Drood, Page 25

  Dickens had to restrain Sultan on a thick leash. The dog also required a leather muzzle. Percy Fitzgerald, who’d given Dickens the Irish bloodhound as a puppy the previous September, was happy to see Sultan almost grown and obviously healthy, but when Percy approached to pet the hound, Sultan growled ferociously and snapped within the constraints of his muzzle as if he were determined to bite Fitzgerald’s hand off at the wrist. Percy drew back, frightened and mortified. Dickens seemed strangely pleased.

  “Sultan continues to be gentle and obedient with me,” he told us. “But he is a monster with most other living creatures. He has chewed through five muzzles and often comes home with blood on his snout. We know for certain that he bolted a certain blue-eyed kitten whole, but Sultan did show agonies of remorse for that dastardly deed… or at least agonies of indigestion.”

  As young Edmond Dickenson laughed, Dickens added, “But notice that Sultan has growled and snarled at all of you… except for Wilkie here. While Sultan is loyal only to me, there is some strange affinity between that dog and Wilkie Collins, I tell you.”

  I frowned over the rim of my wool scarf. “Why do you say that, Dickens? Because we both come from Irish stock?”

  “No, my dear Wilkie,” said Dickens from behind his own red scarf. “Because you both can be dangerous unless properly restrained and treated with a strong hand.”

  The idiot Dickenson laughed again. Charley Dickens and Percy merely looked puzzled at the comment.

  Because of the cold, or because of Dickens’s pity on his guests, or perhaps because of Dickens’s own health problems, the afternoon walk was more of a leisurely stroll around the property than the usual Dickensian marathon. We ambled to the barn and looked in on the horses, including Mary’s riding horse, Boy; the older Trotty Veck; and the always serious-demeanoured Norwegian pony named Newman Noggs. As we were standing in the clouds of warm exhalations of the horses’ breath, feeding carrots to them, I remembered my summer visit here to see Dickens right after the Staplehurst accident and how the Inimitable’s nerves could not bear even the slow trot of Newman Noggs pulling the basket cart. That cart and Noggs’s harness, which was hanging on the wall of the stable, were decked out today as they usually were with a lovely-sounding set of Norwegian musical bells, but it was too cold to go for a ride.

  We left the stables, and Dickens—with Sultan straining at the leash ahead of him—led us through the tunnel to the chalet. The green summer cornfields beyond had died into jagged expanses of frozen brown stubble. The Dover Road was all but empty this grey Christmas Day—a single, tilted hayrick waggon could be seen moving slowly far down its frozen-mud expanse. Brittle grass crackled and split asunder under our boots.

  After leaving the empty chalet, our procession followed Dickens to and through the field behind his house. Here the writer paused and looked at me and for a second I flattered myself that I knew exactly what he was thinking.

  Here on this very spot, a mere five years earlier, on a lovely day in the first week of September, Charles Dickens had burned every bit of correspondence he had received in the past three decades. With his sons Henry and Plorn hauling basket after basket of letters and files out from his study, and with his daughter Mamie begging him not to destroy such priceless literary and personal artefacts, Dickens burned every letter he had ever received from me, from John Forster and Leigh Hunt, from Alfred Tennyson and William Makepeace Thackeray, from William Harrison Ainsworth and Thomas Carlyle, from his American friends Ralph Waldo Emerson and Henry Wadsworth Longfellow and Washington Irving and James T. and Annie Fields, and from his wife, Catherine. And from Ellen Ternan.

  Later, Katey told me that she had argued with her father as she held the letters in her hands, argued as she recognised the handwriting and signatures of Thackeray and Tennyson and so many others, and had begged him to think of posterity. But Katey, for whatever reason, was lying to me when she told that story. Kate was actually on her honeymoon in France with my brother, Charles, on 3 September, the day Dickens suddenly decided to burn all of his correspondence. She had not even learned of it until many months later.

  Her sister Mamie was there—here, on this very spot where I now stood in Dickens’s back yard overlooking the frozen fields and bare, distant forests of Kent—and Mamie did implore her father not to destroy the letters. Dickens’s response was—“Would to God every letter I had ever written was on that pile.”

  When the files and drawers of Dickens’s study were empty that day, his sons Henry and Plorn had roasted onions on the ashes of the great bonfire until a sudden afternoon rainstorm drove everyone inside. Dickens later wrote me—“It then rained very heavily… I suspect my correspondence of having overcast the face of the Heavens.”

  Why had Dickens burned his legacy of correspondence?

  Just the previous year, in 1864, Dickens had told me that he’d written to his old friend the actor William Charles Macready—

  Daily seeing improper uses made of confidential letters in the addressing of them to a public audience that have no business with them, I made not long ago a great fire in my field at Gad’s Hill, and burnt every letter I possessed. And now I always destroy every letter I receive not on absolute business, and my mind is so far at ease.

  What improper uses? Some friends whom Dickens and I had in common—of the few who had learned of the mass burning— speculated that the Inimitable’s difficult and public separation from Catherine (made public mostly through his own poor judgement, we should remember) had terrified him into imagining would-be literary biographers and other literary ghouls in the days and months after his demise poring over his confidential correspondence of so many years. For decades, these mutual friends speculated, Charles Dickens’s life and work had been public property. He would be damned, they believed, if reactions from friends to his most private thoughts should also be gawped and gaped at by the curious public.

  I had a slightly different theory about why Dickens burned the letters.

  I believe that I put the idea of burning the letters into Dickens’s head.

  In the Christmas 1854 edition of Household Words, in my story “The Fourth Poor Traveller,” the narrator, a lawyer, says, “My experience in the law, Mr Frank, has convinced me that if everybody burnt everybody else’s letters, half the Courts of Justice in this country might shut up shop.” The courts of justice, such as they were, were very much on Charles Dickens’s mind in those days as he wrote Bleak House and then again in 1858 when his wife’s family threatened to drag him into court for various injustices to Catherine, including, one presumes, adultery.

  And just a few months before Dickens had committed his letters to the bonfire, I had written of burning a letter in my novel The Woman in White, which was then being serialised in Household Words, carefully edited by Dickens. In my tale, Marian Halcombe has received a letter from a certain Walter Hartright. Marian’s half-sister, Laura, is in love with Hartright but has agreed to fulfil her promise to her dying father to marry someone else. Hartright is ready to sail away to South America. Marian decides not to tell Laura about the contents of the letter.

  I almost doubt whether I ought not to go a step farther, and burn the letter at once, for fear of it one day falling into wrong hands. It not only refers to Laura in terms which ought to remain a secret forever between the writer and me; but it reiterates his suspicion—so obstinate, so unaccountable, and so alarming—that he has been secretly watched.… But there is a danger in my keeping the letter. The merest accident might place it at the mercy of strangers. I may fall ill; I may die—better to burn it at once, and have one anxiety the less.

  It is burnt! The ashes of his farewell letter—the last he may ever write to me—lie in a few black fragments in the hearth.

  My theory, such as it is, is that this scene from The Woman in White made a profound impression upon Dickens at the time that he was working so very, very hard to create a second and secret life with Ellen Ternan, but also that—for whatever reason—it was his
daughter Kate’s marriage to my brother in July of 1860 that finally forced him to burn his correspondence and, I am almost certain, to convince Ellen Ternan to burn all letters he had sent her in the past three years. I am certain that Dickens saw Katey’s marriage to Charles Collins as a form of betrayal from within his family, and it is not too much to speculate that he could then imagine his daughters and sons, but especially his daughter Kate, she who everyone agreed was so much like him, betraying him yet again by selling or publishing his correspondence when he was dead.

  Dickens had aged terribly in the years between 1857 and 1860—some say that he went from being a youth to an old man with almost no pause for middle age along the way—and it could very well have been his brush with illness and the spectre of death at that time which reminded him of my letter-burning scene and prompted him to get on with destroying all evidence of his inner thoughts.

  “I know what you’re thinking, my dear Wilkie,” Dickens said suddenly.

  The other men looked startled. Swathed in their layers of wool, they had been watching the weak sun set beneath the layer of clouds to the west across the rolling, frozen Kentish fields.

  “What am I thinking, my dear Dickens?” I said.

  “You’re thinking that a great bonfire here would warm us wonderfully,” said Dickens.

  I blinked at this, feeling the stiffness of my frozen lashes against my icy cheeks.

  “A bonfire!” cried the young Dickenson. “What a capital idea!”

  “It would be if we weren’t needed inside to join the women and children in their Christmas Day games,” said Dickens, clapping his heavy gloves together with a sound like a rifle shot. Sultan shied suddenly, leaping sideways against the leash and cowering as if a real rifle had been fired at him.

  “Warm punch for everyone!” cried the Inimitable, and our procession of woollen spheroids with bright scarves waddled into the house behind him.

  I ABSENTED MYSELF from the felicity of playing games with the children and women and sought the refuge of my room. I always stayed in the same guest room at Gad’s Hill Place and I was quietly relieved to discover that it was still mine, that I had not been demoted in recent months. (Because of the crowding with family staying over the holidays and the Mysterious Guests still to arrive that evening, Percy Fitzgerald had been relegated to a room in the Falstaff Inn across the street. I found this odd, since Percy was an old friend and certainly deserved a room in Dickens’s home much more than did the Dickenson orphan, who was staying in the house. But I had long ago given up trying to understand or predict Charles Dickens’s whims.)

  I should note here, Dear Reader, that I had never shared my late-night laudanum insight that Dickens was planning to kill young rich-orphan Edmond Dickenson (all having something to do with scarlet geraniums spilled about the landscape and hotel room like blood) with Inspector Field or with anyone else. The reason is obvious—it was a late-night laudanum revelation, and although some of those have proven priceless to me as a novelist, it would be hard to describe to the squinting Inspector Field the chain of hidden logic and drug-induced intuition that had led to the insight.

  But back to my room at Gad’s Hill Place. Although I told Caroline otherwise after long stays with Dickens, his home was a comfortable refuge for guests. Every guest room had a marvellously comfortable bed in which to sleep, several expensive and equally comfortable items of furniture, and—always, in every guest room and in some hallways and public rooms—a table covered with writing materials, including headed notepaper, envelopes, cut quill pens, wax, matches, and sealing-wax. All this was arranged in a room that was invariably clean, scrupulously neat, and impeccably comfortable.

  Each guest at Gad’s Hill would also find himself with a veritable library to choose from in his room, with several volumes set out on the bedside table. These books would have been chosen specifically by Dickens for that particular guest. On my bedside table were a copy of my own The Woman in White—not the inscribed one I had personally given to Dickens but a newly purchased one with the pages not yet cut—as well as Spectator essays, a copy of 1001 Arabian Nights, and a volume of Herodotus with a leather bookmark set in a chapter on the ancient historian’s Egyptian travels, which opened to a discussion of Sleep Temples.

  Above a dressing room mirror in my room was a card which read—“Hans Andersen slept in this room for five weeks—which seemed to the family AGES!”

  I knew something about that extended visit. One night over wine, Dickens had described the friendly Dane (who spoke very little English, which must have made his long stay with the Dickens family even more stressful) as “a cross between my character Pecksniff and the Ugly Duckling, Wilkie. A very heavy Scandinavian cross to bear for a week, much less for two fortnights and more.”

  But when I frequently told Caroline or Harriet, after several days or even weeks as a guest at Gad’s Hill, that the stay had been “a trial,” I meant it in a more literal sense. Despite Dickens’s very real good humour and very real efforts always to set his guests at ease, seeing to their every comfort, catering to them in conversation at all meals and gatherings, there was also a very real sense of being judged by the Inimitable when one was a guest in his home. At least I felt that. (My guess is that poor Hans Christian Andersen—who had commented, without complaining, on the brusqueness of Katey and Mamie and the boys during his long stay here—had not noticed the impatience and occasional censure from his host.)

  In the quiet of my room—although I could hear squeals of delight from the children and Charles Dickens downstairs in the parlour as they played their games—I removed the jug of laudanum from its well-protected place in my valise and filled the clean glass that sat next to the constantly replenished jug of cool water by the hand basin. The evening, I was sure, would be a trial for me—physically as well as emotionally. I downed the first glass of medicine and filled the next.

  You may be wondering, Dear Reader from my possibly judgemental future, why I had agreed to inform on Dickens to the inquisitive former policeman. I hope you have not thought less of me during the pages of memoir that have intervened here since I related consummating that conspiratorial deal.

  The reasons I agreed to that Faustian bargain were threefold—

  First, I believe that Dickens wanted me to tell former inspector Charles Frederick Field both everything that had happened that night we searched for Drood and everything the Inimitable had told me about Drood since that night. Why would Dickens want me to inform on him? you ask. I am not certain of all the reasons, but I am quite certain that the author wanted me to do so without actually requesting me to do so. Dickens knew that the private detective was querying me. He certainly knew that a man like Field would attempt to blackmail me beyond a mere threat to expose the very public nature of my relationship with Caroline. More to the point, Dickens would never have told me the story of Drood’s background or admitted to the fact of his—the writer’s—trips to London’s Undertown if Dickens had not anticipated, even wanted, me to forward the information to the bullying inspector.

  What Dickens’s game was, I did not know. But the sense of silent collusion was thicker between the Inimitable and me than it was between the scheming Inspector Field and myself.

  Second, I had my own strong reasons for using the inspector as my means to gather information about Charles Dickens and Ellen Ternan. There, I knew, in that aspect of his life, Dickens would never share information with me. His relationship with the actress, long before the expository intervention of the Staplehurst disaster, had changed every aspect of the Inimitable’s life and every relationship—including his with me—in that life. Yet the details and extent of that secret relationship and busy Second Life would, if Dickens were to have his way (and when did he not?), remain a mystery until and after the end of his life. I had reasons, which I may reveal to you later, Dear Reader, for needing to know those details. Inspector Field, with his proclivity for prying and his complete lack of a gentleman’s moral perspectiv
e and with the help of his far-flung group of busy detectives, was the perfect source of this information.

  Third, I entered into the apparent conspiracy with Inspector Field out of my own need to rearrange elements of an intimate relationship with Charles Dickens that I had seen deteriorate over the past year, long before Staplehurst. In a real sense, I was transmitting the Drood information to the detective in order to help protect Charles Dickens at one of his most vulnerable times. I felt that a renewal of our endangered friendship—and the reassertion of my own eroded equality in it—was important if my friend Charles Dickens was to be helped and protected.

  Twenty minutes had passed since I had drunk the laudanum, and I could feel the encroaching pain from rheumatical gout begin to release its vice around my aching head and bowels and extremities. A sense of deep equilibrium and mental alertness spread through my system.

  Whatever the surprises Charles Dickens had for us at this Christmas Dinner, I now felt ready to face them with my usual and expected Wilkie Collins brand of poise and good humour.

  CHAPTER THIRTEEN

  No—er—Dickens! I swear! Not this—er—er—not this, this Our Mutual Friend nonsense! No! It is—er—it is—Copperfield, by God! I swear to Heaven that, as a piece of passion and playfulness—er, ah—indescribably mixed up together, it does—No, really, Dickens!—Copperfield!—amaze me as profoundly as it—er—as it moves me. But as a piece of Art—and you know—er—that I—No, Dickens! By God!—have seen the best Art in a great time—it is incomprehensible to me. How it is got at—er—how it is done—er—how one man can—well! It lays me on my—er—back, and it is of no use talking about it.”

  This was our Surprise Guest speaking and mopping at his huge, pale, perspiring forehead with his paisely silk handkerchief. Then the old man began mopping his rheumy eyes as they began leaking tears.