacational research in the Public Library she had also moved to that city, where for some odd reason (in vague connection, I presume, with artistic motives) she had taken what people, immune to gooseflesh, term a "cold water" flat, down in the scale of the city's transverse streets. What attracted me was neither her ways, which I thought repulsively vivacious, nor her looks, which other men thought striking. She had wide-spaced eyes very much like her sister's, of a frank, frightened blue with dark points in a radial arrangement. The interval between her thick black eyebrows was always shiny, and shiny too were the fleshy volutes of her nostrils. The coarse texture of her epiderm looked almost masculine, and, in the stark lamplight of her studio, you could see the pores of her thirty-two-year-old face fairly gaping at you like something in an aquarium. She used cosmetics with as much zest as her little sister had, but with an additional slovenliness that would result in her big front teeth getting some of the rouge. She was handsomely dark, wore a not too tasteless mixture of fairly smart heterogeneous things, and had a so-called good figure; but all of her was curiously frowzy, after a way I obscurely associated with left-wing enthusiasms in politics and "advanced" banalities in art, although, actually, she cared for neither. Her coily hairdo, on a part-and-bun basis, might have looked feral and bizarre had it not been thoroughly domesticated by its own soft unkemptness at the vulnerable nape. Her fingernails were gaudily painted, but badly bitten and not clean. Her lovers were a silent young photographer with a sudden laugh and two older men, brothers, who owned a small printing establishment across the street. I wondered at their tastes whenever I glimpsed, with a secret shudder, the higgledy-piggledy striation of black hairs that showed all along her pale shins through the nylon of her stockings with the scientific distinctness of a preparation flattened under glass; or when I felt, at her every movement, the dullish, stalish, not particularly conspicuous but all-pervading and depressing emanation that her seldom bathed flesh spread from under weary perfumes and creams. Her father had gambled away the greater part of a comfortable fortune, and her mother's first husband had been of Slav origin, but otherwise Cynthia Vane belonged to a good, respectable family. For aught we know, it may have gone back to kings and soothsayers in the mists of ultimate islands. Transferred to a newer world, to a landscape of doomed, splendid deciduous trees, her ancestry presented, in one of its first phases, a white churchfill of farmers against a black thunderhead, and then an imposing array of townsmen engaged in mercantile pursuits, as well as a number of learned men, such as Dr. Jonathan Vane, the gaunt bore (1780-1839), who perished in the conflagration of the steamer Lexington to become later an habituи of Cynthia's tilling table. I have always wished to stand genealogy on its head, and here I have an opportunity to do so, for it is the last scion, Cynthia, and Cynthia alone, who will remain of any importance in the Vane dynasty. I am alluding of course to her artistic gift, to her delightful, gay, but not very popular paintings, which the friends of her friends bought at long intervals-- and I dearly should like to know where they went after her death, those honest and poetical pictures that illumined her living room-- the wonderfully detailed images of metallic things, and my favorite, Seen Through a Windshield-- a windshield partly covered with rime, with a brilliant trickle (from an imaginary car roof) across its transparent part and, through it all, the sapphire flame of the sky and a green-and-white fir tree.


Cynthia had a feeling that her dead sister was not altogether pleased with her-- had discovered by now that she and I had conspired to break her romance; and so, in order to disarm her shade, Cynthia reverted to a rather primitive type of sacrificial offering (tinged, however, with something of Sybil's humor), and began to send to D.'s business address, at deliberately unfixed dates, such trifles as snapshots of Sybil's tomb in a poor light; cuttings of her own hair which was indistinguishable from Sybil's; a New England sectional map with an inked-in cross, midway between two chaste towns, to mark the spot where D. and Sybil had stopped on October the twenty-third, in broad daylight, at a lenient motel, in a pink and brown forest; and, twice, a stuffed skunk. Being as a conversationalist more voluble than explicit, she never could describe in full the theory of intervenient auras that she had somehow evolved. Fundamentally there was nothing particularly new about her private creed since it presupposed a fairly conventional hereafter, a silent solarium of immortal souls (spliced with mortal antecedents) whose main recreation consisted of periodical hoverings over the dear quick. The interesting point was a curious practical twist that Cynthia gave to her tame metaphysics. She was sure that her existence was influenced by all sorts of dead friends each of whom took turns in directing her fate much as if she were a stray kitten which a schoolgirl in passing gathers up, and presses to her cheek, and carefully puts down again, near some suburban hedge-- to be stroked presently by another transient hand or carried off to a world of doors by some hospitable lady. For a few hours, or for several days in a row, and sometimes recurrently, in an irregular series, for months or years, anything that happened to Cynthia, after a given person had died, would be, she said, in the manner and mood of that person. The event might be extraordinary, changing the course of one's life; or it might be a string of minute incidents just sufficiently clear to stand out in relief against one's usual day and then shading off into still vaguer trivia as the aura gradually faded. The influence might be good or bad; the main thing was that its source could be identified. It was like walking through a person's soul, she said. I tried to argue that she might not always be able to determine the exact source since not everybody has a recognizable soul; that there are anonymous letters and Christmas presents which anybody might send; that, in fact, what Cynthia called "a usual day" might be itself a weak solution of mixed auras or simply the routine shift of a humdrum guardian angel. And what about God? Did or did not people who would resent any omnipotent dictator on earth look forward to one in heaven? And wars? What a dreadful idea-- dead soldiers still fighting with living ones, or phantom armies trying to get at each other through the lives of crippled old men. But Cynthia was above generalities as she was beyond logic. "Ah, that's Paul," she would say when the soup spitefully boiled over, or: "I guess good Betty Brown is dead" when she won a beautiful and very welcome vacuum cleaner in a charity lottery. And, with Jamesian meanderings that exasperated my French mind, she would go back to a time when Betty and Paul had not yet departed, and tell me of the showers of well-meant, but odd and quite unacceptable, bounties-- beginning with an old purse that contained a check for three dollars which she picked up in the street and, of course, returned (to the aforesaid Betty Brown-- this is where she first comes in-- a decrepit colored woman hardly able to walk), and ending with an insulting proposal from an old beau of hers (this is where Paul comes in) to paint "straight" pictures of his house and family for a reasonable remuneration-- all of which followed upon the demise of a certain Mrs. Page, a kindly but petty old party who had pestered her with bits of matter-of-fact advice since Cynthia had been a child. Sybil's personality, she said, had a rainbow edge as if a little out of focus. She said that had I known Sybil better I would have at once understood how Sybil-like was the aura of minor events which, in spells, had suffused her, Cynthia's, existence after Sybil's suicide. Ever since they had lost their mother they had intended to give up their Boston home and move to New York, where Cynthia's paintings, they thought, would have a chance to be more widely admired; but the old home had clung to them with all its plush tentacles. Dead Sybil, however, had proceeded to separate the house from its view-- a thing that affects fatally the sense of home. Right across the narrow street a building project had come into loud, ugly, scaffolded life. A pair of familiar poplars died that spring, turning to blond skeletons. Workmen came and broke up the warm-colored lovely old sidewalk that had a special violet sheen on wet April days and had echoed so memorably to the morning footsteps of museum-bound Mr. Lever, who upon retiring from business at sixty had devoted a full quarter of a century exclusively to the study of snails. Speaking of old men, one should add that sometimes these posthumous auspices and interventions were in the nature of parody. Cynthia had been on friendly terms with an eccentric librarian called Porlock who in the last years of his dusty life had been engaged in examining old books for miraculous misprints such as the substitution of / for the second h in the word "hither." Contrary to Cynthia, he cared nothing for the thrill of obscure predictions; all he sought was the freak itself, the chance that mimics choice, the flaw that looks like a flower; and Cynthia, a much more perverse amateur of misshapen or illicitly connected words, puns, logogriphs, and so on, had helped the poor crank to pursue a quest that in the light of the example she cited struck me as statistically insane. Anyway, she said, on the third day after his death she was reading a magazine and had just come across a quotation from an imperishable poem (that she, with other gullible readers, believed to have been really composed in a dream) when it dawned upon her that "Alph"' was a prophetic sequence of the initial letters of Anna Livia Plurabelle (another sacred river running through, or rather around, yet another fake dream), while the additional h modestly stood, as a private signpost, for the word that had so hypnotized Mr. Porlock. And I wish I could recollect that novel or short story (by some contemporary writer, I believe) in which, unknown to its author, the first letters of the words in its last paragraph formed, as deciphered by Cynthia, a message from his dead mother.


I am sorry to say that not content with these ingenious fancies Cynthia showed a ridiculous fondness for spiritualism. I refused to accompany her to sittings in which paid mediums took part: I knew too much about that from other sources. I did consent, however, to attend little farces rigged up by Cynthia and her two poker-faced gentlemen friends of the printing shop. They were podgy, polite, and rather eerie old fellows, but I satisfied myself that they possessed considerable wit and culture. We sat down at a light little table, and crackling tremors started almost as soon as we laid our fingertips upon it. I was treated to an assortment of ghosts that rapped out their reports most readily though refusing to elucidate anything that I did not quite catch. Oscar Wilde came in and in rapid garbled French, with the usual anglicisms, obscurely accused Cynthia's dead parents of what appeared in my jottings as "plagiatisme." A brisk spirit contributed the unsolicited information that he, John Moore, and his brother Bill had been coal miners in Colorado and had perished in an avalanche at "Crested Beauty" in January 1883. Frederic Myers, an old hand at the game, hammered out a piece of verse (oddly resembling Cynthia's own fugitive productions) which in part reads in my notes: What is this-- a conjuror's rabbit, Or aflawy but genuine gleam-- Which can check the perilous habit And dispel the dolorous dream? Finally, with a great crash and all kinds of shudderings and jiglike movements on the part of the table, Leo Tolstoy visited our little group and, when asked to identic himself by specific traits of terrene habitation, launched upon a complex description of what seemed to be some Russian type of architec­ tural woodwork ("figures on boards-- man, horse, cock, man, horse, cock"), all of which was difficult to take down, hard to understand, and impossible to verify. I attended two or three other sittings which were even sillier but I must confess that I preferred the childish entertainment they afforded and the cider we drank (Podgy and Pudgy were teetotalers) to Cynthia's awful house parties. She gave them at the Wheelers' nice flat next door-- the sort of arrangement dear to her centrifugal nature, but then, of course, her own living room always looked like a dirty old palette. Following a barbaric, unhygienic, and adultиrons custom, the guests' coats, still warm on the inside, were carried by quiet, baldish Bob Wheeler into the sanctity of a tidy bedroom and heaped on the conjugal bed. It was also he who poured out the drinks, which were passed around by the young photographer while Cynthia and Mrs. Wheeler took care of the canapиs. A late arrival had the impression of lots of loud people unnecessarily grouped within a smoke-blue space between two mirrors gorged with reflections. Because, I suppose, Cynthia wished to be the youngest in the room, the women she used to invite, married or single, were, at the best, in their precarious forties; some of them would bring from their homes, in dark taxis, intact vestiges of good looks, which, however, they lost as the party progressed. It has always amazed me the ability sociable weekend revelers have of finding almost at once, by a purely empiric but very precise method, a common denominator of drunkenness, to which everybody loyally sticks before descending, all together, to the next level. The rich friendliness of the matrons was marked by tomboyish overtones, while the fixed inward look of amiably tight men was like a sacrilegious parody of pregnancy. Although some of the guests were connected in one way or another with the arts, there was no inspired talk, no wreathed, elbow-propped heads, and of course no flute girls. From some vantage point where she had been sitting in a stranded mermaid pose on the pale carpet with one or two younger fellows, Cynthia, her face varnished with a film of beaming sweat, would creep up on her knees, a proffered plate of nuts in one hand, and crisply tap with the other the athletic leg of Cochran or Corcoran, an art dealer, ensconced, on a pearl-gray sofa, between two flushed, happily disintegrating ladies. At a further stage there would come spurts of more riotous gaiety. Corcoran or Coransky would grab Cynthia or some other wandering woman by the shoulder and lead her into a corner to confront her with a grinning imbroglio of private jokes and rumors, whereupon, with a laugh and a toss of her head, she would break away. And still later there would be flurries of intersexual chumminess, jocular reconciliations, a bare fleshy arm flung around another woman's husband (he standing very upright in the midst of a swaying room), or a sudden rush of flirtations anger, of clumsy pursuit-- and the quiet half-smile of Bob Wheeler picking up glasses that grew like mushrooms in the shade of chairs. After one last party of that sort, I wrote Cynthia a perfectly harmless and, on the whole, well-meant note, in which I poked a little Latin fun at some of her guests. I also apologized for not having touched her whiskey, saying that as a Frenchman I preferred the grape to the grain. A few days later I met her on the steps of the Public Library, in the broken sun, under a weak cloudburst, opening her amber umbrella, struggling with a couple of armpitted books (of which I relieved her for a moment), Footfalls on the Boundary of Another World by Robert Dale Owen, and something on "Spiritualism and Christianity"; when, suddenly, with no provocation on my part, she blazed out at me with vulgar vehemence, using poisonous words, saying-- through pear-shaped drops of sparse rain-- that I was a prig and a snob; that I only saw the gestures and disguises of people; that Corcoran had rescued from drowning, in two different oceans, two men-- by an irrelevant coincidence both called Corcoran; that romping and screeching loan Winter had a little girl doomed to grow completely blind in a few months; and that the woman in green with the frecided chest whom I had snubbed in some way or other had written a national best-seller in 1932. Strange Cynthia! I had been told she could be thunderously rude to people whom she liked and respected; one had, however, to draw the line somewhere and since I had by then sufficiently studied her interesting auras and other odds and ids, I decided to stop seeing her altogether.


The night D. informed me of Cynthia's death I returned after eleven to the two-story house I shared, in horizontal section, with an emeritus professor's widow. Upon reaching the porch I looked with the apprehension of solitude at the two kinds of darkness in the two rows of windows: the darkness of absence and the darkness of sleep. I could do something about the first but could not duplicate the second. My bed gave me no sense of safety; its springs only made my nerves bounce. I plunged into Shakespeare's sonnets-- and found myself idiotically checking the first letters of the lines to see what sacramental words they might form. I got FATE (LXX), ATOM (CXX), and, twice, TAFT (LXXXVIII, CXXXI). Every now and then I would glance around to see how the objects in my room were behaving. It was strange to think that if bombs began to fall I would feel little more than a gambler's excitement (and a great deal of earthy relief) whereas my heart would burst if a certain suspiciously tense-looking little bottle on yonder shelf moved a fraction of an inch to one side. The silence, too, was suspiciously compact as if deliberately forming a black backdrop for the nerve flash caused by any small sound of unknown origin. All traffic was dead. In vain did I pray for the groan of a truck up Perkins Street. The woman above who used to drive me crazy by the booming thuds occasioned by what seemed monstrous feet of stone (actually, in diurnal life, she was a small dumpy creature resembling a mummified guinea pig) would have earned my blessings had she now trudged to her bathroom. I put out my light and cleared my throat several times so as to be responsible for at least that sound. I thumbed a mental ride with a very remote automobile but it dropped me before I had a chance to doze off. Presently a crackle (due, I hoped, to a discarded and crushed sheet of paper opening like a mean, stubborn night flower) started and stopped in the wastepaper basket, and my bed table responded with a little click. It would have been just like Cynthia to put on right then a cheap poltergeist show. I decided to fight Cynthia. I reviewed in thought the modern era of raps and apparitions, beginning with the knockings of 1848, at the hamlet of Hydesville, New York, and ending with grotesque phenomena at Cambridge, Massachusetts; I evoked the ankle bones and other anatomical castanets of the Fox sisters (as described by the sages of the University of Buffalo); the mysteriously uniform type of delicate adolescent in bleak Epworth or Tedworth, radiating the same disturbances as in old Peru; solemn Victorian orgies with roses falling and accordions floating to the strains of sacred music; professional impostors regurgitating moist cheesecloth; Mr. Duncan, a lady medium's dignified husband, who, when asked if he would submit to a search, excused himself on the ground of soiled underwear; old Alfred Russel Wallace, the naive naturalist, refusing to believe that the white form with bare feet and unperforated earlobes before him, at a private pandemonium in Boston, could be prim Miss Cook whom he had just seen asleep, in her curtained corner, all dressed in black, wearing laced-up boots and earrings; two other investigators, small, puny, but reasonably intelligent and active men, closely clinging with arms and legs about Eusapia, a large, plump elderly female reeking of garlic, who still managed to fool them; and the skeptical and embarrassed magician, instructed by charming young Margery's "control" not to get lost in the bathrobe's lining but to follow up the left stocking until he reached the bare thigh-- upon the warm skin of which he felt a "teleplastic" mass that appeared to the touch uncommonly like cold, uncooked liver.


I was appealing to flesh, and the corruption of flesh, to refute and defeat the possible persistence of discarnate life. Alas, these conjurations only enhanced my fear of Cynthia's phantom. Atavistic peace came with dawn, and when I slipped into sleep the sun through the tawny window shades penetrated a dream that somehow was full of Cynthia. This was disappointing. Secure in the fortress of daylight, I said to myself that I had expected more. She, a painter of glass-bright minutiae-- and now so vague! I lay in bed, thinking my dream over and listening to the sparrows outside: Who knows, if recorded and then run backward, those bird sounds might not become human speech, voiced words, just as the latter become a twitter when reversed? I set myself to reread my dream-- backward, diagonally, up, down-- trying hard to unravel something Cynthia-like in it, something strange and suggestive that must be there. I could isolate, consciously, little. Everything seemed blurred, yellow-clouded, yielding nothing tangible. Her inept acrostics, maudlin evasions, theopathies-- every recollection formed ripples of mysterious meaning. Everything seemed yellowly blurred, illusive, lost. 1951

Last-modified: Mon, 12 Jan 1998 20:24:07 GMT
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