Kimball Harris returns to Salt Lake City, where he attended college, to make funeral arrangements for his last near relative, his Aunt Margaret. Tired from his long drive across Nevada from San Francisco, he checks into a hotel, awash in nostalgia for his “giddy and forgotten youth.” When he visits the Merrill funeral parlor, where his aunt has been taken, he is surprised to discover that he knows the building well. Holly, a beautiful young woman who is at the center of many of Harris’s recollections of his college days, once lived in an apartment in this old mansion.
Viewing his aunt’s body does not excite a particularly sentimental response in him. He recalls her as never very lovable, “only a duty and an expense.” However, because of its potent associations with Holly, the house itself resurrects memories of the Jazz Age of his youth with great force. He asks McBride, the parlor attendant, if he can see Holly’s apartment, a room with a turret tower on the third floor. Although another deceased woman is laid out in this room, McBride permits Harris to look around.
The staircase, hallways, and other rooms all propel Harris deeper into his nostalgic recollections. He remembers the people he knew in college as a collection of pose-strikers and late adolescent romantics whom he thinks of as “provincial cognoscenti.” All these people orbited around Holly. He particularly recalls the rumors of a nude portrait for which Holly...
(The entire section is 477 words.)