Tooker, with an elbow to business, leaned across the table toward Grainger, upsetting her glass of wine.
“Now while you are fed and in good humor,” she said, “I want to make a suggestion to you about a new cover.”
“A good idea,” said Grainger, mopping the tablecloth with his napkin. “I’ll speak to the waiter about it.”
Kappelman, the painter, was the cut-up. As a piece of delicate Athenian wit he got up from his chair and waltzed down the room with a waiter. That dependent, no doubt an honest, pachydermatous, worthy, tax-paying, art-despising biped, released himself from the unequal encounter, carried his professional smile back to the dumb-waiter and dropped it down the shaft to eternal oblivion. Reeves began to make Keats turn in his grave. Mrs. Pothunter told the story of the man who met the widow on the train. Miss Adrian hummed what it still called a chanson in the cafés of Bridgeport. Grainger edited each individual effort with his assistant editor’s smile, which meant: “Great! but you’ll have to send them in through the regular channels. If I were the chief now—but you know how it is.”
And soon the head waiter bowed before them, desolated to relate that the closing hour had already become chronologically historical; so out all trooped into the starry midnight, filling the street with gay laugh-
[226]
