Drood

CHAPTER FORTY-FIVE

Through the final autumn, winter, and spring of Charles Dickens’s life, he continued writing his novel and I continued writing mine.

Dickens—being Dickens—insisted, of course, on the suicidal folly of using Drood’s name in the title of his new work, even though I heard through Wills, Forster, and that ponce-twit Percy Fitzgerald (who had all but taken my place in the offices of All the Year Round and in Dickens’s confidences) that the Inimitable’s earlier ideas for titles had included The Loss of James Wakefield and Dead? Or Alive? (He had obviously never seriously considered using Edmond Dickenson’s name, as he’d mentioned to me the previous spring—that had been just to bait me.)

I had begun my book months before Dickens had started his, and thus had sold and was to start serialising Man and Wife in Cassell’s Magazine in January of 1870 and had also sold serial rights to my old stalwart, Harper’s Magazine, in New York and—to avoid piracy—had arranged for Harper’s to publish their instalments a fortnight earlier than did Cassell’s. Dickens’s first instalment of The Mystery of Edwin Drood, serialised in green wrappers from Chapman and Hall, was not to see print until April. Meant for a dozen monthly instalments, it would end after six.

My brother, Charley, was hired to be the artist for this ill-fated novel, and although it would turn out that he would be too ill to finish his labours, Dickens’s impulse must have been to give his son-in-law (and thus his daughter) some income. I could also imagine Dickens making the commission simply to give Charley something to do other than lie around his home or Gad’s Hill Place, unemployed and in pain. It had come to the point where even the sight of my brother seemed to incense Charles Dickens.

By continuing to work on the instalments, Dickens was breaking his previously inviolable rule—i.e., never to be working on a novel at the same time he was doing public readings or preparing for readings—since the time for the twelve “farewell readings” he had begged and bullied for was to begin in January.

For my own part, the instalments of Man and Wife were flowing easily, aided substantially by the now-monthly letters from Caroline in which she documented the torrent of abuse that her plumber was pouring down upon her. A jealous sort, Joseph Clow would lock her in the coal cellar when he was gone for any extended periods. A drunkard, he would kick and beat her after hours of drinking. A braggart, he would have his friends over for bouts of drinking and gambling and say crude and vulgar things about Caroline and laugh with the other louts as his bride blushed and attempted to flee to her room. (But Clow had taken the door off their tiny bedroom precisely so she could not hide in there.) A mother’s-boy, he allowed Caroline’s mother-in-law to insult her incessantly and would cuff my former lover if she cast so much as a defiant glance at the old woman.

To all these missives of misery, I replied with nothing more than a polite acknowledgement of receipt and the vaguest commiserations— sending the letters, as always, through Carrie (and assuming that Caroline would burn them after reading, since Clow might kill her if he discovered that she was receiving letters from me)—but the details and tone all went into my Man and Wife.

My seducer—Geoffrey Delamayn—was (and remains to my literary eye) a delightful character: a long-distance runner of superb physique and tiny brain, a player of many sports, an Oxford-educated ignoramus, a brute, a blackguard, a monster.

Critics of even the early instalments of Man and Wife would call my novel a bitter and angry book. And I acknowledge to you, Dear Reader, that it was that. It was also very sincere. I was pouring into Man and Wife not only my fury at the very idea of someone being trapped into marriage—trapped the way Caroline had attempted to trap me and the way that Martha R—, “Mrs Dawson,” even at that moment was scheming to trap me—but also my righteous anger at the treatment that Caroline was receiving at the grimy hands and fists of the lower-class brute she had succeeded finally in trapping.

Charles Dickens’s The Mystery of Edwin Drood was not an angry or bitter novel, but the truths and personal revelations that he was pouring into it, as I would understand only much later, were far more astounding than those I thought I was being so candid about in my own book.

When the last autumn of Dickens’s life was over, he continued to work through his final winter and into spring. This is how all of us writers give away the days and years and decades of our lives in exchange for stacks of paper with scratches and squiggles on them. And when Death calls, how many of us would trade all those pages, all that squandered lifetime-worth of painfully achieved scratches and squiggles, for just one more day, one more fully lived and experienced day? And what price would we writers pay for that one extra day spent with those we ignored while we were locked away scratching and squiggling in our arrogant years of solipsistic isolation?

Would we trade all those pages for a single hour? Or all of our books for one real minute?

I WAS NOT invited to Gad’s Hill Place for Christmas.

My brother went down with Kate, but Charley was in even worse favour than usual with the Inimitable, and they came back to London shortly after Christmas Day. Dickens had finished the second instalment of The Mystery of Edwin Drood by the end of November and was trying to hurry the artwork for the cover and early interior illustrations, but after sketching that cover based on Dickens’s sometimes vague outline of the shape of the tale, Charley decided in December that he could not draw at such a rate without further harming his health. Showing his impatience—and perhaps even disgust—Dickens hurried up to London and conferred with his publisher Frederick Chapman, and they decided as a replacement on a young man new to illustration, a certain Luke Fildes.

Actually, as was almost always the case, it was Dickens who decided, this time based upon the advice of painter John Everett Millais, who had been staying at Gad’s Hill Place and who showed the Inimitable a Fildes illustration in the first issue of a magazine called The Graphic. When Fildes interviewed with Dickens at the offices of Frederick Chapman, the young upstart actually had the audacity to say that he was “of a serious nature” and thus would be best at illustrating (unlike Charley and so many of Dickens’s previous illustrators such as “Phiz,” who best loved the comic scenes) the graver aspects of the Inimitable’s novels. Dickens agreed—actually he loved both Fildes’s more modern style and more serious approach—and thus my brother, after only a final cover sketch and two interior drawings, was finished forever as Charles Dickens’s illustrator.

But Charley, who was in his own hell of battling his constant gastric problems, did not seem to mind (except for the loss of income, which was shattering to the couple’s plans).

Nor did I mind Dickens’s not inviting me to Gad’s Hill for Christmas after so many years of a pleasantly contrary tradition.

Word came from my brother and others that Dickens’s left foot had become so swollen that he spent much of Christmas Day in the library having it poulticed and sat at the dining table that evening with the swollen and bandaged limb propped on a chair. He was able—with help—to hobble into the drawing room after dinner for the usual Dickens-family games, although his contribution uncharacteristically (for Dickens did love his games) was to lie on the sofa and watch the others compete.

For New Year’s Eve, Dickens accepted an invitation to spend that Friday and Saturday (for New Year’s Eve fell on a Friday that year) at Forster’s luxurious digs, but according to Percy Fitzgerald, who heard it from Wills, who heard it from Forster himself, Dickens’s left foot (still poulticed) and left hand were still giving him much pain. However, he made fun of the discomfort and read the second instalment of Edwin Drood with such spirit and obvious good humour that the self-serious new illustrator, Fildes, would have almost certainly been at a loss to find a scene to illustrate if “grave” were his only criterion.

With his usual precision, Dickens timed the triumphant conclusion of his reading to the assembled party to finish exactly at the stroke of midnight. Thus 1870 began for Charles Dickens as it would continue until his end—with a mixture of extreme pain and loud applause.

I had considered giving another New Year’s Eve dinner party at Number 90 Gloucester Place, but I remembered that it had not gone so swimmingly the year before. Also, because the Lehmanns and Beards were some of my favourite guests—and since their children were angry at me for telling the truth about sports athletes (and since I still felt a tad uncomfortable in purely social settings around Frank since he had delivered Martha R—’s baby the previous summer)—I decided to spend the evening with my brother and his wife.

THE EVENING WAS QUIET—one could hear their two loudest clocks ticking—and Charley began feeling unwell and had to excuse himself halfway through dinner so that he could go upstairs and lie down. He promised to try to waken and join us by midnight, but judging from the lines of pain etched on his face, I doubted if that would happen.

I also stood and suggested that I go (since there were no other guests), but Kate all but ordered me to stay. Normally this would have seemed natural—when I lived with Caroline, as I believe I may have already mentioned, I would often go to the theatre or somewhere and leave her with our male guests and think nothing of it—but things had been strained between Kate and me since the day of Caroline’s wedding more than a year earlier.

Also, Kate had been drinking much wine before dinner, during dinner, and now brought out brandy after dinner as we adjourned to the parlour, where the clock ticking was at its loudest. She was not slurring her words (Katey was a mistress of self-control), but I could tell from her rigid posture and the loss of plasticity in her expression that drink was affecting her. The girl I had known so long as Katey Dickens was—at almost thirty years of age—on the verge of becoming an old and bitter woman.

“Wilkie,” she said suddenly, her voice almost shockingly loud in the draped dimness of the little room, “do you know why Father invited you to Gad’s Hill last October?”

In truth, the question hurt my feelings. I had hitherto never required a reason to be invited to Gad’s Hill Place. Sniffing my brandy to cover my discomfort, I smiled and said, “Perhaps because your father wanted me to hear the opening of his new book.”

Kate waved her hand in a rather crudely dismissive manner. “Not at all, Wilkie. I happen to know that Father had reserved that honour for his dear friend Mr Fields, and that he—Father—was shocked when you came down to the library with him. But he could hardly tell you that it was a closed reading, as it was meant to be.”

Now I was hurt. I tried to make allowances for the fact that Kate was clearly inebriated. Still trying to sound pleasant, even slightly amused, I said, “Well, why then did he invite me for that weekend, Katey?”

“Because Charles—your brother, my husband—has been deeply upset in the estrangement between you and Father,” she said briskly. “Father believed that a weekend at Gad’s Hill would quell some of the rumours of that estrangement and cheer Charles up a bit. Alas, it did neither.”

“There has been no estrangement, Katey.”

“Oh, posh!” she said, waving her fingers again. “Do you think I do not see the truth, Wilkie? Your friendship with Father has all but ended, and no one, in or out of the family, is quite sure why.”

I did not know what to say to that, so I sipped my brandy and said nothing. The minute hand on the loudly ticking clock on the mantel crept far too slowly towards midnight.

I almost jumped when Katey suddenly said, “You have heard the rumours, I am sure, that I have taken lovers?”

“I certainly have not!” I said. But, of course, I had—in my club and elsewhere.

“The rumours are true,” said Katey. “I have tried to take lovers… even Percy Fitzgerald before he married that simpering little charmer of his, all dimples and bosoms and no brains.”

I stood and set down my glass. “Mrs Collins,” I said formally, wondering at how strange it was that another woman now took my mother’s name and title, “we have both, perhaps, celebrated with this wonderful wine and brandy a bit too much. As Charles’s brother—and I love him very much—there are things I should not hear.”

She laughed and waved her fingers again. “Oh, for heaven’s sake, Wilkie, sit down. Sit down! That’s a good boy. You look so silly when you play at being outraged. Charles knows that I have taken lovers and he knows why. Do you?”

I considered leaving without a word but instead sat down miserably. She had tried once before at Gad’s Hill, you might remember, to bring up this rumour that my brother had never consummated their marriage. I had changed the subject then. Now all I could do was look away from her.

She patted my hands as they sat folded on my lap. “Poor dear,” she said. I thought she was speaking of me, but she was not. “It is not Charley’s fault. Not really. Charles is weak in many ways. My father… well, you know Father. Even while dying—and he is dying, Wilkie, of some affliction none of us can understand, not even Dr Beard—but even while dying, he remains strong. For himself. For everyone. It is why he cannot abide the sight of your brother at his breakfast or dining table. Father has always abhorred weakness. This is why I did not allow you to finish that pitiful proposal of marriage, to become effective only after Charles is dead, of course, which you made on the night of… that woman in your life’s… marriage.”

I stood again. “I really must go, Kate. And you should go up and look in on your husband before midnight. He may need your help. I wish both of you the best of new years.”

She stood but did not move from the parlour as I went into the foyer and put on my coat and hat and muffler and found my stick. Their only servant had left after making dinner.

I went to the parlour doorway, touched the brim of my hat, and said, “Goodnight, Mrs Collins. I thank you for a lovely dinner and the excellent brandy.”

Katey’s eyes were closed and her long fingers were touching the arm of the sofa to keep her steady as she said, “You’ll be back, Wilkie Collins. I know you. When Charley’s in his grave, you’ll be back before his corpse is cold. You’ll be back like a hound—like Father’s old Irish bloodhound, Sultan—baying after me as if I were a bitch in heat.”

I touched my hat brim again and stumbled in my rush to escape out into the night.

It was very cold but there were no clouds. The stars were terribly bright. My polished boots sounded very loud as they crunched on the remainder of the week’s snow on pavement and cobblestones. I decided to walk all the way home.

The bells at midnight surprised me. All over London, the church bells and city bells were ringing in the New Year. I heard a few distant voices crying out in drunken celebration and somewhere, far away towards the river, something that sounded like a musket being fired.

My face suddenly felt cold despite the muffler and when I raised my gloved hands to my cheek, I was astonished to find that I had been weeping.

DICKENS’S FIRST READING in his new and final series of London readings was at St James’s Hall on the evening of 11 January. The plan for the rest of that month was for him to read twice a week—on Tuesdays and Fridays—and then once a week after that until the series was to be completed on 15 March.

Frank Beard and his other physicians were totally opposed to these readings, of course, and even more opposed to Dickens’s making the frequent voyages into town by rail. To appease them, Dickens rented the Miller Gibson house at 5 Hyde Park Place (just opposite the Marble Arch) from January to the first of June, although he again told everyone he had done this so that his daughter Mary would have a local place to stay, as she became busier in society that winter and spring.

With Dickens in London most of the time, one would think that he and I would have crossed paths frequently as in the old days, but when he was not reading he was working on his book, and I continued working on mine.

Frank Beard had asked me if I might join Charley Dickens and him on nightly attendance at the Inimitable’s readings, but I declined for reasons of both work and my own health. Beard was there every night in case of emergency and he admitted to me that he was actively worried that Dickens might die on stage. That night of the first performance, Frank had said to Charley, “I have had some steps put up at the side of the platform. You must be there every night, and if you see your father falter in the least, you must run and catch him and bring him off to me, or, by Heaven, he’ll die before them all.”

Dickens did not die that first night.

He read from David Copperfield and the ever-popular Trial from Pickwick, and the evening, according to his own later accounts, “went with the greatest brilliancy.” But afterwards, with the Inimitable collapsed on his sofa in his dressing room, Beard found that Dickens’s pulse had gone from its normal 72 to 95.

And it continued to rise during and after each subsequent performance.

Dickens had scheduled two of his performances for afternoons and even one in the morning after a request for that hour from actors and actresses who wished to see him read but who could not come later in the day or evening. It was at this unusual morning reading on 21 January, with the seats filled with tittering and chattering young actresses, that Dickens first did the Murder reading again. Several of the periwinkles fainted, more had to be helped out, and even some of the actors in the audience cried out in alarm.

Dickens was too exhausted afterwards to show his usual delight at such a response. Beard later told me that the author’s pulse that morning, in mere anticipation of Nancy’s Murder, had risen to 90 and after the performance, with Dickens prostrated on the sofa and unable to get his breath back—“He was panting like a dying man” were Beard’s precise words to me—the Inimitable’s pulse was at 112 and even fifteen minutes later had dropped only to 100.

Within two days—he was meeting Carlyle for the last time— Dickens’s arm was in a sling.

Still he went on, continuing the reading series as planned. His pulse rose to 114—then 118—then 124.

At each intermission, Beard had two strong men ready to half-carry Dickens to his dressing room, where the Inimitable would lie panting, too breathless to speak except for meaningless syllables or incoherent sounds, for at least a full ten minutes before the author of so many long books could speak a single coherent sentence. Then Beard or Dolby would help Dickens take a few swallows of weak brandy mixed with water and Dickens would rise, put a fresh flower in his lapel, and rush back onto the platform.

His pulse rate continued to rise at each performance.

On the first evening of March 1870, Dickens performed his final reading from his beloved David Copperfield.

On 8 March, he murdered Nancy for the last time. Some days after that, I happened to meet Charles Kent in Piccadilly, and over luncheon Kent told me that on his way to the stage for that final Murder, Dickens had whispered to him, “I shall tear myself to pieces.”

According to Frank Beard, he had already torn himself to pieces. But he went on.

It was in the middle of March—right when the tour was taking its greatest toll on the man—that the Queen summoned Dickens to Buckingham Palace for an audience.

Dickens had not been able to walk the previous evening or that morning, but he managed to hobble into Her Majesty’s presence. Court etiquette did not allow him to sit (although the previous year, receiving the same honour, old Carlyle, announcing that he was a feeble old man, had helped himself to a chair and etiquette be d— ned).

Dickens stood throughout the interview. (But so did Victoria, leaning slightly on the back of a sofa—an advantage denied to the author standing racked in pain in front of her.)

This interview had come about partially because Dickens had shown some American Civil War photographs to Mr Arthur Helps, Clerk of the Privy Council, and Helps had mentioned them to Her Majesty. Dickens had forwarded the photographs to her.

With his usual sense of mischief, Dickens had sent the hapless Helps a note in which he pretended to believe that he was being summoned to the palace in order to be made a baronet. “We will have ‘Of Gad’s Hill Place’ attached to the title of the Baronetcy, please,” he wrote, “— on account of the divine William and Falstaff. With this stipulation, my blessing and forgiveness are enclosed.”

Reports were that Mr Helps and other members of the court were quite beside themselves with embarrassment over the misunderstanding until someone explained the Inimitable’s sense of humour to them.

During the interview with the Queen, Dickens quickly turned the subject to the prescient dream that President Abraham Lincoln was purported to have had—and told others about—the night before he was assassinated. Such portents of imminent death were obviously on the Inimitable’s mind at that time, and he had brought up the Lincoln dream with many of his friends.

Her Majesty reminded him of the time she had attended the performance of The Frozen Deep some thirteen years earlier. The two discussed the evident fate of the Franklin Expedition for a few moments, then the current state of Arctic exploration, and then somehow got onto the perennial issue of the servant problem. From there the long royal audience’s conversation shifted to national education and the appalling price of butcher’s meat.

I can only imagine and envision, Dear Reader, much as you must so many decades beyond all this, how that audience must have looked and sounded, with Her Majesty standing next to the sofa and behaving, as Dickens later told Georgina, “strangely shy… and like a girl in manner,” and Dickens standing ramrod straight yet seemingly relaxed, perhaps with his hands clasped behind him, while his left leg and foot and left arm were throbbing and aching and threatening to betray him into collapse.

Before the audience ended, Her Majesty is reported to have said softly, “You know, it is one of our greatest regrets that we have never had the opportunity to hear one of your readings.”

“I regret it as well, Ma’am,” said Dickens. “I am sorry, but as of just two days ago, they are now finally over. After all these years, my readings are over.”

“And a private reading would be out of the question?” said Victoria.

“I fear it would be, Your Majesty. And I would not care to give a private reading at any event. You see, Ma’am, a mixed audience is essential to the success of my readings. This may not be the case with other authors who read for the public, but it has always been the case for me.”

“We understand,” said Her Majesty. “And we also understand that it would be inconsistent for you to alter your decision. We happen to know, Mr Dickens, that you are the most consistent of men.” She smiled then, and Dickens later confided to Forster that he was sure she was thinking of that time thirteen years before when he had flatly refused to appear before Her Majesty still in his costume and makeup after the comedic farce that had followed The Frozen Deep.

At the close of the interview, the Queen presented him with an autographed copy of her Leaves from the Journal of Our Life in the Highlands and asked for a set of his works. “We would prefer, if it is possible,” she said, “that we receive them this afternoon.”

Dickens had smiled and bowed slightly but said, “I ask once again for Your Majesty’s kind indulgence and for a bit more time in which I shall have my books more suitably bound for Your Majesty.”

He later sent her the complete set of his works bound in morocco leather and gold.

THE FINAL READING PERFORMANCE he had mentioned to the Queen occurred on 15 March.

On that last evening, he read from A Christmas Carol and from the Trial. They had always been the crowds’ favourites. His granddaughter, tiny Mekitty, was present for the first time that night, and Kent later told me that she had trembled when her grandfather— “Wenerables” she called him—had spoken in strange voices. She wailed beyond consolation when she saw her Wenerables crying.

I was there in the audience that night—in the back, unheralded, in the shadows. I could not stay away.

For the last time on this Earth, I realised, English audiences were hearing Charles Dickens give voice to Sam Weller and Ebenezer Scrooge and Bob Cratchit and Tiny Tim.

The audience was huge and overflowing. Crowds had gathered outside the hall’s two entrances on Regent Street and Piccadilly hours before the event. Later, Dickens’s son Charley told my brother that “I thought I had never heard him read so well and with so little effort.”

But I was there and I could see the effort that Dickens was using to keep himself composed. Then the trial scene from The Pickwick Papers was over and—as he always did—Dickens simply walked off stage.

The huge audience went berserk. The standing ovation verged on sheer hysteria. Several times Dickens returned to the platform and then left again and each time he was called back. Finally he calmed the crowd and gave the short speech that he obviously had been labouring on for some time and which he now had to overcome his visible emotions to give—tears were pouring down his cheeks in the gaslights while his granddaughter wailed in the family’s box.

“Ladies and gentlemen, it would be worse than idle—for it would be hypocritical and unfeeling—if I were to disguise that I close this episode in my life with feelings of very considerable pain.”

He spoke briefly of those fifteen years during which he had been reading to the public—of how he had seen such readings as a duty to his readers and to the public—and he spoke of that readership’s and public’s sympathy in return. As if in recompense for his departure, he mentioned that The Mystery of Edwin Drood would soon appear (the audience was too rapt and silent and transfixed even to applaud this happy news).

“From these garish lights,” he concluded, stepping slightly closer to the gaslights and to his silent (except for the soft weeping) audience, “I now vanish forevermore, with a heartfelt, grateful, respectful, affectionate farewell.”

He limped from the stage then, but the relentless roars of applause brought him back one last time.

His cheeks wet with tears, Charles Dickens kissed his hand, waved, and then limped off the stage for the final time.

Walking back to Number 90 Gloucester Place through light showers that March night, a new unopened letter from Caroline Clow—more carefully detailed abuses, I was sure—in my pocket, I drank heavily from my silver flask.

Dickens’s public—that mob of public which I had seen and heard roar that very night—would, whenever that d— ned beloved writer of theirs finally chose to die, insist on having him buried in Westminster Abbey next to the great poets. I was now certain of that. They would get him there if they had to carry his corpse on their rough-wooled shoulders and dig the grave themselves.

I resolved to take a day off from my writing the next day—a Wednesday—and go to Rochester and visit the cathedral and seek out Mr Dradles and there make my final arrangements for Charles Dickens’s true demise and interment.