Read a short story by Eudora Welty

Old Mr. Marblehall - by Eudora Welty

Old Mr. Marblehall never did anything, never got married until he was sixty. You can see him out taking a walk. Watch and you’ll see how preciously old people come to think they are made—the way they walk, like conspirators, bent over a little, filled with protection. The

y stand long on the corners but more impatiently than anyone, as if they expect traffic to take notice of them, rear up the horses and throw on the brakes, so they can go where they want to go. That’s Mr. Marblehall. He has short white bangs, and a bit of snapdragon in his lapel. He walks with a big polished stick, a present. That’s what people think of him. Everybody says to his face, “So well preserved!” Behind his back they say cheerfully, “One foot in the grave.” He has on his thick, beautiful, glowing coat—tweed, but he looks as gratified as an animal in its own tingling fur. You see, even in summer he wears it, because he is cold all the time. He looks quaintly secretive and prepared for anything, out walking very luxuriously on Catherine Street.

His wife, back at home in the parlor standing up to think, is a large, elongated old woman with electric-looking hair and curly lips. She has spent her life trying to escape from the parlor-like jaws of self-consciousness. Her late marriage has set in upon her nerves like a retriever nosing and puffing through old dead leaves out in the woods. When she walks around the room she looks remote and nebulous, out on the fringe of habitation, and rather as if she must have been cruelly trained—otherwise she couldn’t do actual, immediate things, like answering the telephone or putting on a hat. But she has gone further than you’d think: into club work. Surrounded by other more suitably exclaiming women, she belongs to the Daughters of the American Revolution and the United Daughters of the Confederacy, attending teas. Her long, disquieted figure towering in the candlelight of other women’s houses looks like something accidental. Any occasion, and she dresses her hair like a unicorn horn. She even sings, and is requested to sing. She even writes some of the songs she sings (“O Trees in the Evening”). She has a voice that dizzies other ladies like an organ note, and amuses men like a halloo down the well. It’s full of a hollow wind and echo, winding out through the wavery hope of her mouth. Do people know of her perpetual amazement? Back in safety she wonders, her untidy head trembles in the domestic dark. She remembers how everyone in Natchez will suddenly grow quiet around her. Old Mrs. Marblehall, Mr. Marblehall’s wife: she even goes out in the rain, which Southern women despise above everything, in big neat biscuit-colored galoshes, for which she “ordered off.” She is only looking around—servile, undelighted, sleepy, expensive, tortured Mrs. Marblehall, pinning her mind with a pin to her husband’s diet. She wants to tempt him, she tells him. What would he like best, that he can have?

There is Mr. Marblehall’s ancestral home. It’s not so wonderfully large—it has only four columns—but you always look toward it, the way you always glance into tunnels and see nothing. The river is after it now, and the little back garden has assuredly crumbled away, but the box maze is there on the edge like a trap, to confound the Mississippi River. Deep in the red wall waits the front door—it weighs such a lot, it is perfectly solid, all one piece, black mahogany…. And you see—one of them is always going in it. There is a knocker shaped like a gasping fish on the door. You have every reason in the world to imagine the inside is dark, with old things about. There’s many a big, deathly-looking tapestry, wrinkling and thin, many a sofa shaped like an S. Brocades as tall as the wicked queens in Italian tales stand gathered before the windows. Everything is draped and hooded and shaded, of course, unaffectionate but close. Such rosy lamps! The only sound would be a breath against the prisms, a stirring of the chandelier. It’s like old eye-lids, the house with one of its shutters, in careful working order, slowly opening outward. Then the little son softly comes and stares out like a kitten, with button nose and pointed ears and little fuzz of silky hair running along the top of his head.

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