Short story: "The Stare" by John Wyndham

From the archive at SciFi.com--well worth exploring.

The Stare
by John Wyndham

"A most objectionable habit," declared the Major emphatically.

"I always say," ventured Rodgers, "that the only way to deal with a man who stares persistently is to stare back at him."

The Major looked at him unkindly.

"You would. And if he 'always says' the same thing, I suppose you continue to glare at one another for hours on end."

White joined in the conversation.

"It's not," he said, "the plain, straight-in-the-face stare which troubles me as much as the oblique method—I mean the kind of stare which looks firmly on to your tie or shoes and stays there. All I can do when I meet it is to wriggle unhappily and wonder whether anything has come adrift."

"Men don't like being stared at, but women don't like not being stared at," said Rodgers with the air of one making a contribution to philosophy.


· · · · ·


The Major groaned. "There can be few men with such a fund of generalizations, but this time I'm bound to admit that there's something in it."

"Undoubtedly most women prefer molestation to indifference," White agreed.

Berridge's lazy voice drifted into their talk.

"I know a number of women who don't care for being stared at, and one who can't stand it—in fact, she definitely hates it."

"Of course, there are exceptions," admitted the Major, "or we should be in the unthinkable position of having Rodgers always right. But you can hardly call this lady normal."

"Well, if you call hurt pride an abnormality—"

"Let's have the story," White suggested.

"It dates from an evening six or seven years ago.The place was New York, and her name is Mary," Berridge began in his quiet manner.

"She had been to the theatre and to supper with friends. Since her destination was not the same as theirs, she decided to go home alone on the subway—as they call the New York Underground.

"By day the subway is a mass of men and women all apparently ten minutes behind time, but late at night it echoes with a dreary desolation, and the trains seem to rattle and crash indecently through a world more than half dead."


· · · · ·


"Mary, her mind still full of an indigestible play, could preserve an indifference to the mere sordidness of her surroundings, but she did notice that there were depressingly few travellers scattered around the car she boarded. At each stop there followed a further depopulation until, four of five stations later, she realized suddenly that she was alone save for three men who sat facing her. The middle member of this trio was staring in a fixed manner.

"Now, though Mary was well used to stares and chose to take them as compliments, yet, on this occasion, she was not flattered. The starer was a flashy production, striped hat-band to chrome yellow shoes. His lips hung slightly apart and gave to his whole countenance an unattractive vacancy. But his eyes were piercing. Pupil and iris had combined into a bright blackness to glare out at her from vivid whites.

"Mary hummed a tuneless little tune and tried to find something interesting to look at, but her eyes were drawn back to the man opposite. She assumed a forbidding expression of indignation, which failed to have any effect. Her distaste began to give way to neutral discomfort—she felt somehow as though she were being mentally undressed. His eyes cut into her, and through her. Without a quiver they out-stared her."


· · · · ·


"The man's two companions seemed unaware of his rudeness. They sat beside him, each with an arm firmly linked in his, only turning to exchange an occasional word behind his unmoving head. Mary's decision to alight at the next station was postponed by the entry of a man and a woman, bringing her a new supply of courage. They sat down beside her, and the train continued; so did the stare.

"A minute or two later she became aware that the newcomer was addressing her.

"'Perhaps,' he suggested, 'you would like to look at the evening paper?'

"'Thank you,' she replied gratefully. It was a kind thought; a screen from the stare. Not until she raised it did she notice scrawled pencil marks across the columns. The writing was jerky by reason of the trains' motion, but with difficulty she managed to read:

"'I think you had better get out with us at the next stop.'

"She looked questioningly at her neighbour, and he gave a slight nod.

"There was apologetic explanation in his tone as they stood on the platform and watched the train recede.

"'I'm sorry if I alarmed you,' he said, 'but my reason was the man opposite to us. Did you notice him?'

"'Notice him? Why, the creature had been staring at me in a loathsome, horrible way ever since I got in.'

"The man looked at her and shook his head.

"'No, I'm afraid you are wrong there. You see, I'm a doctor, and I assure you that the man was not staring at you—as a matter of fact, he was stone dead.'"

Berridge paused for a moment, then he added:

"Such a wound in one's pride is hard to heal—Mary still feels a little foolish when anyone stares at her."

The End

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Short Story: Ursula Leguin, "The Ones Who Walk Away From Omelas"

This week's short story comes from the well-known fantasy/SF author Ursula LeGuin.

I really should read more LeGuin--I loved The Dispossessed and enjoyed The Earthsea Quartet. There is about to be released in Australian cinemas Tales from Earthsea, an anime loosely based on LeGuin's Earthsea novels.

"The Ones Who Walk Away From Omelas" is an allegory. It describes a utopian civilisation in which the happiness and good fortune of its citizens depends upon the misery of a child kept locked away in an underground dungeon. All of the citizens are aware of the situation; every now and then, some of them "walk away from Omelas," never to return.

Some argue that LeGuin is offering a critique of utilitarianism by way of a thought experiment: could you abide a situation of almost universal contentment, knowing that it was predicated on the suffering of the few? Or would you find yourself among the "ones who walk away from Omelas?" I think there might be a message in here for Aspirational Australia; perhaps you will take away something different.

The story (via The Healing Carnival) is below the fold:

The Ones Who Walk Away From Omelas (Variations on a theme by William James)

With a clamor of bells that set the swallows soaring, the Festival of Summer came to the city Omelas, bright-towered by the sea. The ringing of the boats in harbor sparkled with flags. In the streets between houses with red roofs and painted walls, between old moss-grown gardens and under avenues of trees, past great parks and public buildings, processions moved. Some were decorous: old people in long stiff robes of mauve and gray, grave master workmen, quiet, merry women carrying their babies and chatting as they walked. In other streets the music beat faster, a shimmering of gong and tambourine, and the people went dancing, the procession was a dance. Children dodged in and out, their high calls rising like the swallows' crossing flights over the music and the singing. All the processions wound towards the north side of the city, where on the great water-meadow called the Green Fields boys and girls, naked in the bright air, with mud-stained feet and ankles and long, lithe arms, exercised their restive horses before the race. The horses wore no gear at all but a halter without bit. Their manes were braided with streamers of silver, gold, and green. They flared their nostrils and pranced and boasted to one another; they were vastly excited, the horse being the only animal who has adopted our ceremonies as his own. Far off to the north and west the mountains stood up half encircling Omelas on her bay. The air of morning was so clear that the snow still crowning the Eighteen Peaks burned with white-gold fire across the miles of sunlit air, under the dark blue of the sky. There was just enough wind to make the banners that marked the racecourse snap and flutter now and then. In the silence of the broad green meadows one could hear the music winding throughout he city streets, farther and nearer and ever approaching, a cheerful faint sweetness of the air from time to time trembled and gathered together and broke out into the great joyous clanging of the bells.

Joyous! How is one to tell about joy? How describe the citizens of Omelas?

They were not simple folk, you see, though they were happy. But we do not say the words of cheer much any more. All smiles have become archaic. Given a description such as this one tends to make certain assumptions. Given a description such as this one tends to look next for the King, mounted on a splendid stallion and surrounded by his noble knights, or perhaps in a golden litter borne by great-muscled slaves. But there was no king. They did not use swords, or keep slaves. They were not barbarians, I do not know the rules and laws of their society, but I suspect that they were singularly few. As they did without monarchy and slavery, so they also got on without the stock exchange, the advertisement, the secret police, and the bomb. Yet I repeat that these were not simple folk, not dulcet shepherds, noble savages, bland utopians. They were not less complex than us.

The trouble is that we have a bad habit, encouraged by pedants and sophisticates, of considering happiness as something rather stupid. Only pain is intellectual, only evil interesting. This is the treason of the artist: a refusal to admit the banality of evil and the terrible boredom of pain. If you can't lick 'em, join 'em. If it hurts, repeat it. But to praise despair is to condemn delight, to embrace violence is to lose hold of everything else. We have almost lost hold; we can no longer describe happy man, nor make any celebration of joy. How can I tell you about the people of Omelas? They were not naive and happy children--though their children were, in fact, happy. They were mature, intelligent, passionate adults whose lives were not wretched. O miracle! But I wish I could describe it better. I wish I could convince you. Omelas sounds in my words like a city in a fairy tale, long ago and far away, once upon a time. Perhaps it would be best if you imagined it as your own fancy bids, assuming it will rise to the occasion, for certainly I cannot suit you all. For instance, how about technology? I think that there would be no cars or helicopters in and above the streets; this follows from the fact that the people of Omelas are happy people. Happiness is based on a just discrimination of what is necessary, what is neither necessary nor destructive, and what is destructive. In the middle category, however--that of the unnecessary but undestructive, that of comfort, luxury, exuberance, etc.--they could perfectly well have central heating, subway trains, washing machines, and all kinds of marvellous devices not yet invented here, floating light-sources, fuelless power, a cure for the common cold. Or they could have none of that: it doesn't matter. As you like it. I incline to think that people from towns up and down the coast have been coming to Omelas during the last days before the Festival on very fast little trains and double-decked trams, and that the train station of Omelas is actually the handsomest building in town, though plainer than the magnificent Farmers' Market. But even granted trains, I fear that Omelas so far strikes some of you as goody-goody. Smiles, bells, parades, horses, bleh. If so, please add an orgy. If an orgy would help, don't hesitate. Let us not, however, have temples from which issue beautiful nude priests and priestesses already half in ecstasy and ready to copulate with any man or woman, lover or stranger, who desires union with the deep godhead of the blood, although that was my first idea. But really it would be better not to have any temples in Omelas--at least, not manned temples. Religion yes, clergy no. Surely the beautiful nudes can just wander about, offering themselves like divine soufflés to the hunger of the needy and the rapture of the flesh. Let them join the processions. Let tambourines be struck above the copulations, and the gory of desire be proclaimed upon the gongs, and (a not unimportant point) let the offspring of these delightful rituals be beloved and looked after by all. One thing I know there is none of in Omelas is guilt. But what else should there be? I thought at first there were no drugs, but that is puritanical. For those who like it, the faint insistent sweetness of drooz may perfume the ways of the city, drooz which first brings a great lightness and brilliance to the mind and limbs, and then after some hours a dreamy languor, and wonderful visions at last of the very arcane and inmost secrets of the Universe, as well as exciting the pleasure of sex beyond all belief; and it is not habit-forming. For more modest tastes I think there ought to be beer. What else, what else belongs in the joyous city? The sense of victory, surely, the celebration of courage. But as we did without clergy, let us do without soldiers. The joy built upon successful slaughter is not the right kind of joy; it will not do; it is fearful and it is trivial. A boundless and generous contentment, a magnanimous triumph felt not against some outer enemy but in communion with the finest and fairest in the souls of all men everywhere and the splendor of the world's summer: This is what swells the hears of the people of Omelas, and the victory they celebrate is that of life. I don't think many of them need to take drooz.

Most of the processions have reached the Green Fields by now. A marvellous smell of cooking goes forth from the red and blue tents of the provisioners. The faces of small children are amiably sticky; in the benign gray beard of a man a couple of crumbs of rich pastry are entangled. The youths and girls have mounted their horses and are beginning to group around the starting line of the course. An old woman, small, fat, and laughing, is passing out flowers from a basket, and tall young men wear her flowers in their shining hair. A child of nine or ten sits at the edge of the crowd alone, playing on a wooden flute.

People pause to listen, and they smile, but they do not speak to him, for he never ceases playing and never sees them, his dark eyes wholly rapt in the sweet, thing magic of the tune.
He finishes, and slowly lowers his hands holding the wooden flute.

As if that little private silence were the signal, all at once a trumpet sounds from the pavilion near the starting line: imperious, melancholy, piercing. The horses rear on their slender legs, and some of them neigh in answer. Sober-faced, the young riders stroke the horses' necks and soothe them, whispering. "Quiet, quiet, there my beauty, my hope..." They begin to form in rank along the starting line. The crowds along the racecourse are like a field of grass and flowers in the wind. The Festival of Summer has begun.

Do you believe? Do you accept the festival, the city, the joy? No? Then let me describe one more thing.

In a basement under one of the beautiful public buildings of Omelas, or perhaps in the cellar of one of its spacious private homes, there is a room. It has one locked door, and no window. A little light seeps in dustily between cracks in the boards, secondhand from a cobwebbed window somewhere across the cellar. In one corner of the little room a couple of mops, with stiff, clotted, foul-smelling heads, stand near a rusty bucket. The floor is dirt, a little damp to the touch, as cellar dirt usually is.

The room is about three paces long and two wide: a mere broom closet or disused tool room. In the room, a child is sitting. It could be a boy or a girl. It looks about six, but actually is nearly ten. It is feeble-minded. Perhaps it was born defective, or perhaps it has become imbecile through fear, malnutrition, and neglect. It picks its nose and occasionally fumbles vaguely with its toes or genitals, as it sits hunched in the corner farthest from the bucket and the two mops. It is afraid of the mops. It finds them horrible. It shuts its eyes, but it knows the mops are still standing there; and the door is locked; and nobody will come. The door is always locked; and nobody ever comes, except that sometimes--the child has no understanding of time or interval--sometimes the door rattles terribly and opens, and a person, or several people, are there. One of them may come in and kick the child to make it stand up. The others never come close, but peer in at it with frightened, disgusted eyes. The food bowl and the water jug are hastily filled, the door is locked; the eyes disappear. The people at the door never say anything, but the child, who has not always lived in the tool room, and can remember sunlight and its mother's voice, sometimes speaks. "I will be good, " it says. "Please let me out. I will be good!" They never answer. The child used to scream for help at night, and cry a good deal, but now it only makes a kind of whining, "eh-haa, eh-haa," and it speaks less and less often. It is so thin there are no calves to its legs; its belly protrudes; it lives on a half-bowl of corn meal and grease a day. It is naked. Its buttocks and thighs are a mass of festered sores, as it sits in its own excrement continually.

They all know it is there, all the people of Omelas. Some of them have come to see it, others are content merely to know it is there. They all know that it has to be there. Some of them understand why, and some do not, but they all understand that their happiness, the beauty of their city, the tenderness of their friendships, the health of their children, the wisdom of their scholars, the skill of their makers, even the abundance of their harvest and the kindly weathers of their skies, depend wholly on this child's abominable misery.

This is usually explained to children when they are between eight and twelve, whenever they seem capable of understanding; and most of those who come to see the child are young people, though often enough an adult comes, or comes back, to see the child. No matter how well the matter has been explained to them, these young spectators are always shocked and sickened at the sight. They feel disgust, which they had thought themselves superior to. They feel anger, outrage, impotence, despite all the explanations. They would like to do something for the child. But there is nothing they can do. If the child were brought up into the sunlight out of that vile place, if it were cleaned and fed and comforted, that would be a good thing, indeed; but if it were done, in that day and hour all the prosperity and beauty and delight of Omelas would wither and be destroyed. Those are the terms. To exchange all the goodness and grace of every life in Omelas for that single, small improvement: to throw away the happiness of thousands for the chance of happiness of one: that would be to let guilt within the walls indeed.

The terms are strict and absolute; there may not even be a kind word spoken to the child.
Often the young people go home in tears, or in a tearless rage, when they have seen the child and faced this terrible paradox. They may brood over it for weeks or years. But as time goes on they begin to realize that even if the child could be released, it would not get much good of its freedom: a little vague pleasure of warmth and food, no real doubt, but little more. It is too degraded and imbecile to know any real joy. It has been afraid too long ever to be free of fear. Its habits are too uncouth for it to respond to humane treatment. Indeed, after so long it would probably be wretched without walls about it to protect it, and darkness for its eyes, and its own excrement to sit in. Their tears at the bitter injustice dry when they begin to perceive the terrible justice of reality, and to accept it. Yet it is their tears and anger, the trying of their generosity and the acceptance of their helplessness, which are perhaps the true source of the splendor of their lives. Theirs is no vapid, irresponsible happiness. They know that they, like the child, are not free. They know compassion. It is the existence of the child, and their knowledge of its existence, that makes possible the nobility of their architecture, the poignancy of their music, the profundity of their science. It is because of the child that they are so gentle with children. They know that if the wretched one were not there snivelling in the dark, the other one, the flute-player, could make no joyful music as the young riders line up in their beauty for the race in the sunlight of the first morning of summer.

Now do you believe them? Are they not more credible? But there is one more thing to tell, and this is quite incredible.

At times one of the adolescent girls or boys who go see the child does not go home to weep or rage, does not, in fact, go home at all. Sometimes also a man or a woman much older falls silent for a day or two, then leaves home. These people go out into the street, and walk down the street alone. They keep walking, and walk straight out of the city of Omelas, through the beautiful gates. They keep walking across the farmlands of Omelas. Each one goes alone, youth or girl, man or woman.

Night falls; the traveller must pass down village streets, between the houses with yellow-lit windows, and on out into the darkness of the fields. Each alone, they go west or north, towards the mountains. They go on. They leave Omelas, they walk ahead into the darkness, and they do not come back. The place they go towards is a place even less imaginable to most of us than the city of happiness. I cannot describe it at all. It is possible that it does not exist. But they seem to know where they are going, the ones who walk away from Omelas.
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Short story: the Marquis de Sade's "Dialogue Between a Priest and a Dying Man"

This is actually a dialogue rather than a story. A priest is giving the last rites to a dying man who repents that he has not taken full advantage of the fact that he was "created by Nature with the keenest appetites and the strongest of passions and was put on this earth with the sole purpose of placating both by surrendering to them." The dying man then proceeds to state his case for atheism.

Despite the fact that the dying man seems not to have heard of the is-ought fallacy, he makes some good arguments that resonate well with current debates. His opponent is probably an unfair strawman, but I have heard a Christian apologist in a recent debate with Christopher Hitchens advance at least one of the priest's counter-arguments--the notion that the world has been created "broken" as an answer to the problem of evil.

The dialogue is far too long to reproduce here, so I'll just provide a link to the PDF:

"Dialogue Between a Priest and a Dying Man"

Of course, more than just atheists have been influenced by de Sade's ideas:


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Short story: "Incident in the life of Mr. George Crookhill" by Thomas Hardy

Source: University of Aberdeen

This is actually an extract from a larger story, "A Few Crusted Characters," first published in an anthology by the name of Life's Little Ironies. (And when you read it, you'll see why.)

Incident in the life of Mr. George Crookhill

‘One day,’ the registrar continued, ‘Georgy was ambling out of Melchester on a miserable screw, the fair being just over, when he saw in front of him a fine-looking young farmer riding out of the town in the same direction. He was mounted on a good strong handsome animal, worth fifty guineas if worth a crown. When they were going up Bissett Hill, Georgy made it his business to overtake the young farmer. They passed the time o’ day to one another; Georgy spoke of the state of the roads, and jogged alongside the well-mounted stranger in very friendly conversation. The farmer had not been inclined to say much to Georgy at first, but by degrees he grew quite affable too—as friendly as Georgy was toward him. He told Crookhill that he had been doing business at Melchester fair, and was going on as far as Shottsford–Forum that night, so as to reach Casterbridge market the next day. When they came to Woodyates Inn they stopped to bait their horses, and agreed to drink together; with this they got more friendly than ever, and on they went again. Before they had nearly reached Shottsford it came on to rain, and as they were now passing through the village of Trantridge, and it was quite dark, Georgy persuaded the young farmer to go no further that night; the rain would most likely give them a chill. For his part he had heard that the little inn here was comfortable, and he meant to stay. At last the young farmer agreed to put up there also; and they dismounted, and entered, and had a good supper together, and talked over their affairs like men who had known and proved each other a long time. When it was the hour for retiring they went upstairs to a double-bedded room which Georgy Crookhill had asked the landlord to let them share, so sociable were they.

‘Before they fell asleep they talked across the room about one thing and another, running from this to that till the conversation turned upon disguises, and changing clothes for particular ends. The farmer told Georgy that he had often heard tales of people doing it; but Crookhill professed to be very ignorant of all such tricks; and soon the young farmer sank into slumber.

‘Early in the morning, while the tall young farmer was still asleep (I tell the story as ’twas told me), honest Georgy crept out of his bed by stealth, and dressed himself in the farmer’s clothes, in the pockets of the said clothes being the farmer’s money. Now though Georgy particularly wanted the farmer’s nice clothes and nice horse, owing to a little transaction at the fair which made it desirable that he should not be too easily recognized, his desires had their bounds: he did not wish to take his young friend’s money, at any rate more of it than was necessary for paying his bill. This he abstracted, and leaving the farmer’s purse containing the rest on the bedroom table, went downstairs. The inn folks had not particularly noticed the faces of their customers, and the one or two who were up at this hour had no thought but that Georgy was the farmer; so when he had paid the bill very liberally, and said he must be off, no objection was made to his getting the farmer’s horse saddled for himself; and he rode away upon it as if it were his own.

‘About half an hour after the young farmer awoke, and looking across the room saw that his friend Georgy had gone away in clothes which didn’t belong to him, and had kindly left for himself the seedy ones worn by Georgy. At this he sat up in a deep thought for some time, instead of hastening to give an alarm. “The money, the money is gone,” he said to himself, “and that’s bad. But so are the clothes.”

‘He then looked upon the table and saw that the money, or most of it, had been left behind.

‘“Ha, ha, ha!” he cried, and began to dance about the room. “Ha, ha, ha!” he said again, and made beautiful smiles to himself in the shaving glass and in the brass candlestick; and then swung about his arms for all the world as if he were going through the sword exercise.

‘When he had dressed himself in Georgy’s clothes and gone downstairs, he did not seem to mind at all that they took him for the other; and even when he saw that he had been left a bad horse for a good one, he was not inclined to cry out. They told him his friend had paid the bill, at which he seemed much pleased, and without waiting for breakfast he mounted Georgy’s horse and rode away likewise, choosing the nearest by-lane in preference to the high-road, without knowing that Georgy had chosen that by-lane also.

‘He had not trotted more than two miles in the personal character of Georgy Crookhill when, suddenly rounding a bend that the lane made thereabout, he came upon a man struggling in the hands of two village constables. It was his friend Georgy, the borrower of his clothes and horse. But so far was the young farmer from showing any alacrity in rushing forward to claim his property that he would have turned the poor beast he rode into the wood adjoining, if he had not been already perceived.

‘“Help, help, help!” cried the constables. “Assistance in the name of the Crown!”

‘The young farmer could do nothing but ride forward. “What’s the matter?” he inquired, as coolly as he could.

‘“A deserter—a deserter!” said they. “One who’s to be tried by court-martial and shot without parley. He deserted from the Dragoons at Cheltenham some days ago, and was tracked; but the search-party can’t find him anywhere, and we told ’em if we met him we’d hand him on to ’em forthwith. The day after he left the barracks the rascal met a respectable farmer and made him drunk at an inn, and told him what a fine soldier he would make, and coaxed him to change clothes, to see how well a military uniform would become him. This the simple farmer did; when our deserter said that for a joke he would leave the room and go to the landlady, to see if she would know him in that dress. He never came back, and Farmer Jollice found himself in soldier’s clothes, the money in his pockets gone, and, when he got to the stable, his horse gone too.”

‘“A scoundrel!” says the young man in Georgy’s clothes. “And is this the wretched caitiff?” (pointing to Georgy).

‘“No, no!” cries Georgy, as innocent as a babe of this matter of the soldier’s desertion. “He’s the man! He was wearing Farmer Jollice’s suit o’ clothes, and he slept in the same room wi’ me, and brought up the subject of changing clothes, which put it into my head to dress myself in his suit before he was awake. He’s got on mine!”

‘“D’ye hear the villain?” groans the tall young man to the constables. “Trying to get out of his crime by charging the first innocent man with it that he sees! No, master soldier—that won’t do!”

‘“No, no! That won’t do!” the constables chimed in. “To have the impudence to say such as that, when we caught him in the act almost! But, thank God, we’ve got the handcuffs on him at last.”

‘“We have, thank God,” said the tall young man. “Well, I must move on. Good luck to ye with your prisoner!” And off he went, as fast as his poor jade would carry him.

‘The constables then, with Georgy handcuffed between ’em, and leading the horse, marched off in the other direction, toward the village where they had been accosted by the escort of soldiers sent to bring the deserter back, Georgy groaning: “I shall be shot, I shall be shot!” They had not gone more than a mile before they met them.

‘“Hoi, there!” says the head constable.

‘“Hoi, yerself!” says the corporal in charge.

‘“We’ve got your man,” says the constable.

‘“Where?” says the corporal.

‘“Here, between us,” said the constable. “Only you don’t recognize him out o’ uniform.”

‘The corporal looked at Georgy hard enough; then shook his head and said he was not the absconder.

‘“But the absconder changed clothes with Farmer Jollice, and took his horse; and this man has ’em, d’ye see!”

‘”’Tis not our man,” said the soldiers. “He’s a tall young fellow with a mole on his right cheek, and a military bearing, which this man decidedly has not.”

‘“I told the two officers of justice that ’twas the other!” pleaded Georgy. “But they wouldn’t believe me.”

‘And so it became clear that the missing dragoon was the tall young farmer, and not Georgy Crookhill—a fact which Farmer Jollice himself corroborated when he arrived on the scene. As Georgy had only robbed the robber, his sentence was comparatively light. The deserter from the Dragoons was never traced: his double shift of clothing having been of the greatest advantage to him in getting off; though he left Georgy’s horse behind him a few miles ahead, having found the poor creature more hindrance than aid.’

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Short story: Algernon Blackwood, "Accessory Before the Fact"

I remember reading this as a young boy. It's quite good, if you can get past the Germanophobia.

At the moorland cross-roads Martin stood examining the sign-post for several minutes in some bewilderment. The names on the four arms were not what he expected, distances were not given, and his map, he concluded with impatience, must be hopelessly out of date. Spreading it against the post, he stooped to study it more closely. The wind blew the corners flapping against his face.

The small print was almost indecipherable in the fading light. It appeared, however--as well as he could make out--that two miles back he must have taken the wrong turning.

He remembered that turning. The path had looked inviting; he had hesitated a moment, then followed it, caught by the usual lure of walkers that it "might prove a short cut." The short-cut snare is old as human nature. For some minutes he studied the sign-post and the map alternately.

Dusk was falling, and his knapsack had grown heavy. He could not make the two guides tally, however, and a feeling of uncertainty crept over his mind. He felt oddly baffled, frustrated. His thought grew thick. Decision was most difficult. "I'm muddled," he thought; "I must be tired," as at length he chose the most likely arm. "Sooner or later it will bring me to an inn, though not the one I intended." He accepted his walker's luck, and started briskly. The arm read, "Over Litacy Hill" in small, fine letters that danced and shifted every time he looked at them; but the name was not discoverable on the map. It was, however, inviting like the short cut. A similar impulse again directed his choice. Only this time it seemed more insistent, almost urgent.

And he became aware, then, of the exceeding loneliness of the country about him. The road for a hundred yards went straight, then curved like a white river running into space; the deep blue-green of heather lined the banks, spreading upwards through the twilight; and occasional small pines stood solitary here and there, all unexplained. The curious adjective, having made its appearance, haunted him. So many things that afternoon were similarly--unexplained: the short cut, the darkened map, the names on the sign-post, his own erratic impulses, and the growing strange confusion that crept upon his spirit. The entire country-side needed explanation, though perhaps "interpretation" was the truer word. Those little lonely trees had made him see it. Why had he lost his way so easily? Why did he suffer vague impressions to influence his direction? Why was he here--exactly here? And why did he go now "over Litacy Hill"? Then, by a green field that shone like a thought of daylight amid the darkness of the moor, he saw a figure lying in the grass. It was a blot upon the landscape, a mere huddled patch of dirty rags, yet with a certain horrid picturesqueness too; and his mind--though his German was of the schoolroom order--at once picked out the German equivalents as against the English. Lump and Lumpen flashed across his brain most oddly. They seemed in that moment right, and so expressive, almost like onomatopoeic words, if that were possible of sight. Neither "rags" nor "rascal" would have fitted what he saw. The adequate description was in German.

Here was a clue tossed up by the part of him that did not reason. But it seems he missed it.

And the next minute the tramp rose to a sitting posture and asked the time of evening. In German he asked it. And Martin, answering without a second's hesitation, gave it, also in German, "halb sieben"--half-past six. The instinctive guess was accurate. A glance at his watch when he looked a moment later proved it. He heard the man say, with the covert insolence of tramps, "T'ank you; much opliged." For Martin had not shown his watch--another intuition subconsciously obeyed.

He quickened his pace along that lonely road, a curious jumble of thoughts and feelings surging through him. He had somehow known the question would come, and come in German.

Yet it flustered and dismayed him. Another thing had also flustered and dismayed him. He had expected it in the same queer fashion: it was right. For when the ragged brown thing rose to ask the question, a part of it remained lying on the grass--another brown, dirty thing. There were two tramps. And he saw both faces clearly. Behind the untidy beards, and below the old slouch hats, he caught the look of unpleasant, clever faces that watched him closely while he passed.

The eyes followed him. For a second he looked straight into those eyes, so that he could not fail to know them. And he understood, quite horridly, that both faces were too sleek, refined, and cunning for those of ordinary tramps. The men were not really tramps at all. They were disguised.

"How covertly they watched me!" was his thought, as he hurried along the darkening road, aware in dead earnestness now of the loneliness and desolation of the moorland all about him.

Uneasy and distressed, he increased his pace. Midway in thinking what an unnecessarily clanking noise his nailed boots made upon the hard white road, there came upon him with a rush together the company of these things that haunted him as "unexplained." They brought a single definite message: That all this business was not really meant for him at all, and hence his confusion and bewilderment; that he had intruded into someone else's scenery, and was trespassing upon another's map of life. By some wrong inner turning he had interpolated his per-son into a group of foreign forces which operated in the little world of someone else.

Unwittingly, somewhere, he had crossed the threshold, and now was fairly in--a trespasser, an eavesdropper, a Peeping Torn. He was listening, peeping; overhearing things he had no right to know, because they were intended for another. Like a ship at sea he was intercepting wireless messages he could not properly interpret, because his Receiver was not accurately tuned to their reception. And more--these messages were warnings!

Then fear dropped upon him like the night. He was caught in a net of delicate, deep forces he could not manage, knowing neither their origin nor purpose. He had walked into some huge psychic trap elaborately planned and baited, yet calculated for another than himself. Something had lured him in, something in the landscape, the time of day, his mood. Owing to some undiscovered weakness in himself he had been easily caught. His fear slipped easily into terror.

What happened next happened with such speed and concentration that it all seemed crammed into a moment. At once and in a heap it happened. It was quite inevitable. Down the white road to meet him a man came swaying from side to side in drunkenness quite obviously feigned--a tramp; and while Martin made room for him to pass, the lurch changed in a second to attack, and the fellow was upon him. The blow was
sudden and terrific, yet even while it fell Martin was aware that behind him rushed a second man, who caught his legs from under him and bore him with a thud and crash to the ground. Blows rained then; he saw a gleam of something shining; a sudden deadly nausea plunged him into utter weakness where resistance was impossible.

Something of fire entered his throat, and from his mouth poured a thick sweet thing that choked him. The world sank far away into darkness... Yet through all the horror and confusion ran the trail of two clear thoughts: he realised that the first tramp had sneaked at a fast double through the heather and so come down to meet him; and that something heavy was torn from fastenings that clipped it tight and close beneath his clothes against his body...

Abruptly then the darkness lifted, passed utterly away. He found himself peering into the map against the signpost. The wind was flapping the corners against his cheek, and he was poring over names that now he saw quite clear. Upon the arms of the sign-post above were those he had expected to find, and the map recorded them quite faithfully. All was accurate again and as it should be. He read the name of the village he had meant to make--it was plainly visible in the dusk, two miles the distance given. Bewildered, shaken, unable to think of anything, he stuffed the map into his pocket unfolded, and hurried forward like a man who has just wakened from an awful dream that had compressed into a single second all the detailed misery of some prolonged, oppressive nightmare.

He broke into a steady trot that soon became a run; the perspiration poured from him; his legs felt weak, and his breath was difficult to manage. He was only conscious of the overpowering desire to get away as fast as possible from the sign-post at the cross-roads where the dreadful vision had flashed upon him. For Martin, accountant on a holiday, had never dreamed of any world of psychic possibilities. The entire thing was torture. It was worse than a "cooked" balance of the books that some conspiracy of clerks and directors proved at his innocent door. He raced as though the country-side ran crying at his heels. And always still ran with him the incredible conviction that none of this was really meant for himself at all. He had overheard the secrets of another. He had taken the warning for another into himself, and so altered its direction. He had thereby prevented its right delivery. It all shocked him beyond words. It dislocated the machinery of his just and accurate soul. The warning was intended for another, who could not--would not--now receive it.

The physical exertion, however, brought at length a more comfortable reaction and some measure of composure. With the lights in sight, he slowed down and entered the village at a reasonable pace. The inn was
reached, a bedroom inspected and engaged, and supper ordered with the solid comfort of a large Bass to satisfy an unholy thirst and complete the restoration of balance. The unusual sensations largely passed
away, and the odd feeling that anything in his simple, wholesome world required explanation was no longer present. Still with a vague uneasiness about him, though actual fear quite gone, he went into the bar to smoke an after-supper pipe and chat with the natives, as his pleasure was upon a holiday, and so saw two men leaning upon the counter at the far end with their backs towards him. He saw their faces instantly in the glass, and the pipe nearly slipped from between his teeth. Clean-shaven, sleek, clever faces--and he caught a word or two as they talked over their drinks--German words. Well dressed they were, both men, with nothing about them calling for particular attention; they might have been two tourists holiday-making like himself in tweeds and walking-boots. And they presently paid for their drinks and went out. He never saw them face to face at all; but the sweat broke out afresh all over him, a feverish rush of heat and ice together ran about his body; beyond question he recognised the two tramps, this time not disguised--not yet disguised.

He remained in his corner without moving, puffing violently at an extinguished pipe, gripped helplessly by the return of that first vile terror. It came again to him with an absolute clarity of certainty that it was not with himself they had to do, these men, and, further, that he had no right in the world to interfere. He had no locus standi at all; it would be immoral...even if the opportunity came. And the opportunity, he felt, would come. He had been an eavesdropper, and had come upon private information of a secret kind that he had no right to make use of, even that good might come--even to save life. He sat on in his corner, terrified and silent, waiting for the thing that should happen next.

But night came without explanation. Nothing happened. He slept soundly. There was no other guest at the inn but an elderly man, apparently a tourist like himself. He wore gold-rimmed glasses, and in the morning Martin overheard him asking the landlord what direction he should take for Litacy Hill. His teeth began then to chatter and a weakness came into his knees. "You turn to the left at the cross-roads," Martin broke in before the landlord could reply; "you'll see the sign-post about two miles from here, and after that it's a matter of four miles more." How in the world did he know, flashed horribly through him. "I'm going that way myself," he was saying next; "I'll go with you for a bit--if you don't mind!" The words came out impulsively and ill-considered; of their own accord they came. For his own direction was exactly opposite.

He did not want the man to go alone. The stranger, however, easily evaded his offer of companionship. He thanked him with the remark that he was starting later in the day... They were standing, all three, beside the horse-trough in front of the inn, when at that very moment a tramp, slouching along the road, looked up and asked the time of day. And it was the man with the gold-rimmed glasses who told him.

"T'ank you; much opliged," the tramp replied, passing on with his slow, slouching gait, while the landlord, a talkative fellow, proceeded to remark upon the number of Germans that lived in England and were ready to swell the Teutonic invasion which he, for his part, deemed imminent.

But Martin heard it not. Before he had gone a mile upon his way he went into the woods to fight his conscience all alone. His feebleness, his cowardice, were surely criminal. Real anguish tortured him. A dozen times he decided to go back upon his steps, and a dozen times the singular authority that whispered he had no right to interfere prevented him. How could he act upon knowledge gained by eavesdropping? How interfere in the private business of another's hidden life merely because he had overheard, as at the telephone, its secret dangers? Some inner confusion prevented straight thinking altogether. The stranger would merely think him mad. He had no "fact" togoupon... He smothered a hundred impulses...and finally went on his way with a shaking, troubled heart.

The last two days of his holiday were ruined by doubts and questions and alarms--all justified later when he read of the murder of a tourist upon Litacy Hill. The man wore gold-rimmed glasses, and carried in a belt about his person a large sum of money. His throat was cut.

And the police were hard upon the trail of a mysterious pair of tramps, said to be--Germans.

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