The Materialisation of Charles and Mivanway

The fault that most people will find with this story is that it is unconvincing. Its scheme is improbable, its atmosphere artificial. To confess that the thing really happened -- not as I am about to set it down, for the pen of the professional writer cannot but adorn and embroider, even to the detriment of his material -- is, I am well aware, only an aggravation of my offence, for the facts of life are the impossibilities of fiction. A truer artist would have left this story alone, or at most have kept it for the irritation of his private circle. My lower instinct is to make use of it. A very old man told me the tale. He was landlord of the Cromlech Arms, the only inn of a small, rock-sheltered village on the north-east coast of Cornwall, and had been so for nine and forty years. It is called the Cromlech Hotel now, and is under new management, and during the season some four coach-loads of tourists sit down each day to _table d'hote_ lunch in the low-ceilinged parlour. But I am speaking of years ago, when the place was a mere fishing harbour, undiscovered by the guide books.

The old landlord talked, and I hearkened the while we both sat drinking thin ale from earthenware mugs, late one summer's evening, on the bench that runs along the wall just beneath the latticed windows. And during the many pauses, when the old landlord stopped to puff his pipe in silence, and lay in a new stock of breath, there came to us the murmuring voices of the Atlantic; and often, mingled with the pompous roar of the big breakers farther out, we would hear the rippling laugh of some small wave that, maybe, had crept in to listen to the tale the landlord told.