Chapter One
Chapter One
A Study in Emerald
I. The New Friend
Fresh from Their Stupendous European Tour, where they performed before several of the crowned heads of Europe, garnering their
plaudits and
praise with
magnificent dramatic performances, combining both comedy and tragedy, the
Strand Players wish to make it known that they shall be appearing at the
Royal Court Theatre, Drury Lane, for a limited engagement in April, at which they will present
My Look Alike Brother Tom!, The Littlest Violet Seller and
The Great Old Ones Come (this last an Historical Epic of Pageantry and Delight); each an
entire play in one act! Tickets are available now from the Box Office.
It is the immensity, I believe. The hugeness of things below. The darkness of dreams.
But I am woolgathering. Forgive me. I am not a literary man.
I had been in need of lodgings. That was how I met him. I wanted someone to share the cost of rooms with me. We were introduced by a mutual acquaintance, in the chemical laboratories of St. Barts. "You have been in Afghanistan, I perceive," that was what he said to me, and my mouth fell open and my eyes opened very wide.
"Astonishing," I said.
"Not really," said the stranger in the white lab coat, who was to become my friend. "From the way you hold your arm, I see you have been wounded, and in a particular way. You have a deep tan. You also have a military bearing, and there are few enough places in the Empire that a military man can be both tanned and, given the nature of the injury to your shoulder and the traditions of the Afghan cave folk, tortured."
Put like that, of course, it was absurdly simple. But then, it always was. I had been tanned nut brown. And I had indeed, as he had observed, been tortured.
The gods and men of Afghanistan were savages, unwilling to be ruled from Whitehall or from Berlin or even from Moscow, and unprepared to see reason. I had been sent into those hills, attached to the—th Regiment. As long as the fighting remained in the hills and mountains, we fought on an equal footing. When the skirmishes descended into the caves and the darkness then we found ourselves, as it were, out of our depth and in over our heads.
I shall not forget the mirrored surface of the underground lake, nor the thing that emerged from the lake, its eyes opening and closing, and the singing whispers that accompanied it as it rose, wreathing their way about it like the buzzing of flies bigger than worlds.
That I survived was a miracle, but survive I did, and I returned to England with my nerves in shreds and tatters. The place that leech like mouth had touched me was tattooed forever, frog white, into the skin of my now withered shoulder. I had once been a crack shot. Now I had nothing, save a fear of the world beneath the world akin to panic, which meant that I would gladly pay sixpence of my army pension for a Hansom cab rather than a penny to travel underground.
Still, the fogs and darknesses of London comforted me, took me in. I had lost my first lodgings because I screamed in the night. I had been in Afghanistan; I was there no longer.
"I scream in the night," I told him.
"I have been told that I snore," he said. "Also I keep irregular hours, and I often use the mantelpiece for target practice. I will need the sitting room to meet clients. I am selfish, private, and easily bored. Will this be a problem?"
I smiled, and I shook my head, and extended my hand. We shook on it.
The rooms he had found for us, in Baker Street, were more than adequate for two bachelors. I bore in mind all my friend had said about his desire for privacy, and I forbore from asking what it was he did for a living. Still, there was much to pique my curiosity. Visitors would arrive at all hours, and when they did I would leave the sitting room and repair to my bedroom, pondering what they could have in common with my friend: the pale woman with one eye bone white, the small man who looked like a commercial traveler, the portly dandy in his velvet jacket, and the rest. Some were frequent visitors, many others came only once, spoke to him, and left, looking troubled or looking satisfied.
He was a mystery to me.
We were partaking of one of our landladys magnificent breakfasts one morning, when my friend rang the bell to summon that good lady. "There will be a gentleman joining us, in about four minutes," he said. "We will need another place at table."
"Very good," she said, "Ill put more sausages under the grill."
My friend returned to perusing his morning paper. I waited for an explanation with growing impatience. Finally, I could stand it no longer. "I dont understand. How could you know that in four minutes we would be receiving a visitor? There was no telegram, no message of any kind."
He smiled, thinly. "You did not hear the clatter of a brougham several minutes ago? It slowed as it passed us—obviously as the driver identified our door, then it sped up and went past, up into the Marylebone Road. There is a crush of carriages and taxicabs letting off passengers at the railway station and at the waxworks, and it is in that crush that anyone wishing to alight without being observed will go. The walk from there to here is but four minutes. . . ."
He glanced at his pocket watch, and as he did so I heard a tread on the stairs outside.
"Come in, Lestrade," he called. "The door is ajar, and your sausages are just coming out from under the grill."
(Continues...)
Excerpted from "Fragile Things"
by Neil Gaiman.
Copyright (C) 2006 by Neil Gaiman.
Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher. Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
- User Reviews
- Washington Post Review
BookDaily User Reviews
Be the first to review this book.
Amazon User Reviews
Uneven selection of stories
Jul/24/2010
This is the first book by Neil Gaiman which I have read. It is a collection of stories and mediocre poetry. The stories mostly sparkle, they somehow reflect a delight of writing them, one can feel that the writer enjoyed, revelled in their writing, revelled in his own ease of writing. Some stories reflect the tone of famous authors of the criminal or macabre, E.A. Poe, Doyle......, yet it does not parody. Gaiman uses the style of Poe but changes it, subtly, by overdoing it, yet in a non-ironic way. You see phrases you believe you have read before in E.A. Poes works or phrases which should have been in his works. A delight to read, though some stories are also let-downs and this is why this book does not receivefive stars.
Gaiman manages to tread on a very thin line between high literary and cheap horror, yet he does not cross that line.
by Christian Kober
(Shanghai)
Type too small for over-40s to read comfortably
Jun/16/2010
This review applies to this edition only. I received this book as a gift, and was shocked at the typography when I opened it. The entire book, while it has generous leading (15-pt line spacing) is set in footnote size - 9 pt type. Stupid, why not at least 10 on 15? The small font size makes it very uncomfortable to read. My own technical books, read by 20-somethings, are set in 11-pt type! If you want this book, I would suggest the mass-market paperback edition, which appears to be set in 10 pt type, and is cheaper too. See the content preview on the Amazon pages to compare the two editions.
by traveling techie
(Oakbrook Terrace, IL, USA)
Disappointing Mix
Mar/09/2010
I am a long-time fan of Mr. Gaiman's writing but this is a compilation of stories where the best ones are already in another anthology and so many of the others are just not worthy of his abilities. Unfortunately, as many writers reach great popularity, there seems to be a rush to print anything because it will sell. I just hope many of his newly-reached young readers don't pick up this one.
by Village Green
()
It came fast
Dec/27/2009
Everything was ok, and it arrived before Christmas, although they'd told me I would receive it at december 31. =)
Correu tudo bem, e os livros ainda chegaram antes do Natal, mesmo eles dizendo q chegaria só dia 31/12. =)
by Luiza C. Marcos
(São Paulo, SP Brazil)
Wonderful collection...
Oct/06/2009
FOUR AND A HALF STARS
As a fan of Neil Gaiman's, I'd been wanting to pick up this collection of his short stories (with a few poems thrown in for good measure) for a while. I'm glad I finally did. It's a very enjoyable read. Very easy to sit and read in short chunks or reading it as one would a regular novel. Basically, most of the content has been previously printed elsewhere but is collected here, much to the relief of the wallets of Gaiman fans.
Just a few highlights -
"Other People" - This was a very creepy story about one man's torment in hell. While Gaiman is no stranger to the surreal and gothic, I liked this foray into terror. And I completely understand his hesitance to spend much time there.
"Harlequin Valentine" - This was a rather bizarre tale of love on St. Valentine's Day that is sure to leave its mark on me. The subtle twist at the end is also quite quaint.
"The Problem Of Susan" - As a childhood fan of the Narnia books, this was a fitting tribute.
"How Do You Think It Feels?" - Gaiman himself has stated that he was somewhat shocked by the sex in this story and so was I. Not that it hampered the story any, it just was a bit of a surprise.
"Feeders And Eaters" - I had a very eerie feeling about where this story was going, and I was right. Chilling and unsettling.
"Goliath" - This piece was written before the release of The Matrix for the film's website. It's a little strange. I can see the groundwork (or guiding hand) The Matrix played in this story, but I was more enthralled with the endless sense of deja vu that somehow got mixed up with space aliens?
"The Day The Saucers Came" - I really enjoyed this poem of a sort. I can see why Gaiman likes to read it aloud.
"Sunbird" - This was my favorite piece in the collection. Written for his daughter, Gaiman has crafted a stroy that makes you think you know whats going on throughout the story only to twist your thoughts at the ending. I really likes this. A must for fans of mythology.
"The Monarch Of The Glen" - This novella is a continuance of Gaiman's novel American Gods. I always felt that novel lacked some sense of resolution and this story helped ease my loss. It was enjoyable to read about Shadow again, with hints of old characters thrown in for good measure. Reading it felt like spending time with an old friend.
So if you're looking for an engaging short story collection, give this one a try. I don't think you'll be disappointed. I wasn't.
by Literate Sasquatch
(York, PA.)
Washington Post Review
<b> FRAGILE THINGS: Short Fictions and Wonders</b>
<i>By Neil Gaiman</i>
Publisher <i>Morrow</i>, ISBN 0060515228, 360 pages, $26.95</b>
<hr style="margin:5px 0px" size="1" width="100%" color="#dddddd" />
<i>Reviewed by Graham Joyce</i>
You've maybe heard some academic theory about how fairy tales weren't composed by any single author, that they somehow knitted themselves out of folk-consciousness. Baloney. To be sure, the tales might have been improved here and there over the years. But if you want to know the kind of person who would have made up the prototype classic fairy tale or even those urban folk tales doing the rounds, it would be someone like Neil Gaiman. He's a one-man story engine. He could fall out of a tree, reach for a passing branch and land with a fable in his hand. If you dusted him down and turned out his pockets, you'd find three fresh yarns and a horse chestnut.
Puckish, restless, Gaiman moves across all available media. After making a name for himself with the miraculous "Sandman" series in the world of the graphic novel (Norman Mailer referred to his work as "a comic strip for intellectuals"), he has turned his hand to novels, short stories, film scripts, children's stories, poetry and numerous collaborations.
His new collection, "Fragile Things," is a delightful compendium rather than a straightforward story collection, but it's a fine sample of the author's versatility. Gaiman writes in different registers: comedy, satire, pastiche, deadpan, lyrical or whimsical, but almost invariably dark. It all depends on whichever sooty, fantastic spirit drops down the chimney of his Minneapolis writing room on any given day.
In fact, part of the fun of Gaiman's writing is in recognizing the nods and winks to the antecedents in the fantasy tradition, and a lengthy introduction is given over to notes on the background to each of the stories. Most were commissioned over the past 10 years for various anthologies. While some of the references might be elusive to readers unfamiliar with the dark genres, for those who tread that ground, the introduction is a bonus tour of the fertile orchard of this unique author's mind: a hybrid Sherlock Holmes/H.P. Lovecraft story; an M.R. James/Robert Aickman-inspired tale; a story triggered by the artwork of Frank Frazetta; an argument with C.S. Lewis. All the influences and precursors are laid bare, and the introduction reveals both the original plan for the story and the (usually inevitable) departure from that plan.
Gaiman's talents and interests lend themselves -- perfectly, in fact -- to the short form, and there are gems in this collection. Ever felt a shot of sympathy for poor Susan, banished from heaven in the Narnia Chronicles for being "too fond of lipsticks and nylons and invitations to parties"? Here is an exploration of the elderly Susan's last moments, created out of dissatisfaction with Lewis' priggish treatment of his female characters. Or if you're partial to the club story, then "Closing Time" is a lovely addition to the species: The frame of the drinking-club cronies drops back into a nostalgic piece of Gothic gloaming as a lonely boy is drawn by three older lads into a mysterious garden. But what seduces you is Gaiman's conversational style, rippling with acute lines, such as, "Being a boy, I was also a burglar of sorts."
These stories run from light-as-a-feather whimsy to the very dark and the deeply disturbing. "How Do You Think It Feels" is a brilliantly unsettling piece about the act of choking back a broken heart, a fine study of emotional repression through recourse to the Fantastic. "Feeders and Eaters," with its clever setup and freak-out payoff, is not for the faint-hearted either.
You just don't know what you are in for from one story to the next. One of the pleasures of Gaiman's stories is how often they announce that "this is a true story" or that "this happened to a friend," though the book's introduction never confirms that any of these things actually happened. But you don't care because the story has already entered the chain of fairy/folk/urban tales, and the vulgar truth is merely academic.
Ah, that Neil Gaiman. Oddly enough, the novelist William Gibson described him as "an American treasure." He's not. Though he is indeed a national treasure, he's a British one. The Brits would quite like him back, please.
Graham Joyce's most recent novel is "The Limits of Enchantment."