SHORT STORIES, LONG SHADOWS · B2/C1 · 50 min

The Furnished Room

O. Henry's story of a rented room in New York, a young man searching for a lost girl, a scent that will not go away — and a landlady who says less than she knows.

Today: you'll follow a young man into a cheap rented room in New York, where every object tells a story about the people who passed through — and you'll learn the language of not quite answering: not that I recall, as far as I know, I couldn't say.
Warm up — before we read. Talk these through out loud. There are no wrong answers.
Discuss:
  • Have you ever stayed in a rented room, hostel or hotel and wondered about the people who stayed there before you? What clues did they leave?
  • Can a smell bring back a memory or a person more strongly than a photograph? Give an example.
  • Is it ever right to hide the truth from someone to protect your own interests — your business, your job, your reputation?

Now — the words for today's story

Ten words unlock the story. Work through the four activities — say your answer out loud before you reveal it.

A · What do they mean here? Work it out from the sentence

1. The people of the West Side moved from room to room and month to month, never staying anywhere for long, with no real home at all. They were transient.
transient (adj) — lasting only a short time; (of people) staying only briefly. Also a noun: transients. Related: transit, transitory.
2. The carpet was worn through, the wallpaper was peeling, the chairs were broken and the bed sagged in the middle. The room was shabby.
shabby (adj) — old and in bad condition from long use: a shabby coat, a shabby hotel. Also shabby treatment = unfair, unkind treatment. Idiom: not too shabby = quite good.
3. Suddenly the room was filled with the sweet, strong smell of a flower he knew well — mignonette, the flower she always wore.
mignonette (n) — a small plant with a sweet scent, popular as a perfume in the 1900s. In this story the smell is the most important "character" of all.

B · Which word means…?

Three words from the story: lodger · landlady · vacant. Say the right word, then reveal.

1. Which word means a person who pays to live in a room in someone else's house?
a lodger (n) — the house is a lodging house; you take lodgings or lodge with someone. Similar: tenant, roomer (AmE).
2. Which word means a woman who owns a building and rents rooms in it to others?
a landlady (n), a landlord (m). In Britain, the landlord is also the person who runs a pub.
3. Which word means empty; available to be used or rented?
vacant (adj) — a vacant room, a vacant seat, a sign saying VACANCIES. A vacant expression = an empty look that shows no thought.

C · Choose the meaning — a / b / c

1. He had searched for her in theatres, in music halls and in boarding houses for five months — he was relentless. Relentless means…
  (a) never stopping or giving up   (b) without any money   (c) careless and lazy
(a) — relentless: positive or negative. relentless determination; relentless rain; the relentless pressure of work.
2. "Did a young lady stay here?" The landlady's reply was smooth and polite, but it told him nothing. It was evasive. Evasive means…
  (a) rude and angry   (b) avoiding a direct, honest answer   (c) clear and complete
(b) — evasive (adj), from to evade = to avoid (evade a question, evade tax). Today's grammar is the grammar of evasion.

D · Word building & collocation

1. A furnished room comes with a bed, a table and chairs. What is the noun for all those things together? And what is a room with nothing in it?
furniture (uncountable — a piece of furniture, never a furniture). Verb: to furnish. An empty room is unfurnished.
2. The scent seemed to come from nowhere and fill the room. It pervaded it. Make the adjective, and complete: "a ___ smell of damp", "a ___ sense of loneliness".
pervasive (adj) — spreading through every part of something: a pervasive smell, a pervasive sense of loneliness, the pervasive influence of social media.

Now use them — out loud

Talk it through before we read:
  • Using transient, shabby, lodger and evasive, predict what this story might be about.
  • Sort today's words into words about places, words about people, and words about the senses.

The story, in three parts

O. Henry's story, retold and shortened, keeping his voice. Read each part. After it, there's a quick comprehension check (try the questions from memory first), then one thing to discuss.

Part 1 — A room on the West Side

In the red-brick district of the lower West Side of New York lives a restless, shifting population. Homeless, they have a hundred homes. They move from furnished room to furnished room, transients for ever, carrying their lives in a bag and a hat-box. Their songs are in ragtime; their hearts are restless too.

One evening after dark a young man rang the bell of one of these crumbling red houses. The landlady who came to the door made him think of a worm that has eaten its way into a nut until only the shell is left, and now looks for lodgers to fill the empty space. "I have the third-floor back, vacant since a week back," she said. "Should you wish to look at it?" He followed her up the dark stairs. "It's a nice room," she said, in a voice that seemed to come from deep inside a cupboard. "It ain't often vacant. I had some most elegant people in it last summer. Theatre people, mostly. Yes, sir, theatrical people are often round here."

He paid for a week in advance. Then he asked the question he had asked a thousand times. "A young girl — Miss Vashner — Miss Eloise Vashner. Do you remember such a one among your lodgers? She would be singing on the stage, most likely. A fair girl, of medium height and slender, with reddish, gold hair and a dark mole near her left eyebrow." "No, I don't remember the name," said the landlady. "Them stage people has names they change as often as their rooms. They comes and they goes. No, I don't call that one to mind."

No. Always no. Five months of searching — theatre managers, agents, schools and dance halls, the crowded rooming-houses at night — and always no. He was sure that since she had left home she had come to this huge city. But New York was like a monstrous quicksand, shifting its grains all the time, and what sank there one day was buried deep the next.

Quick check — answer from memory, then reveal:

1. What kind of people live in the furnished rooms of the West Side?

2. Who is the young man looking for, and what does the landlady tell him?

1. Transients: restless people with no permanent home, who move from room to room — many of them theatre people.

2. Eloise Vashner, a young singer with reddish-gold hair and a mole near her left eyebrow. The landlady says she doesn't remember the name — stage people change their names and come and go.

Discuss:
  • Read the landlady's answer again. Is it a lie, a half-truth, or a perfectly honest reply? What makes you think so?

Part 2 — The voice of the room

Alone, he sat down in the room. It was shabby, with a worn carpet and a cheap mirror, and every object in it seemed to speak of the hundreds of lodgers who had passed through. A brass bed. A broken fan. On the wall, pictures of lovers and soldiers that every furnished room seems to have. On the carpet, a worn path to the bed, as if lovely women had marched there in pairs. On the walls, names scratched with pins. A dark stain where someone had thrown a bottle in rage. The room was like a guest list of the homeless — they had come and they had gone, and none had stayed long enough to love it.

And then, as he sat there, the room was suddenly filled with the strong, sweet scent of mignonette. It came as plainly as if a voice had spoken. He jumped up. "What, dear?" he cried, as though someone had called him. It was her perfume, the scent she had always loved and always worn. She had been in this room. He was certain.

He searched every corner. In the drawers he found a small, abandoned handkerchief, a theatre programme, a pawnbroker's card, two lost marshmallows, a book on the interpretation of dreams, a black satin hair-bow, and a single hairpin. A hairpin is a hairpin; it says nothing about the head it belonged to. He crawled over the floor. He searched the walls, the curtains and the old, cracked chest of drawers. Nothing of hers. And yet the scent of mignonette was everywhere in the room, strong and warm, as if she were standing right behind him.

Quick check — answer from memory, then reveal:

1. Name three objects or marks in the room that show earlier lodgers were there.

2. What convinces the young man that Eloise was in the room — and does he find any proof?

1. Any three: the worn path on the carpet, names scratched on the walls, the stain from a thrown bottle, the broken fan, the pictures; or from the drawers: the handkerchief, the programme, the pawnbroker's card, the marshmallows, the dream book, the hair-bow, the hairpin.

2. The sudden, strong scent of mignonette, her perfume. He searches everywhere but finds nothing that is definitely hers.

Discuss:
  • O. Henry describes the room in great detail, as if it were alive. What mood does all this create? Would you sleep well there?

Part 3 — What the landlady knew

He ran downstairs to the landlady. "Who had my room before I came?" "If you please, I can tell you again. It was Sprowls and Mooney, as I said. Miss Brett Sprowls it was in the theatres, but Missis Mooney she was. Their marriage certificate hung, framed, on a nail over—" "What kind of a lady was Miss Sprowls — in looks, I mean?" "Why, black-haired, sir, short, and stout, with a comical face. They left a week ago Tuesday." "And before them?" "Why, a single gentleman. Before him was Mrs Crowder and her two children. Before them was old Mr Doyle. That takes me back six months. I couldn't say further back than that."

He thanked her and went back up to his room. The scent was gone now; the room was dead and cold. Hope drained out of him. He sat looking at the yellow, singing gaslight for a long time. Then he tore the bed-sheets into strips and pushed them into every crack around the window and the door. When everything was tight and closed, he turned out the light, turned the gas on full again, and lay down gratefully on the bed.

That same night, in the basement below, Mrs Purdy the landlady was drinking beer with her friend Mrs McCool. "I rented out my third-floor back this evening," said Mrs Purdy. "A young man took it." "Did you tell him, then?" asked Mrs McCool, in a whisper. "Rooms," said Mrs Purdy, "are furnished for to rent. I did not tell him, Mrs McCool. There's many people wouldn't take a room if they knew a suicide had been in it." "True for you, ma'am. And a pretty thing she was, to be gassing herself in that very bed. A pretty face she had too, Mrs Purdy, ma'am, except for that mole she had growing by her left eyebrow. Do fill your glass again."

Quick check — answer from memory, then reveal:

1. What does the young man do after his second conversation with the landlady?

2. What does the final conversation reveal — and why did Mrs Purdy lie?

1. He seals the cracks around the window and door with strips of sheet and turns on the gas: he kills himself.

2. That a pretty girl with a mole by her left eyebrow, clearly Eloise, killed herself with gas in that same room a week earlier. Mrs Purdy hid it because nobody would rent a room where a suicide had happened.

Discuss:
  • The reader learns the truth; the young man never does. Is the ending more powerful because of that? How did you feel when you read the final line?

Grammar — hedging & evasive answers

Mrs Purdy never says "No, she wasn't here." She says "I don't remember the name" and "I don't call that one to mind". That is the craft of the evasive answer: avoiding a lie by never quite answering. English has a whole toolkit for it — used by witnesses, politicians, salespeople and, more innocently, by anyone who isn't completely sure.

Answering without committing yourself:
• Memory hedges: I don't recall. Not that I remember. I can't say I remember her. I don't recall anyone of that name.
• Knowledge hedges: Not that I know of. As far as I know, no. To the best of my knowledge… I couldn't say. (Couldn't sounds more polite and more final than can't.)
• Shifting the responsibility: I'm not really in a position to say. You'd have to ask the previous owner. It's hard to say.
Note the logic: not that I know of answers the question "Was she here?" without claiming anything about the facts — only about the speaker's knowledge.
Vague language — softening the details (C1).
• Approximation: a week or so, something like six months, roughly twenty, -ish (eight-ish, thirty-ish)
• Vague categories: theatre people and so on, that sort of thing, or something like that, sort of fair-haired
Used honestly, hedges show you are being careful and accurate. Used strategically, they are a way of saying nothing. The words are the same; the difference is what the speaker knows.

1. Make it evasive

Complete each evasive answer with one or two words.

1. "Was a young singer here?" — "Not that I know ."

2. "Do you remember a girl with a mole?" — "I can't say I ."

3. "Who had the room in March?" — "I really say. You'd have to check the book."

1. of   2. do (or recall / remember her)   3. couldn't

2. Choose the hedge

Choose the best expression: as far as I know · or so · to the best of my knowledge · something like.

1. "How long ago did they leave?" — "A week ."

2. ", the room has always been quiet and respectable." (formal, as in a statement to police)

3. "How many lodgers have you had this year?" — "Oh, thirty, I'd say."

1. or so   2. To the best of my knowledge   3. something like

"As far as I know" also fits sentence 2, but it is less formal.

3. Mrs Purdy is questioned — complete the paragraph

A week later, a police officer asks Mrs Purdy about the young man. Complete her answers with hedges and vague language. Then read it aloud as Mrs Purdy: polite, smooth and saying nothing at all.

"The young man? He came at eight o'clock, — maybe a bit later. Did he seem unhappy? I say, officer; I only saw him for a minute. Did he ask about anyone? Not that I . A young lady? I can't say I her. As as I know, the room has never had any trouble. My lodgers are theatre people, singers, that of thing. They come and go. You'd to ask Mrs McCool, officer — her memory's better than mine."

or so / -ish / roughly · couldn't · recall / remember · remember / recall · far · sort / kind · have

Seven hedges, no direct lies, and the truth never leaves the basement — exactly Mrs Purdy's technique.

Hold on to these structures — in the Speak tab you'll narrate the story and then try to get the truth out of an evasive witness.

Going deeper

O. Henry was the pen name of William Sydney Porter (1862–1910). He wrote nearly six hundred stories, most of them about the ordinary people of New York: shop girls, clerks, tramps and lodgers. He spent three years in prison for embezzlement, which may be why he wrote about people on the edge with such sympathy. "The Furnished Room" appeared in 1904 and was collected in The Four Million (1906). The title answers a society figure who claimed only "four hundred" people in New York really mattered: O. Henry said all four million did.

The craft. O. Henry is famous for his twist endings, usually clever or warm. This one is a terrible coincidence that only the reader sees. Notice the structure: we hear one conversation with the landlady at the start and another at the end, and only then do we realise that the first was full of carefully chosen words. "I don't remember the name" and "I don't call that one to mind" are not lies. They are hedges, and they kill. The long middle section, with its catalogue of objects, the worn carpet and the names on the walls, turns the room into the real main character: a place that remembers everyone and loves no one. The scent of mignonette is the story's one supernatural touch, if it is supernatural at all. Is Eloise really calling to him, or is it only a perfume caught in the curtains? O. Henry never says. And the final line, "Do fill your glass again", ends one of the darkest stories in American fiction with two women having a drink in the basement.
Talk it through:
  • Is Mrs Purdy a monster, or just a businesswoman protecting her income? Does it matter that she doesn't know who the young man is looking for?
  • The scent of mignonette: a ghost, a coincidence, or just perfume left in the room? Which reading makes the story stronger?
  • O. Henry spends a long time describing objects in the room. Why? What would be lost if he cut that section?
  • The final line is cheerful, almost comic. Why end such a dark story like this?

Speak

This is the heart of the lesson — do all of it out loud. The timer is there to keep you going: fill the time with detail rather than racing through it.

Useful language: lean on today's grammar — not that I know of, I don't recall, I couldn't say, as far as I know, a week or so, that sort of thing. For pressing for an answer: "With respect, that wasn't my question…", "Let me put it another way…", "So you're saying that…?", "Are you sure about that?".
Time remaining: 4:00
Task A · Narrate the whole story (4 minutes)

Tell The Furnished Room as if to someone who has never read it, keeping the final secret for the very last sentence, as O. Henry does. Move through the arc: the transient West Side → the landlady and the third-floor back → the question about Eloise → the room and its objects → the scent of mignonette → the search → the second conversation → the gas → the basement, and the truth.

Quote the landlady using at least three hedges, and use at least five key words (transient, shabby, mignonette, lodger, landlady, vacant, relentless, evasive, furnished, pervasive).

Task B · Is Mrs Purdy guilty? (4 minutes)

Build an argument. One view: Mrs Purdy is morally responsible for the young man's death; her evasions were deliberate, and a straight answer would have saved him, or at least ended his search. Another: she told no direct lie, had no idea who he was searching for, and cannot be blamed for a despair that began long before he rang her bell. Take a side, give three reasons, deal with the strongest objection, and decide how a court today would see it.

Then argue the opposite for one minute — the harder direction is where the language comes from.

Task C · Not quite the truth (4 minutes)

Hedging is everywhere: in politics, in business, in daily life. Take the story's theme into the real world.

Stuck for an idea? Pick one of these and run with it:

  • Role-play: you are an interviewer; your partner is a politician, landlord or CEO who answers every question with a hedge. Get one straight answer in ninety seconds.
  • Should sellers and landlords be legally required to reveal a property's history — a death, a crime, a "haunting"? Where should the line be?
  • When is hedging honest and useful — in science, medicine, diplomacy?
  • A smell that instantly brings back a person or a place. Describe it.
  • Big-city loneliness: can you be surrounded by millions of people and be completely alone? Is it worse now or then?
  • The most memorable room you have ever rented or stayed in, and what it told you about the people before you.

To finish — the bigger questions

  1. The young man and Eloise both end their lives in the same bed, a week apart, and never find each other. Is the story about bad luck, about the city, or about something else?
  2. Was the scent of mignonette real? What do you think O. Henry wanted us to believe?
  3. "Rooms are furnished for to rent." Is Mrs Purdy's attitude still common today, in housing or anywhere else?
  4. Before you go — from memory: answer three questions about your weekend evasively, using a memory hedge, a knowledge hedge and a piece of vague language, then explain the difference between I can't say and I couldn't say.