Author: O Henry [More Titles by Henry]
“Eighty-first street–let ’em out, please,” yelled the shepherd in blue.
A flock of citizen sheep scrambled out and another flock scrambled aboard. Ding-ding! The cattle cars of the Manhattan Elevated rattled away, and John Perkins drifted down the stairway of the station with the released flock.
John walked slowly toward his flat. Slowly, because in the lexicon of his daily life there was no such word as “perhaps.” There are no surprises awaiting a man who has been married two years and lives in a flat. As he walked John Perkins prophesied to himself with gloomy and downtrodden cynicism the foregone conclusions of the monotonous day.
Katy would meet him at the door with a kiss flavored with cold cream and butter-scotch. He would remove his coat, sit upon a macadamized lounge and read, in the evening paper, of Russians and Japs slaughtered by the deadly linotype. For dinner there would be pot roast, a salad flavored with a dressing warranted not to crack or injure the leather, stewed rhubarb and the bottle of strawberry marmalade blushing at the certificate of chemical purity on its label. After dinner Katy would show him the new patch in her crazy quilt that the iceman had cut for her off the end of his four-in- hand. At half-past seven they would spread newspapers over the furniture to catch the pieces of plastering that fell when the fat man in the flat overhead began to take his physical culture exercises. Exactly at eight Hickey–Mooney, of the vaudeville team (unbooked) in the flat across the hall, would yield to the gentle influence of delirium tremens and begin to overturn chairs under the delusion that Hammerstein was pursuing them with a five-hundred- dollar-a-week contract. Then the gent at the window across the air- shaft would get out his flute; the nightly gas leak would steal forth to frolic in the highways; the dumbwaiter would slip off its trolley; the janitor would drive Mrs. Zanowitski’s five children once more across the Yalu, the lady with the champagne shoes and the Skye terrier would trip downstairs and paste her Thursday name over her bell and letter-box–and the evening routine of the Frogmore flats would be under way.
John Perkins knew these things would happen. And he knew that at a quarter past eight he would summon his nerve and reach for his hat, and that his wife would deliver this speech in a querulous tone:
“Now, where are you going, I’d like to know, John Perkins?”
“Thought I’d drop up to McCloskey’s,” he would answer, “and play a game or two of pool with the fellows.”
Of late such had been John Perkins’s habit. At ten or eleven he would return. Sometimes Katy would be asleep; sometimes waiting up, ready to melt in the crucible of her ire a little more gold plating from the wrought steel chains of matrimony. For these things Cupid will have to answer when he stands at the bar of justice with his victims from the Frogmore flats.
To-night John Perkins encountered a tremendous upheaval of the commonplace when he reached his door. No Katy was there with her affectionate, confectionate kiss. The three rooms seemed in portentous disorder. All about lay her things in confusion. Shoes in the middle of the floor, curling tongs, hair bows, kimonos, powder box, jumbled together on dresser and chairs–this was not Katy’s way. With a sinking heart John saw the comb with a curling cloud of her brown hair among its teeth. Some unusual hurry and perturbation must have possessed her, for she always carefully placed these combings in the little blue vase on the mantel to be some day formed into the coveted feminine “rat.”
Hanging conspicuously to the gas jet by a string was a folded paper. John seized it. It was a note from his wife running thus:
“Dear John: I just had a telegram saying mother is very sick. I am going to take the 4.30 train. Brother Sam is going to meet me at the depot there. There is cold mutton in the ice box. I hope it isn’t her quinzy again. Pay the milkman 50 cents. She had it bad last spring. Don’t forget to write to the company about the gas meter, and your good socks are in the top drawer. I will write to-morrow. Hastily, KATY.”
Never during their two years of matrimony had he and Katy been separated for a night. John read the note over and over in a dumbfounded way. Here was a break in a routine that had never varied, and it left him dazed.
There on the back of a chair hung, pathetically empty and formless, the red wrapper with black dots that she always wore while getting the meals. Her week-day clothes had been tossed here and there in her haste. A little paper bag of her favorite butterscotch lay with its string yet unwound. A daily paper sprawled on the floor, gaping, rectangularly where a railroad time-table had been clipped from it. Everything in the room spoke of a loss, of an essence gone, of its soul and life departed. John Perkins stood among the dead remains with a queer feeling of desolation in his heart.
He began to set the rooms tidy as well as he could. When he touched her clothes a thrill of something like terror went through him. He had never thought what existence would be without Katy. She had become so thoroughly annealed into his life that she was like the air he breathed–necessary but scarcely noticed. Now, without warning, she was gone, vanished, as completely absent as if she had never existed. Of course it would be only for a few days, or at most a week or two, but it seemed to him as if the very hand of death had pointed a finger at his secure and uneventful home.
John dragged the cold mutton from the ice-box, made coffee and sat down to a lonely meal face to face with the strawberry marmalade’s shameless certificate of purity. Bright among withdrawn blessings now appeared to him the ghosts of pot roasts and the salad with tan polish dressing. His home was dismantled. A quinzied mother-in-law had knocked his lares and penates sky-high. After his solitary meal John sat at a front window.
He did not care to smoke. Outside the city roared to him to come join in its dance of folly and pleasure. The night was his. He might go forth unquestioned and thrum the strings of jollity as free as any gay bachelor there. He might carouse and wander and have his fling until dawn if he liked; and there would be no wrathful Katy waiting for him, bearing the chalice that held the dregs of his joy. He might play pool at McCloskey’s with his roistering friends until Aurora dimmed the electric bulbs if he chose. The hymeneal strings that had curbed him always when the Frogmore flats had palled upon him were loosened. Katy was gone.
John Perkins was not accustomed to analyzing his emotions. But as he sat in his Katy-bereft 10×12 parlor he hit unerringly upon the keynote of his discomfort. He knew now that Katy was necessary to his happiness. His feeling for her, lulled into unconsciousness by the dull round of domesticity, had been sharply stirred by the loss of her presence. Has it not been dinned into us by proverb and sermon and fable that we never prize the music till the sweet-voiced bird has flown–or in other no less florid and true utterances?
“I’m a double-dyed dub,” mused John Perkins, “the way I’ve been treating Katy. Off every night playing pool and bumming with the boys instead of staying home with her. The poor girl here all alone with nothing to amuse her, and me acting that way! John Perkins, you’re the worst kind of a shine. I’m going to make it up for the little girl. I’ll take her out and let her see some amusement. And I’ll cut out the McCloskey gang right from this minute.”
Yes, there was the city roaring outside for John Perkins to come dance in the train of Momus. And at McCloskey’s the boys were knocking the balls idly into the pockets against the hour for the nightly game. But no primrose way nor clicking cue could woo the remorseful soul of Perkins the bereft. The thing that was his, lightly held and half scorned, had been taken away from him, and he wanted it. Backward to a certain man named Adam, whom the cherubim bounced from the orchard, could Perkins, the remorseful, trace his descent.
Near the right hand of John Perkins stood a chair. On the back of it stood Katy’s blue shirtwaist. It still retained something of her contour. Midway of the sleeves were fine, individual wrinkles made by the movements of her arms in working for his comfort and pleasure. A delicate but impelling odor of bluebells came from it. John took it and looked long and soberly at the unresponsive grenadine. Katy had never been unresponsive. Tears:–yes, tears– came into John Perkins’s eyes. When she came back things would be different. He would make up for all his neglect. What was life without her?
The door opened. Katy walked in carrying a little hand satchel. John stared at her stupidly.
“My! I’m glad to get back,” said Katy. “Ma wasn’t sick to amount to anything. Sam was at the depot, and said she just had a little spell, and got all right soon after they telegraphed. So I took the next train back. I’m just dying for a cup of coffee.”
Nobody heard the click and rattle of the cog-wheels as the third- floor front of the Frogmore flats buzzed its machinery back into the Order of Things.
A band slipped, a spring was touched, the gear was adjusted and the wheels revolve in their old orbit.
John Perkins looked at the clock. It was 8.15. He reached for his hat and walked to the door.
“Now, where are you going, I’d like to know, John Perkins?” asked Katy, in a querulous tone.
“Thought I’d drop up to McCloskey’s,” said John, “and play a game or two of pool with the fellows.”
Start out with a clear topic–an interpretation of a specific aspect of a work of literature.
State the title and author of the literary work in the first sentence.
Hook the reader in the first sentence with a piece of interesting. This should be relevant to the topic and to the literary element being discussed.
Assume that the reader has read and is familiar with the work of literature that you are writing State about. This will ensure that you do not include too much plot summary in the introduction.
the thesis. It should show the literary aspect you wish to discuss.
Use clear, concise and specific language.
Make a list of the essay’s main points.
Prove your interpretation by finding a pattern of examples in the literature that support your idea. You find this pattern in the literary elements, such as plot, point of view, character, setting, symbols, tone, and style.
In literary analysis evidence is found mainly from the work you are discussing. Secondary sources (published critical analyses) may support your point of view as well.
Rewrite your thesis statement in a way that suggests that it is a conclusion drawn from the main points. For example, if your thesis suggests that the symbols of the example above display gender inequality of the story’s social setting, directly link this idea to explanation of the symbols. Write “Therefore, the birdcage, the stitches and the state of the kitchen show the characters’ difficulty in living in this unequal climate.”
Do not introduce new ideas in the conclusion. If you are discussing the three symbols mentioned above, don’t bring up another one in the conclusion. The essay is over–this is the end.
Do not contradict your previous points. If the body explains the symbol in one way, don’t describe it a different way in the conclusion.
Leave the reader with your perspective.