NOTE BY M. GRANT KELLERMEYER: A “key” in nautical geography is a low, sandy island that juts out of a sunken reef. This makes the more obvious meaning of the “key to grief” no less poignant: it is a story about a man’s journey from blissful ignorance to a confrontation with his looming mortality. There are few stories in the English language which are quite so delicious to read: Chambers is a powerful a painter of prose in this story as he is in “The Maker of Moons,” and the manner in which he illustrates atmosphere places him on the same plane as Stephen Crane, Jack London, and F. Scott Fitzgerald. “The Key to Grief” demands very little preface due to the nature of its plot, so I will leave you at this point with only one piece of advice: Chambers is fascinated with the role of fate, will, desire, and denial in his horror fiction, and all four play heavily in this proto-Jungian tour de force. It is a landscape of human psychology, and therefore one which requires an attentive reader, and likely a second read.
The Key to Grief
The moving finger writes, and, having writ, Moves on; nor all your piety nor wit Shall lure it back to cancel half a line, Nor all your tears wash out a word of it. --Fitzgerald.
The wild hawk to the wind-swept sky The deer to the wholesome wold, And the heart of a man to the heart of a maid, As it was in the days of old.
They were doing their work very badly. They got the rope around his neck, and tied his wrists with moose-bush withes, but again he fell, sprawling, turning, twisting over the leaves, tearing up everything around him like a trapped panther.
He got the rope away from them; he clung to it with bleeding fists; he set his white teeth in it, until the jute strands relaxed, unravelled, and snapped, gnawed through by his white teeth.
Twice Tully struck him with a gum hook. The dull blows fell on flesh rigid as stone.
Panting, foul with forest mould and rotten leaves, hands and face smeared with blood, he sat up on the ground, glaring at the circle of men around him.
"Shoot him!" gasped Tully, dashing the sweat from his bronzed brow; and Bates, breathing heavily, sat down on a log and dragged a revolver from his rear pocket. The man on the ground watched him; there was froth in the corners of his mouth.
"Git back!" whispered Bates, but his voice and hand trembled. "Kent," he stammered, "won't ye hang?"
The man on the ground glared.
"Ye've got to die, Kent," he urged; "they all say so. Ask Lefty Sawyer; ask Dyce; ask Carrots.—He's got to swing fur it—ain't he, Tully?—Kent, fur God's sake, swing fur these here gents!"
The man on the ground panted; his bright eyes never moved.
After a moment Tully sprang on him again. There was a flurry of leaves, a crackle, a gasp and a grunt, then the thumping and thrashing of two bodies writhing in the brush. Dyce and Carrots jumped on the prostrate men. Lefty Sawyer caught the rope again, but the jute strands gave way and he stumbled. Tully began to scream, "He's chokin me!" Dyce staggered out into the open, moaning over a broken wrist.
"Shoot!" shouted Lefty Sawyer, and dragged Tully aside. "Shoot, Jim Bates! Shoot straight, b'God!"
"Git back!" gasped Bates, rising from the fallen log.
The crowd parted right and left; a quick report rang out—another—another. Then from the whirl of smoke a tall form staggered, dealing blows—blows that sounded sharp as the crack of a whip.
"He's off! Shoot straight!" they cried.
There was a gallop of heavy boots in the woods. Bates, faint and dazed, turned his head.
"Shoot!" shrieked Tully.
But Bates was sick; his smoking revolver fell to the ground; his white face and pale eyes contracted. It lasted only a moment; he started after the others, plunging, wallowing through thickets of osier and hemlock underbrush.
Far ahead he heard Kent crashing on like a young moose in November, and he knew he was making for the shore. The others knew too. Already the gray gleam of the sea cut a straight line along the forest edge; already the soft clash of the surf on the rocks broke faintly through the forest silence.
"He's got a canoe there!" bawled Tully. "He'll be into it!"
And he was into it, kneeling in the bow, driving his paddle to the handle. The rising sun gleamed like red lightning on the flashing blade; the canoe shot to the crest of a wave, hung, bows dripping in the wind, dropped into the depths, glided, tipped, rolled, shot up again, staggered, and plunged on.
Tully ran straight out into the cove surf; the water broke against his chest, bare and wet with sweat. Bates sat down on a worn black rock and watched the canoe listlessly.
The canoe dwindled to a speck of gray and silver; and when Carrots, who had run back to the gum camp for a rifle, returned, the speck on the water might have been easier to hit than a loon's head at twilight. So Carrots, being thrifty by nature, fired once, and was satisfied to save the other cartridges. The canoe was still visible, making for the open sea. Some where beyond the horizon lay the keys, a string of rocks bare as skulls, black and slimy where the sea cut their base, white on the crests with the excrement of sea birds.
"He's makin' fur the Key to Grief!" whispered Bates to Dyce.
Dyce, moaning, and nursing his broken wrist, turned a sick face out to sea.
The last rock seaward was the Key to Grief, a splintered pinnacle polished by the sea. From the Key to Grief, seaward a day's paddle, if a man dared, lay the long wooded island in the ocean known as Grief on the charts of the bleak coast.
In the history of the coast, two men had made the voyage to the Key to Grief, and from there to the island. One of these was a rum-crazed pelt hunter, who lived to come back; the other was a college youth; they found his battered canoe at sea, and a day later his battered body was flung up in the cove.
So, when Bates whispered to Dyce, and when Dyce called to the others, they knew that the end was not far off for Kent and his canoe; and they turned away into the forest, sullen, but satisfied that Kent would get his dues when the devil got his.
Lefty spoke vaguely of the wages of sin. Carrots, with an eye to thrift, suggested a plan for an equitable division of Kent's property.
When they reached the gum camp they piled Kent's personal effects on a blanket.
Carrots took the inventory: a revolver, two gum hooks, a fur cap, a nickel-plated watch, a pipe, a pack of new cards, a gum sack, forty pounds of spruce gum, and a frying pan.
Carrots shuffled the cards, picked out the joker, and flipped it pensively into the fire. Then he dealt cold decks all around.
When the goods and chattels of their late companion had been divided by chance—for there was no chance to cheat—somebody remembered Tully.
"He's down there on the coast, starin' after the canoe," said Bates huskily.
He rose and walked toward a heap on the ground covered by a blanket. He started to lift the blanket, hesitated, and finally turned away. Under the blanket lay Tully's brother, shot the night before by Kent.
"Guess we'd better wait till Tully comes," said Carrots uneasily. Bates and Kent had been campmates. An hour later Tully walked into camp.
He spoke to no one that day. In the morning Bates found him down on the coast digging, and said: "Hello, Tully! Guess we ain't much hell on lynchin!"
"Naw," said Tully. "Git a spade."
"Goin' to plant him there?"
""Where he kin hear them waves?"
"Which way will he face?"
"Where he kin watch fur that damned canoe!" cried Tully fiercely.
"He—he can't see," ventured Bates uneasily. "He's dead, ain't he?"
"He'll heave up that there sand when the canoe comes back! An it's a-comin! An' Bud Kent'll be in it, dead or alive! Git a spade!"
The pale light of superstition nickered in Bates's eyes. He hesitated.
"The—the dead can't see," he began; "kin they?"
Tully turned a distorted face toward him.
"Yer lie!" he roared. "My brother kin see, dead or livin'! An he'll see the hangin' of Bud Kent! An' he'll git up outer the grave fur to see it, Bill Bates! I'm tellin' ye! I'm tellin' ye! Deep as I'll plant him, he'll heave that there sand and call to me, when the canoe comes in! I'll hear him; I'll be here! An we'll live to see the hangin' of Bud Kent!"
About sundown they planted Tully's brother, face to the sea.
On the Key to Grief the green waves rub all day. White at the summit, black at the base, the shafted rocks rear splintered pinnacles, slanting like channel buoys. On the polished pillars sea birds brood white-winged, bright-eyed sea birds, that nestle and preen and flap and clatter their orange-coloured beaks when the sifted spray drives and drifts across the reef.
As the sun rose, painting crimson streaks criss-cross over the waters, the sea birds sidled together, huddling row on row, steeped in downy drowse.
Where the sun of noon burnished the sea, an opal wave washed, listless, noiseless; a sea bird stretched one listless wing.
And into the silence of the waters a canoe glided, bronzed by the sunlight, jewelled by the salt drops stringing from prow to thwart, sea weed a-trail in the diamond-flashing wake, and in the bow a man dripping with sweat.
Up rose the gulls, sweeping in circles, turning, turning over rock and sea, and their clamour filled the sky, starting little rippling echoes among the rocks.
The canoe grated on a shelf of ebony; the seaweed rocked and washed; the little sea crabs sheered sideways, down, down into limpid depths of greenest shadows. Such was the coming of Bud Kent to the Key to Grief.
He drew the canoe halfway up the shelf of rock and sat down, breathing heavily, one brown arm across the bow. For an hour he sat there. The sweat dried under his eyes.
The sea birds came back, filling the air with soft querulous notes.
There was a livid mark around his neck, a red, raw circle. The salt wind stung it; the sun burned it into his flesh like a collar of red-hot steel. He touched it at times; once he washed it with cold salt water.
Far in the north a curtain of mist hung on the sea, dense, motionless as the fog on the Grand Banks. He never moved his eyes from it; he knew what it was. Behind it lay the Island of Grief.
All the year round the Island of Grief is hidden by the banks of mist, ramparts of dead white fog encircling it on every side. Ships give it wide berth. Some speak of warm springs on the island whose waters flow far out to sea, rising in steam eternally.
The pelt hunter had come back with tales of forests and deer and flowers everywhere; but he had been drinking much, and much was forgiven him.
The body of the college youth tossed up in the cove on the mainland was battered out of recognition, but some said, when found, one hand clutched a crimson blossom half wilted, but broad as a sap pan.
So Kent lay motionless beside his canoe, burned with thirst, every nerve vibrating, thinking of all these things. It was not fear that whitened the firm flesh under the tan; it was the fear of fear. He must not think—he must throttle dread; his eyes must never falter, his head never turn from that wall of mist across the sea. With set teeth he crushed back terror; with glittering eyes he looked into the hollow eyes of fright. And so he conquered fear.
He rose. The sea birds whirled up into the sky, pitching, tossing, screaming, till the sharp flapping of their pinions set the snapping echoes flying among the rocks.
Under the canoe's sharp prow the kelp bobbed and dipped and parted; the sunlit waves ran out ahead, glittering, dancing. Splash! splash! bow and stern! And now he knelt again, and the polished paddle swung and dipped, and swept and swung and dipped again.
Far behind, the clamour of the sea birds lingered in his ears, till the mellow dip of the paddle drowned all sound and the sea was a sea of silence.
No wind came to cool the hot sweat on cheek and breast. The sun blazed a path of flame before him, and he followed out into the waste of waters. The still ocean divided under the bows and rippled innocently away on either side, tinkling, foaming, sparkling like the current in a woodland brook. He looked around at the world of flattened water, and the fear of fear rose up and gripped his throat again. Then he lowered his head, like a tortured bull, and shook the fear of fear from his throat, and drove the paddle into the sea as a butcher stabs, to the hilt.
So at last he came to the wall of mist. It was thin at first, thin and cool, but it thickened and grew warmer, and the fear of fear dragged at his head, but he would not look behind.
Into the fog the canoe shot; the gray water ran by, high as the gunwales, oily, silent. Shapes flickered across the bows, pillars of mist that rode the waters, robed in films of tattered shadows. Gigantic forms towered to dizzy heights above him, shaking out shredded shrouds of cloud. The vast draperies of the fog swayed and hung and trembled as he brushed them; the white twilight deepened to a sombre gloom. And now it grew thinner; the fog became a mist, and the mist a haze, and the haze floated away and vanished into the blue of the heavens.
All around lay a sea of pearl and sapphire, lapping, lapping on a silver shoal.
So he came to the Island of Grief.
On the silver shoal the waves washed and washed, breaking like crushed opals where the sands sang with the humming froth.
Troops of little shore birds, wading on the shoal, tossed their sun-tipped wings and scuttled inland, where, dappled with shadow from the fringing forest, the white beach of the island stretched.
The water all around was shallow, limpid as crystal, and he saw the ribbed sand shining on the bottom, where purple seaweed floated, and delicate sea creatures darted and swarmed and scattered again at the dip of his paddle.
Like velvet rubbed on velvet the canoe brushed across the sand. He staggered to his feet, stumbled out, dragged the canoe high up under the trees, turned it bottom upward, and sank beside it, face downward in the sand. Sleep came to drive away the fear of fear, but hunger, thirst, and fever fought with sleep, and he dreamed—dreamed of a rope that sawed his neck, of the fight in the woods, and the shots. He dreamed, too, of the camp, of his forty pounds of spruce gum, of Tully, and of Bates. He dreamed of the fire and the smoke-scorched kettle, of the foul odour of musty bedding, of the greasy cards, and of his own new pack, hoarded for weeks to please the others. All this he dreamed, lying there face downward in the sand; but he did not dream of the face of the dead.
The shadows of the leaves moved on his blonde head, crisp with clipped curls. A butterfly flitted around him, alighting now on his legs, now on the back of his bronzed hands. All the afternoon the bees hung droning among the wildwood blossoms; the leaves above scarcely rustled; the shore birds brooded along the water's edge; the thin tide, sleeping on the sand, mirrored the sky.
Twilight paled the zenith; a breeze moved in the deeper woods; a star glimmered, went out, glimmered again, faded, and glimmered.
Night came. A moth darted to and fro under the trees; a beetle hummed around a heap of seaweed and fell scrambling in the sand. Somewhere among the trees a sound had become distinct, the song of a little brook, melodious, interminable. He heard it in his dream; it threaded all his dreams like a needle of silver, and like a needle it pricked him—pricked his dry throat and cracked lips. It could not awake him; the cool night swathed him head and foot.
Toward dawn a bird woke up and piped. Other birds stirred, restless, half awakened; a gull spread a cramped wing on the shore, preened its feathers, scratched its tufted neck, and took two drowsy steps toward the sea.
The sea breeze stirred out behind the mist bank; it raised the feathers on the sleeping gulls; it set the leaves whispering. A twig snapped, broke off, and fell. Kent stirred, sighed, trembled, and awoke.
The first thing he heard was the song of the brook, and he stumbled straight into the woods. There it lay, a thin, deep stream in the gray morning light, and he stretched himself beside it and laid his cheek in it. A bird drank in the pool, too—a little fluffy bird, bright-eyed and fearless.
His knees were firmer when at last he rose, heedless of the drops that beaded lips and chin. With his knife he dug and scraped at some white roots that hung half meshed in the bank of the brook, and when he had cleaned them in the pool he ate them.
The sun stained the sky when he went down to the canoe, but the eternal curtain of fog, far out at sea, hid it as yet from sight.
He lifted the canoe, bottom upwards, to his head, and, paddle and pole in either hand, carried it into the forest.
After he had set it down he stood a moment, opening and shutting his knife. Then he looked up into the trees. There were birds there, if he could get at them. He looked at the brook. There were the prints of his fingers in the sand; there, too, was the print of something else a deer's pointed hoof.
He had nothing but his knife. He opened it again and looked at it.
That day he dug for clams and ate them raw. He waded out into the shallows, too, and jabbed at fish with his setting pole, but hit nothing except a yellow crab.
Fire was what he wanted. He hacked and chipped at flinty-looking pebbles, and scraped tinder from a stick of sun-dried driftwood. His knuckles bled, but no fire came.
That night he heard deer in the woods, and could not sleep for thinking, until the dawn came up behind the wall of mist, and he rose with it to drink his fill at the brook and tear raw clams with his white teeth. Again he fought for fire, craving it as he had never craved water, but his knuckles bled, and the knife scraped on the flint in vain.
His mind, perhaps, had suffered somewhat. The white beach seemed to rise and fall like a white carpet on a gusty hearth. The birds, too, that ran along the sand, seemed big and juicy, like partridges; and he chased them, hurling shells and bits of driftwood at them till he could scarcely keep his feet for the rising, plunging beach—or carpet, whichever it was. That night the deer aroused him at intervals. He heard them splashing and grunting and crackling along the brook. Once he arose and stole after them, knife in hand, till a false step into the brook awoke him to his folly, and he felt his way back to the canoe, trembling.
Morning came, and again he drank at the brook, lying on the sand where countless heart-shaped hoofs had passed leaving clean imprints; and again he ripped the raw clams from their shells and swallowed them, whimpering.
All day long the white beach rose and fell and heaved and flattened under his bright dry eyes. He chased the shore birds at times, till the unsteady beach tripped him up and he fell full length in the sand. Then he would rise moaning, and creep into the shadow of the wood, and watch the little song-birds in the branches, moaning, always moaning.
His hands, sticky with blood, hacked steel and flint together, but so feebly that now even the cold sparks no longer came.
He began to fear the advancing night; he dreaded to hear the big warm deer among the thickets. Fear clutched him suddenly, and he lowered his head and set his teeth and shook fear from his throat again.
Then he started aimlessly into the woods, crowding past bushes, scraping trees, treading on moss and twig and mouldy stump, his bruised hands swinging, always swinging.
The sun set in the mist as he came out of the woods on to another beach—a warm, soft beach, crimsoned by the glow in the evening clouds.
And on the sand at his feet lay a young girl asleep, swathed in the silken garment of her own black hair, round limbed, brown, smooth as the bloom on the tawny beach.
A gull napped overhead, screaming. Her eyes, deeper than night, unclosed. Then her lips parted in a cry, soft with sleep, "Ihó!"
She rose, rubbing her velvet eyes. "Ihó!" she cried in wonder; "Inâh!"
The gilded sand settled around her little feet. Her cheeks crimsoned.
"E-hó! E-hó!" she whispered, and hid her face in her hair.
The bridge of the stars spans the sky seas; the sun and the moon are the travellers who pass over it. This was also known in the lodges of the Isantee, hundreds of years ago.
Chaské told it to Hârpam, and when Hârpam knew he told it to Hapéda; and so the knowledge spread to Hârka, and from Winona to Wehârka, up and down, across and ever across, woof and web, until it came to the Island of Grief. And how? God knows!
"Wehârka, prattling in the tules, may have told Ne-kâ; and Ne-kâ, high in the November clouds, may have told Kay-óshk, who told it to Shinge-bis, who told it to Skeé-skah, who told it to Sé-só-Kah.
Ihó! Inâh! Behold the wonder of it! And this is the fate of all knowledge that comes to the Island of Grief.
As the red glow died in the sky, and the sand swam in shadows, the girl parted the silken curtains of her hair and looked at him.
"Ehó!" she whispered again in soft delight.
For now it was plain to her that he was the sun! He had crossed the bridge of stars in the blue twilight; he had come!
She stepped nearer, shivering, faint with the ecstasy of this holy miracle wrought before her.
He was the Sun! His blood streaked the sky at dawn; his blood stained the clouds at even. In his eyes the blue of the sky still lingered, smothering two blue stars; and his body was as white as the breast of the Moon.
She opened both arms, hands timidly stretched, palm upward. Her face was raised to his, her eyes slowly closed; the deep-fringed lids trembled.
Like a young priestess she stood, motionless save for the sudden quiver of a limb, a quick pulse-flutter in the rounded throat. And so she worshipped, naked and unashamed, even after he, reeling, fell heavily forward on his face; even when the evening breeze stealing over the sands stirred the hair on his head, as winds stir the fur of a dead animal in the dust.
When the morning sun peered over the wall of mist, and she saw it was the sun, and she saw him, flung on the sand at her feet, then she knew that he was a man, only a man, pallid as death and smeared with blood.
And yet—miracle of miracles!—the divine wonder in her eyes deepened, and her body seemed to swoon, and fall a-trembling, and swoon again.
For, although it was but a man who lay at her feet, it had been easier for her to look upon a god.
He dreamed that he breathed fire—fire, that he craved as he had never craved water. Mad with delirium, he knelt before the flames, rubbing his torn hands, washing them in the crimson-scented flames. He had water, too, cool scented water, that sprayed his burning flesh, that washed in his eyes, his hair, his throat. After that came hunger, a fierce rending agony, that scorched and clutched and tore at his entrails; but that, too, died away, and he dreamed that he had eaten and all his flesh was warm. Then he dreamed that he slept; and when he slept he dreamed no more.
One day he awoke and found her stretched beside him, soft palms tightly closed, smiling, asleep.
Now the days began to run more swiftly than the tide along the tawny beach; and the nights, star-dusted and blue, came and vanished and returned, only to exhale at dawn like perfume from a violet.
They counted hours as they counted the golden bubbles, winking with a million eyes along the foam-flecked shore; and the hours ended, and began, and glimmered, iridescent, and ended as bubbles end in a tiny rainbow haze.
There was still fire in the world; it flashed up at her touch and where she chose. A bow strung with the silk of her own hair, an arrow winged like a sea bird and tipped with shell, a line from the silver tendon of a deer, a hook of polished bone—these were the mysteries he learned, and learned them laughing, her silken head bent close to his.
The first night that the bow was wrought and the glossy string attuned, she stole into the moonlit forest to the brook; and there they stood, whispering, listening, and whispering, though neither understood the voice they loved.
In the deeper woods, Kaug, the porcupine, scraped and snuffed. They heard Wabóse, the rabbit, pit-a-pat, pit-a-pat, loping across dead leaves in the moonlight. Skeé-skah, the wood-duck, sailed past, noiseless, gorgeous as a floating blossom.
Out on the ocean's placid silver, Shinge-bis, the diver, shook the scented silence with his idle laughter, till Kay-óshk, the gray gull, stirred in his slumber. There came a sudden ripple in the stream, a mellow splash, a soft sound on the sand.
"I see nothing."
The beloved voice was only a wordless melody to her.
"Ihó! Ta-hinca, the red deer! E-hó! The buck will follow!"
"Ta-hinca," he repeated, notching the arrow.
So he drew the arrow to the head, and the gray gull feathers brushed his ear, and the darkness hummed with the harmony of the singing string.
Thus died Ta-mdóka, the buck deer of seven prongs.
As an apple tossed spinning into the air, so spun the world above the hand that tossed it into space.
And one day in early spring, Sé-só-Kah, the robin, awoke at dawn, and saw a girl at the foot of the blossoming tree holding a babe cradled in the silken sheets of her hair.
At its feeble cry, Kaug, the porcupine, raised his quilled head. Wabóse, the rabbit, sat still with palpitating sides. Kay-óshk, the gray gull, tiptoed along the beach.
Kent knelt with one bronzed arm around them both.
"Ihó! Inâh!" whispered the girl, and held the babe up in the rosy flames of dawn.
But Kent trembled as he looked, and his eyes filled. On the pale green moss their shadows lay—three shadows. But the shadow of the babe was white as froth.
Because it was the firstborn son, they named it Chaské; and the girl sang as she cradled it there in the silken vestments of her hair; all day long in the sunshine she sang:
Wâ-wa, wâ-wa, wâ-we—yeá; Kah-wéen, nee-zhéka Ke-diaus-âi, Ke-gâh nau-wâi, ne-mé-go S'weén, Ne-bâun, ne-bâun, ne-dâun-is âis. E-we wâ-wa, wâ-we—yeá; E-we wâ-wa, wâ-we—yeá.
Out in the calm ocean, Shinge-bis, the diver, listened, preening his satin breast in silence. In the forest, Ta-hinca, the red deer, turned her delicate head to the wind.
That night Kent thought of the dead, for the first time since he had come to the Key of Grief.
"Aké-u! aké-u!" chirped Sé-só-Kah, the robin. But the dead never come again.
"Beloved, sit close to us," whispered the girl, watching his troubled eyes. "Ma-cânte maséca."
But he looked at the babe and its white shadow on the moss, and he only sighed: "Ma-cânte maséca, beloved! Death sits watching us across the sea."
Now for the first time he knew more than the fear of fear; he knew fear. And with fear came grief.
He never before knew that grief lay hidden there in the forest. Now he knew it. Still, that happiness, eternally reborn when two small hands reached up around his neck, when feeble fingers clutched his hand—that happiness that Sé-só-Kah understood, chirping to his brooding mate—that Ta-mdóka knew, licking his dappled fawns—that happiness gave him heart to meet grief calmly, in dreams or in the forest depths, and it helped him to look into the hollow eyes of fear.
He often thought of the camp now; of Bates, his blanket mate; of Dyce, whose wrist he had broken with a blow; of Tully, whose brother he had shot. He even seemed to hear the shot, the sudden report among the hemlocks; again he saw the haze of smoke, he caught a glimpse of a tall form falling through the bushes.
He remembered every minute incident of the trial: Bates's hand laid on his shoulder; Tully, red-bearded and wild-eyed, demanding his death; while Dyce spat and spat and smoked and kicked at the blackened log-ends projecting from the fire. He remembered, too, the verdict, and Tully's terrible laugh; and the new jute rope that they stripped off the market-sealed gum packs.
He thought of these things, sometimes wading out on the shoals, shell-tipped fish spear poised: at such times he would miss his fish. He thought of it sometimes when he knelt by the forest stream listening for Ta-hinca's splash among the cresses: at such moments the feathered shaft whistled far from the mark, and Ta-mdóka stamped and snorted till even the white fisher, stretched on a rotting log, flattened his whiskers and stole away into the forest's blackest depths.
When the child was a year old, hour for hour notched at sunset and sunrise, it prattled with the birds, and called to Ne-Kâ, the wild goose, who called again to the child from the sky: "Northward! northward, beloved!"
When winter came—there is no frost on the Island of Grief—Ne-Kâ, the wild goose, passing high in the clouds, called: "Southward! south ward, beloved!" And the child answered in a soft whisper of an unknown tongue, till the mother shivered, and covered it with her silken hair.
"O beloved!" said the girl, "Chaské calls to all things living—to Kaug, the porcupine, to Wabóse, to Kay-óshk, the gray gull he calls, and they understand."
Kent bent and looked into her eyes.
"Hush, beloved; it is not that I fear."
"Then what, beloved?"
"His shadow. It is white as surf foam. And at night—I—I have seen—"
"The air about him aglow like a pale rose."
"Ma cânté maséca. The earth alone lasts. I speak as one dying—I know, beloved!"
Her voice died away like a summer wind.
"Beloved!" he cried.
But there before him she was changing; the air grew misty, and her hair wavered like shreds of fog, and her slender form swayed, and faded, and swerved, like the mist above a pond.
In her arms the babe was a figure of mist, rosy, vague as a breath on a mirror.
"The earth alone lasts. Inâh! It is the end, O beloved!"
The words came from the mist—a mist as formless as the ether—a mist that drove in and crowded him, that came from the sea, from the clouds, from the earth at his feet.
Faint with terror, he staggered forward calling, "Beloved! And thou, Chaské, O beloved! Aké u! Aké u!"
Far out at sea a rosy star glimmered an instant in the mist and went out.
A sea bird screamed, soaring over the waste of fog-smothered waters. Again he saw the rosy star; it came nearer; its reflection glimmered in the water.
"Chaské! he cried.
He heard a voice, dull in the choking mist.
"O beloved, I am here!" he called again.
There was a sound on the shoal, a flicker in the fog, the flare of a torch, a face white, livid, terrible—the face of the dead.
He fell upon his knees; he closed his eyes and opened them. Tully stood beside him with a coil of rope.
Ihó! Behold the end! The earth alone lasts. The sand, the opal wave on the golden beach, the sea of sapphire, the dusted starlight, the wind, and love, shall die. Death also shall die, and lie on the shores of the skies like the bleached skull there on the Key to Grief, polished, empty, with its teeth embedded in the sand.
NOTES BY M. GRANT KELLERMEYER: Students of Ambrose Bierce will immediately recognize yet another homage from Chambers to his greatest influence as a writer of horror fiction: “The Key to Grief” is a spritely reimagining of “An Occurance at Owl Creek Bridge,” Bierce’s most famous story, and a universally lauded example of what has come to be called the “posthumous fantasy”: a story that concocts itself in the blazing synapses of a dying man’s mind. Kent’s fantasy is vaguely mapped out – does it begin mid-hanging, or does he truly survive this only to be captured by Tully while he hallucinates from starvation on the Key of Grief?
Regardless of whether the escape to the Island of Grief happens – only for him to be rendered defenseless by hunger – or whether (as in Bierce) the escape is part of the dying man’s fantasy, the facts are these: Kent experiences a soul-cleansing hallucination which, through imagery that pre-figures the philosophies of Carl Jung, represents the preparation of his soul for the lynching which he inevitably suffers. One clue is better informed by reading another of Chambers’ weird tales which was published alongside this one in The Mystery of Choice, called “The White Shadow.” Too sappy and dull to include in this edition, “The White Shadow” follows a man who is injured while hunting butterflies with a coquette only known as “Sweetheart.” The man wakes up to find that he and Sweetheart have white shadows.
They try to ignore this freak as they grow to love one another over the span of a glorious year spent travelling France. At one point they discover a mysterious, iron-bound book with this telling phrase written in it: “It is written that Time shall pass as a shadow across the sea… the white shadow is the shadow of the soul.” Once again blowing off this clear hint, the couple continue to experience their year of blissful ignorance. As his shadow grows from white to off-white, to grey, and finally – after he is jolted awake – to black, he realizes that he has been in a coma, that Sweetheart is no more his lover than she was the day of his accident, and that his year of glorious love was merely an encounter between his and Sweetheart’s souls – something she is ignorant of. Thinking back on this moment in time that defied physics and logic, the lovelorn narrator recalls:
“Of all the seconds that tick the whole year through, of all the seconds that have slipped onward marking the beat of time since time was loosed, there is one, one brief moment, steeped in magic and heavy with oblivion, that sometimes lingers in the soul of man, annihilating space and time. If, at the feet of God, a year is a second passed unnoted, this magic second, afloat on the tide of time, moves on and on till, caught in the vortex of some life's whirl, it sinks into the soul of a being near to death. And in that soul the magic second glows and lingers, stretching into minutes, hours, days—aye, days and days, till, if the magic hold, the calm years crowd on one by one; and yet it all is but a second—that magic moment that comes on the tide of time—that came to me and was caught up in my life's whirl as I fell, dropping there between sky and earth.” [my underlining]
So when the reader of “The White Shadow” (which comes first in the volume) gets to “The Key of Grief,” they are immediately aware of jiggery-pokery, and begin to suspect the awful truth. What’s more, “The White Shadow” also ends with incantations in the strange language of Grief Island, specifically the cry “Ma cânté maséca,” just before the vision fades to reality. This way that Chambers uses this strange, aboriginal language (presumably the universal language of the human spirit) is lifted from the work of another great American writer, specifically Henry W. Longfellow’s “The Song of Hiawatha,” which infamously refers to animals and plants repetitively by their Algonquin names.
Chambers is signaling to his readers (out of vogue now, “Hiawatha” was a staple of every American high school curriculum before World War II) that the experience on the island is mythic, otherworldly, and Homeric. It isn’t normal or realistic, which telegraphs caution to the reader familiar with Bierce and Longfellow that these experiences with the native woman and the glowing child are perhaps less tangible than Kent would like to believe. Jungian psychoanalysts will point to the indigenous woman as an extension of his buried anima – the female side of his nature, long neglected in his life as a murderous gum farmer – and that the child they produce – who sports a white shadow and a glowing body – is the new soul that he has produced by dying to himself, reuniting with his more humane side, and nurturing them at his own expense.
Symbolically, the woman – who is innocent, ignorant of her nakedness, maternal, loving, and at peace with nature – represents his long buried anima, the boy represents his newfound soul, and the child’s lack of a dark shadow and his glowing skin suggest its readiness to leave the earth (at the moment of his lynching) and to go to heaven. In the brief moments during which Kent’s oxygen-starved brain concocts this fantasy, he is symbolically and spiritually punished, forgiven, redeemed, and given salvation in the form of a new soul. But his body still must pay for his crimes, and as he awakens to the new life he has inherited in heaven, his body is met with the death that his old soul had earned it.