"The Key to Grief" by Robert W. Chambers (A Rare and Forgotten Story Transcription)

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

{1897}

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.

--Kipling.

I.

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 m