Lord Arglay just stopped himself looking at his watch again. It was impossible that it should be more than five minutes since he had last done so. He looked back to observe, if possible, how far he had since come. It was not possible; the road narrowed and curved too much. There was a cloud of trees high up behind him; it must have been half an hour ago that he passed through it, yet it was not merely still in sight, but the trees themselves were in sight. He could remark them as trees; he could almost, if he were a little careful, count them. He thought, with some irritation, that he must be getting old more quickly, and more unnoticeably, than he had supposed. He did not much mind about the quickness, but he did mind about the unnoticeableness. It had given him pleasure to watch the various changes which age tended to bring; to be as stealthy and as quick to observe those changes as they were to come upon him--the slower pace, the more meditative voice, the greater reluctance to decide, the inclination to fall back on habit, the desire for the familiar which is the first skirmishing approach of unfamiliar death. He neither welcomed nor grudged such changes; he only observed them with a perpetual interest in the curious nature of the creation. The fantasy of growing old, like the fantasy of growing up, was part of the ineffable sweetness, touched with horror, of existence, itself the lordliest fantasy of all. But now, as he stood looking back over and across the hidden curves of the road, he felt suddenly that time had outmarched and out-twisted him, that it was spreading along the countryside and doubling back on him, so that it troubled and deceived his judgment. In an unexpected and unusual spasm of irritation he put his hand to his watch again. He felt as if it were a quarter of an hour since he had looked at it; very well, making just allowance for his state of impatience, he would expect the actual time to be five minutes. He looked; it was only two.
Charles Williams
[From: "The London Mercury", 1935]
'Et in Sempiternum Pereant’ by Charles Williams (1886-1945)... here is a story in which virtually nothing appears to happen. A retired Lord Chief Justice, out walking in the country, enters a burning empty house and encounters a troubled spirit on its way to Hell. The setting is vague and the material details scanty. Not until it is over does the story have the power to frighten: it gains its effects through implication. The only tale of its kind its author wrote, in its substitution of spiritual for material terror it epitomizes his approach to the writing of supernaturalist fiction.
(Glen Cavaliero)