SONS AND LOVERS (Completed)

Chapter 15- DERELICT

CLARA went with her husband to Sheffield, and Paul scarcely saw her again. Walter Morel seemed to have let all the trouble go over him, and there he was, crawling about on the mud of it, just the same. There was scarcely any bond between father and son, save that each felt he must not let the other go in any actual want. As there was no one to keep on the home, and as they could neither of them bear the emptiness of the house, Paul took lodgings in Nottingham, and Morel went to live with a friendly family in Bestwood.

Everything seemed to have gone smash for the young man. He could not paint. The picture he finished on the day of his mother's death--one that satisfied him--was the last thing he did. At work there was no Clara. When he came home he could not take up his brushes again. There was nothing left.

So he was always in the town at one place or another, drinking, knocking about with the men he knew. It really wearied him. He talked to barmaids, to almost any woman, but there was that dark, strained look in his eyes, as if he were hunting something.

Everything seemed so different, so unreal. There seemed no reason why people should go along the street, and houses pile up in the daylight. There seemed no reason why these things should occupy the space, instead of leaving it empty. His friends talked to him: he heard the sounds, and he answered. But why there should be the noise of speech he could not understand.

He was most himself when he was alone, or working hard and mechanically at the factory. In the latter case there was pure forgetfulness, when he lapsed from consciousness. But it had to come to an end. It hurt him so, that things had lost their reality. The first snowdrops came. He saw the tiny drop-pearls among the grey. They would have given him the liveliest emotion at one time. Now they were there, but they did not seem to mean anything. In a few moments they would cease to occupy that place, and just the space would be, where they had been. Tall, brilliant tram-cars ran along the street at night. It seemed almost a wonder they should trouble to rustle backwards and forwards. "Why trouble to go tilting down to Trent Bridges?" he asked of the big trams. It seemed they just as well might NOT be as be.

The realest thing was the thick darkness at night. That seemed to him whole and comprehensible and restful. He could leave himself to it. Suddenly a piece of paper started near his feet and blew along down the pavement. He stood still, rigid, with clenched fists, a flame of agony going over him. And he saw again the sick-room, his mother, her eyes. Unconsciously he had been with her, in her company. The swift hop of the paper reminded him she was gone. But he had been with her. He wanted everything to stand still, so that he could be with her again.

The days passed, the weeks. But everything seemed to have fused, gone into a conglomerated mass. He could not tell one day from another, one week from another, hardly one place from another. Nothing was distinct or distinguishable. Often he lost himself for an hour at a time, could not remember what he had done.

One evening he came home late to his lodging. The fire was burning low; everybody was in bed. He threw on some more coal, glanced at the table, and decided he wanted no supper. Then he sat down in the arm-chair. It was perfectly still. He did not know anything, yet he saw the dim smoke wavering up the chimney. Presently two mice came out, cautiously, nibbling the fallen crumbs. He watched them as it were from a long way off. The church clock struck two. Far away he could hear the sharp clinking of the trucks on the railway. No, it was not they that were far away. They were there in their places. But where was he himself?

The time passed. The two mice, careering wildly, scampered cheekily over his slippers. He had not moved a muscle. He did not want to move. He was not thinking of anything. It was easier so. There was no wrench of knowing anything. Then, from time to time, some other consciousness, working mechanically, flashed into sharp phrases.