There were real tragedies, too, although a casual visitor would never have guessed it. For tragedies sink, and that is the end of them. The cinematograph, to be sure, would reveal one from time to time, coming like a shadow across an endless feast, and gone again in a flash. Such was what might appropriately be called the episode of the Alfred Ferns. After three years of married life they had come, they had rented; the market had gone up, they had bought and built—upon the sands. The ancient farmhouse which had stood on the site had been torn down as unsuited to a higher civilization, although the great elms which had sheltered it had been left standing, in grave contrast to the twisted cedars and stunted oaks so much in evidence round about.
The Ferns—or rather little Mrs. Fern—had had taste, and the new house reflected it. As an indication of the quality of imagination possessed by the owners, the place was called "The Brackens." There was a long porch on the side of the ocean, but a view of the water was shut off from it by a hedge which, during the successive ownerships of the adjoining property, had attained a height of twelve feet. There was a little toy greenhouse connecting with the porch (an "economy" indulged in when the market had begun to go the wrong way for Mr. Fern). Exile, although unpleasant, was sometimes found necessary at Quicksands, and even effective.
Above all things, however, if one is describing Quicksands, one must not be depressing. That is the unforgiveable sin there. Hence we must touch upon these tragedies lightly.
If, after walking through the entrance in the hedge that separated the Brackens from the main road, you turned to the left and followed a driveway newly laid out between young poplars, you came to a mass of cedars. Behind these was hidden the stable. There were four stalls, all replete with brass trimmings, and a box, and the carriage-house was made large enough for the break which Mr. Fern had been getting ready to buy when he had been forced, so unexpectedly, to change his mind.
If the world had been searched, perhaps, no greater contrast to Rivington could have been found than this delightful colony of quicksands, full of life and motion and colour, where everybody was beautifully dressed and enjoying themselves. For a whole week after her instalment Honora was in a continual state of excitement and anticipation, and the sound of wheels and voices on the highroad beyond the hedge sent her peeping to her curtains a dozen times a day. The waking hours, instead of burdens, were so many fleeting joys. In the morning she awoke to breathe a new, perplexing, and delicious perfume—the salt sea breeze stirring her curtains: later, she was on the gay, yellow-ochre beach with Lily Dallam, making new acquaintances; and presently stepping, with a quiver of fear akin to delight, into the restless, limitless blue water that stretched southward under a milky haze: luncheon somewhere, more new acquaintances, and then, perhaps, in Lily's light wood victoria to meet the train of trains. For at half-past five the little station, forlorn all day long in the midst of the twisted cedars that grew out of the heated sand, assumed an air of gayety and animation. Vehicles of all sorts drew up in the open space before it, wagonettes, phaetons, victorias, high wheeled hackney carts, and low Hempstead carts: women in white summer gowns and veils compared notes, or shouted invitations to dinner from carriage to carriage. The engine rolled in with a great cloud of dust, the horses danced, the husbands and the overnight guests, grimy and brandishing evening newspapers, poured out of the special car where they had sat in arm-chairs and talked stocks all the way from Long Island City. Some were driven home, it is true; some to the beach, and others to the Quicksands Club, where they continued their discussions over whiskey-and-sodas until it was time to have a cocktail and dress for dinner.
Then came the memorable evening when Lily Dallam gave a dinner in honour of Honora, her real introduction to Quicksands. It was characteristic of Lily that her touch made the desert bloom. Three years before Quicksands had gasped to hear that the Sidney Dallams had bought the Faraday house —or rather what remained of it.
"We got it for nothing," Lily explained triumphantly on the occasion of
Honora's first admiring view. "Nobody would look at it, my dear."
It must have been this first price, undoubtedly, that appealed to Sidney Dallam, model for all husbands: to Sidney, who had had as much of an idea of buying in Quicksands as of acquiring a Scotch shooting box. The "Faraday place" had belonged to the middle ages, as time is reckoned in Quicksands, and had lain deserted for years, chiefly on account of its lugubrious and funereal aspect. It was on a corner. Two "for rent" signs had fallen successively from the overgrown hedge: some fifty feet back from the road, hidden by undergrowth and in the tenebrous shades of huge larches and cedars, stood a hideous, two-storied house with a mansard roof, once painted dark red.
The magical transformation of all this into a sunny, smiling, white villa with red-striped awnings and well-kept lawns and just enough shade had done no little towards giving to Lily Dallam that ascendency which she had acquired with such startling rapidity in the community. When Honora and Howard drove up to the door in the deepening twilight, every window was a yellow, blazing square, and above the sound of voices rose a waltz from "Lady Emmeline" played with vigour on the piano. Lily Dallam greeted Honora in the little room which (for some unexplained reason) was known as the library, pressed into service at dinner parties as the ladies' dressing room.
"My dear, how sweet you look in that coral! I've been so lucky to-night," she added in Honora's ear; "I've actually got Trixy Brent for you."