A MATTER OF AESTHETICS
On the night when Anthony had left for Camp Hooker one year before, all that was left of the beautiful Gloria Gilbert--her shell, her young and lovely body--moved up the broad marble steps of the Grand Central Station with the rhythm of the engine beating in her ears like a dream, and out onto Vanderbilt Avenue, where the huge bulk of the Biltmore overhung, the street and, down at its low, gleaming entrance, sucked in the many-colored opera-cloaks of gorgeously dressed girls. For a moment she paused by the taxi-stand and watched them--wondering that but a few years before she had been of their number, ever setting out for a radiant Somewhere, always just about to have that ultimate passionate adventure for which the girls' cloaks were delicate and beautifully furred, for which their cheeks were painted and their hearts higher than the transitory dome of pleasure that would engulf them, coiffure, cloak, and all.
It was growing colder and the men passing had flipped up the collars of their overcoats. This change was kind to her. It would have been kinder still had everything changed, weather, streets, and people, and had she been whisked away, to wake in some high, fresh-scented room, alone, and statuesque within and without, as in her virginal and colorful past.
Inside the taxicab she wept impotent tears. That she had not been happy with Anthony for over a year mattered little. Recently his presence had been no more than what it would awake in her of that memorable June. The Anthony of late, irritable, weak, and poor, could do no less than make her irritable in turn--and bored with everything except the fact that in a highly imaginative and eloquent youth they had come together in an ecstatic revel of emotion. Because of this mutually vivid memory she would have done more for Anthony than for any other human--so when she got into the taxicab she wept passionately, and wanted to call his name aloud.
Miserable, lonesome as a forgotten child, she sat in the quiet apartment and wrote him a letter full of confused sentiment:
* * * * *
... I can almost look down the tracks and see you going but without you, dearest, dearest, I can't see or hear or feel or think. Being apart--whatever has happened or will happen to us--is like begging for mercy from a storm, Anthony; it's like growing old. I want to kiss you so--in the back of your neck where your old black hair starts. Because I love you and whatever we do or say to each other, or have done, or have said, you've got to feel how much I do, how inanimate I am when you're gone. I can't even hate the damnable presence of PEOPLE, those people in the station who haven't any right to live--I can't resent them even though they're dirtying up our world, because I'm engrossed in wanting you so.