Final Reckonings (27 page)

Nor, upon entering Launcelot Canning's home was I too greatly disappointed in my expectations. True to both the atmospheric quality of the decrepit mansion and to my own fanciful presentiments, the door was opened in response to my knock by a valet who conducted me, in silence, through dark and intricate passages to the study of his master.

The room in which I found myself was very large and lofty. The windows were long, narrow, and pointed, and at so vast a distance from the black oaken floor as to be altogether inaccessible from within. Feeble gleams of encrimsoned light made their way through the trellised panes, and served to render sufficiently distinct the more prominent objects around; the eye, however, struggled in vain to reach the remoter angles of the chamber or the recesses of the vaulted and fretted ceiling. Dark draperies hung upon the walls. The general furniture was profuse, comfortless, antique, and tattered. Many books and musical instruments lay scattered about, but failed to give any vitality to the scene.

Instead they rendered more distinct that peculiar quality of quasi-recollection; it was as though I found myself once again, after a protracted absence, in a familiar setting. I had read, I had imagined, I had dreamed, or I had actually beheld this setting before.

Upon my entrance, Launcelot Canning arose from a sofa on which he had been lying at full length, and greeted me with a vivacious warmth which had much in it, I at first thought, of an overdone cordiality.

Yet his tone, as he spoke of the object of my visit, of his earnest desire to see me, and of the solace he expected me to afford him in a mutual discussion of our interests, soon alleviated my initial misapprehension.

Launcelot Canning welcomed me with the rapt enthusiasm of the born collector—and I came to realize that he was indeed just that. For the Poe collection he shortly proposed to unveil before me was actually his birthright.

Initially, he disclosed, the nucleus of the present accumulation had begun with his grandfather, Christopher Canning, a respected merchant of Baltimore. Almost eighty years ago he had been one of the leading patrons of the arts in his community and as such was partially instrumental in arranging for the removal of Poe's body to the southeastern corner of the Presbyterian Cemetery at Fayette and Green Streets, where a suitable monument might be erected. This event occurred in the year 1875, and it was a few years prior to that time that Canning laid the foundation of the Poe collection.

"Thanks to his zeal," his grandson informed me, "I am today the fortunate possessor of a copy of virtually every existing specimen of Poe's published works. If you will step over here"—and he led me to a remote corner of the vaulted study, past the dark draperies, to a bookshelf which rose remotely to the shadowy ceiling—"I shall be pleased to corroborate that claim. Here is a copy of A
L
A
ARAAF
, T
AMERLANE, AND OTHER
P
OEMS
in the eighteen twenty-nine edition, and here is the still earlier T
AMERLANE, AND OTHER
P
OEMS
of eighteen twenty-seven. The Boston edition, which, as you doubtless know, is valued today at fifteen thousand dollars. I can assure you that Grandfather Canning parted with no such sum in order to gain possession of this rarity."

He displayed the volumes with an air of commingled pride and cupidity which is oft-times characteristic of the collector and is by no means to be confused with either literary snobbery or ordinary greed. Realizing this, I remained patient as he exhibited further treasures—copies of the
Philadelphia Saturday Courier
containing early tales, bound volumes of
The Messenger
during the period of Poe's editorship,
Graham's Magazine
, editions of the
New York Sun
and the
New York Mirror
boasting, respectively of
The Balloon Hoax
and
The Raven
, and files of
Burton's Gentleman's Magazine
. Ascending a short library ladder, he handed down to me the Lea and Blanchard edition of T
ALES OF THE
G
ROTESQUE AND
A
RABESQUE
, the C
ONCHOLOGIST'S
F
IRST
B
OOK
, the Putnam E
UREKA
, and, finally, the little paper booklet, published in 1843 and sold for 12½¢, entitled T
HE
P
ROSE
R
OMANCES
O
F
E
DGAR
A. P
OE
; an insignificant trifle containing two tales which is valued by present-day collectors at $50,000.

Canning informed me of this last fact, and, indeed, kept up a running commentary upon each item he presented. There was no doubt but that he was a Poe scholar as well as a Poe collector, and his words informed tattered specimens of the
Broadway Journal
and
Godey's Lady's Book
with a singular fascination not necessarily inherent in the flimsy sheets or their contents.

"I owe a great debt to Grandfather Canning's obsession," he observed, descending the ladder and joining me before the bookshelves. "It is not altogether a breach of confidence to admit that his interest in Poe did reach the point of an obsession, and perhaps eventually of an absolute mania. The knowledge, alas, is public property, I fear.

"In the early seventies he built this house, and I am quite sure that you have been observant enough to note that it in itself is almost a replica of a typical Poe-esque mansion. This was his study, and it was here that he was wont to pore over the books, the letters, and the numerous mementoes of Poe's life.

"What prompted a retired merchant to devote himself so fanatically to the pursuit of a hobby, I cannot say. Let it suffice that he virtually withdrew from the world and from all other normal interests. He conducted a voluminous and lengthy correspondence with aging men and women who had known Poe in their lifetime—made pilgrimages to Fordham, sent his agents to West Point, to England and Scotland, to virtually every locale in which Poe had set foot during his lifetime. He acquired letters and souvenirs as gifts, he bought them, and—I fear—stole them, if no other means of acquisition proved feasible."

Launcelot Canning smiled and nodded. "Does all this sound strange to you? I confess that once I, too, found it almost incredible, a fragment of romance. Now, after years spent here, I have lost my own objectivity."

"Yes, it is strange," I replied. "But are you quite sure that there was not some obscure personal reason for your grandfather's interest? Had he met Poe as a boy, or been closely associated with one of his friends? Was there, perhaps, a distant, undisclosed relationship?"

At the mention of the last word, Canning started visibly, and a tremor of agitation overspread his countenance.

"Ah!" he exclaimed. "There you voice my own inmost conviction. A relationship—assuredly there must have been one—I am morally, instinctively certain that Grandfather Canning felt or knew himself to be linked to Edgar Poe by ties of blood. Nothing else could account for his strong initial interest, his continuing defense of Poe in the literary controversies of the day, and his final melancholy lapse into a world of delusion and illusion.

"Yet he never voiced a statement or put an allegation upon paper—and I have searched the collection of letters in vain for the slightest clue.

"It is curious that you so promptly divine a suspicion held not only by myself but by my father. He was only a child at the time of my Grandfather Canning's death, but the attendant circumstances left a profound impression upon his sensitive nature. Although he was immediately removed from this house to the home of his mother's people in Baltimore, he lost no time in returning upon assuming his inheritance in early manhood.

"Fortunately being in possession of a considerable income, he was able to devote his entire lifetime to further research. The name of Arthur Canning is still well known in the world of literary criticism, but for some reason he preferred to pursue his scholarly examination of Poe's career in privacy. I believe this preference was dictated by an inner sensibility; that he was endeavoring to unearth some information which would prove his father's, his, and for that matter, my own, kinship to Edgar Poe."

"You say your father was also a collector?" I prompted.

"A statement I am prepared to substantiate," replied my host, as he led me to yet another corner of the shadow-shrouded study. "But first, if you would accept a glass of wine?"

He filled, not glasses, but veritable beakers from a large carafe, and we toasted one another in silent appreciation. It is perhaps unnecessary for me to observe that the wine was a fine old Amontillado.

"Now, then," said Launcelot Canning. "My father's special province in Poe research consisted of the accumulation and study of letters."

Opening a series of large trays or drawers beneath the bookshelves, he drew out file after file of glassined folios, and for the space of the next half hour I examined Edgar Poe's correspondence—letters to Henry Herring, to Doctor Snodgrass, Sarah Shelton, James P. Moss, Elizabeth Poe—missives to Mrs. Rockwood, Helen Whitman, Anne Lynch, John Pendleton Kennedy—notes to Mrs. Richmond, to John Allan, to Annie, to his brother, Henry—a profusion of documents, a veritable epistolary cornucopia.

During the course of my perusal my host took occasion to refill our beakers with wine, and the heady draught began to take effect—for we had not eaten, and I own I gave no thought to food, so absorbed was I in the yellowed pages illumining Poe's past.

Here was wit, erudition, literary criticism; here were the muddled, maudlin outpourings of a mind gone in drink and despair; here was the draft of a projected story, the fragments of a poem; here were a pitiful cry for deliverance and a paean to living beauty; here were a dignified response to a dunning letter and an editorial
pronunciamento
to an admirer; here were love, hate, pride, anger, celestial serenity, abject penitence, authority, wonder, resolution, indecision, joy, and soul-sickening melancholia.

Here were the gifted elocutionist, the stammering drunkard, the adoring husband, the frantic lover, the proud editor, the indigent pauper, the grandiose dreamer, the shabby realist, the scientific inquirer, the gullible metaphysician, the dependent stepson, the free and untrammeled spirit, the hack, the poet, the enigma that was Edgar Allan Poe.

Again the beakers were filled and emptied.

I drank deeply with my lips, and with my eyes more deeply still.

For the first time the true enthusiasm of Launcelot Canning was communicated to my own sensibilities—I divined the eternal fascination found in a consideration of Poe the writer and Poe the man; he who wrote Tragedy, lived Tragedy, was Tragedy; he who penned Mystery, lived and died in Mystery, and who today looms on the literary scene as Mystery incarnate.

And Mystery Poe remained, despite Arthur Canning's careful study of the letters. "My father learned nothing," my host confided, "even though he assembled, as you see here, a collection to delight the heart of a Mabbott or a Quinn. So his search ranged further. By this time I was old enough to share both his interest and his inquiries. Come," and he led me to an ornate chest which rested beneath the windows against the west wall of the study.

Kneeling, he unlocked the repository, and then drew forth, in rapid and marvelous succession, a series of objects each of which boasted of intimate connection with Poe's life.

There were souvenirs of his youth and his schooling abroad—a book he had used during his sojourn at West Point—mementoes of his days as a theatrical critic in the form of play-bills, a pen used during his editorial period, a fan once owned by his girl-wife, Virginia, a brooch of Mrs. Clemm's; a profusion of objects including such diverse articles as a cravat-stock and—curiously enough—Poe's battered and tarnished flute.

Again we drank, and I own the wine was potent. Canning's countenance remained cadaverously wan—but, moreover, there was a species of mad hilarity in his eye—an evident restrained hysteria in his whole demeanor. At length, from the scattered heap of
curiosa
, I happened to draw forth and examine a little box of no remarkable character, whereupon I was constrained to inquire its history and what part it had played in the life of Poe.

"In the
life
of Poe?" A visible tremor convulsed the features of my host, then rapidly passed in transformation to a grimace, a rictus of amusement, "This little box—and you will note how, by some fateful design or contrived coincidence it bears a resemblance to the box he himself conceived and described in his tale
Berenice
—this little box is concerned with his death, rather than his life. It is, in fact, the selfsame box my Grandfather Christopher Canning clutched to his bosom when they found him down there."

Again the tremor, again the grimace. "But stay, I have not yet told you of the details. Perhaps you would be interested in seeing the spot where Christopher Canning was stricken; I have already told you of his madness, but I did not more than hint at the character of his delusions. You have been patient with me, and more than patient. Your understanding shall be rewarded, for I perceive you can be fully entrusted with the facts."

What further revelations Canning was prepared to make I could not say, but his manner was such as to inspire a vague disquiet and trepidation in my breast.

Upon perceiving my unease he laughed shortly and laid a hand upon my shoulder. "Come, this should interest you as an aficionado of fantasy," he said. "But first, another drink to speed our journey."

He poured, we drank, and then he led the way from that vaulted chamber, down the silent halls, down the staircase, and into the lowest recesses of the building until we reached what resembled a donjon-keep, its floor and the interior of a long archway carefully sheathed in copper. We paused before a door of massive iron. Again I felt in the aspect of this scene an element evocative of recognition or recollection.