In just that way I knew that passion had once flashed through my life, but had left me nothing but the memory of a memory. I could trace its path almost as easily as you can follow the track of a tornado through a town—by the wreckage. I mean by the wreckage an emotional weariness, an emotional distress, an emotional distaste for emotion; but above everything else I mean a craving to begin the emotion all over again.
I often wondered if some passional experience hadn’t caused the shattering of the brain cells. I often wondered if the woman I had loved was not dead. I wondered if I might not even have killed her. Was that the crime from which I was running away? Were the Furies pursuing me? Was it to be my punishment to fall in love with another woman and suffer the second time because the first suffering had defeated its own ends in making me insensible?
All through the evening thoughts of this kind, now and then with a half-feverish turn, ran through my mind, till by the time I went to bed love no longer seemed impossible. It was appalling; and yet it had a fascination.
So for the next few days I walked with a vision pure, unobtrusive, subdued, holy in its way, which nevertheless broke into light and passion and flame that nobody but myself was probably aware of. I also gleaned from Lydia Blair, who had a journalistic facility in gathering personal facts, that Mildred Averill’s place in New York life was not equal to her opportunities.
"There are always girls like that," Miss Blair commented. "They’ve got all the chances in the world, and don’t know how to make use of them. She’s not a bad looker, not when you come to study her; and yet you couldn’t show her off with the dressiest models in New York."
I ventured to suggest that showing off might not be Miss Averill’s ambition.
"And a good thing too, poor dear. If it was it would be the limit. She sure has the sense to know what she can’t do. That’s something. Look here, Harry," she continued, sharply, "I told you before that if you’re going to take letters down from the dictaphone you’ve got to read them through to the end before you begin to transcribe. Then you’ll know where the corrections come in. Now you’ve got to go back and begin all over again. See here, my dear. If you think I’m going to waste my perfectly good time giving you lessons that you don’t listen to you’ve got your nerve with you."