On a trans-continental train journey into Paris, Max, a young adventurer determined to make his way as an artist, meets Blake, a well-to-do Irishman. Blake helps Max set up a studio in Montmartre and they enjoy the life of Paris and each other's company. However, things are definitely not what they seem and the book takes a very contemporary turn as another person appears on the scene.
By : Katherine Cecil Thurston (1875 - 1911)
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A Night journey is essentially a thing of possibilities. To those who count it as mere transit, mere linking of experiences, it is, of course, a commonplace; but to the imaginative, who by gift divine see a picture in every cloud, a story behind every shadow, it suggests romance—romance in the very making.
Such a vessel of inspiration was the powerful north express as it thundered over the sleeping plains of Germany and France on its night journey from Cologne to Paris. A thing of possibilities indeed, with its varying human freight—stolid Teutons, hard-headed Scandinavians, Slavs whom expediency or caprice had forced to descend upon Paris across the sea of ice. It was the month of January, and an unlikely and unlovely night for long and arduous travel. There were few pleasure-passengers on the express, and if one could have looked through the carriage windows, blurred with damp mist, one would have seen upon almost every face the look—resigned or resolute—of those who fare forth by necessity rather than by choice. In the sleeping-cars all the berths were occupied, but here and them throughout the length of the train an occasional traveller slept on the seat of his carriage, wrapped in coats and rugs, while in the dining-saloon a couple of sleepy waiters lurched to and fro in attendance upon a party of three men whose energy precluded the thought of wasting even the night hours and who were playing cards at one of the small tables. Up and down the whole overheated, swaying train there was the suggestion of mystery, of contrast and effect, and the twinkling eyes of the electric lamps seemed to wink from behind their drawn hoods as though they, worldly wise and watchful, saw the individuality—the inevitable story—behind the drowsy units who sat or lay or lounged unguarded beneath them.
In one carriage, the fifth or sixth from the thundering engine, these lights winked and even laughed one to the other each time the train lurched over the points, and the dark, shrouding hoods quivered, allowing a glimpse at the occupant of the compartment.
It was the figure of a boy upon which the twinkling lamp-eyes flickered—a boy who had as yet scarce passed the barrier of manhood, for the skin of the face was clean and smooth, and the limbs, seen vaguely under a rough overcoat, had the freedom and supple grace that belongs to early youth...
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