Get Back Challenge: Post-a-thon

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434

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The cuttings largely alluded to outré mental illnesses and outbreaks of group folly or mania in the spring of 1925.

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435

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The first half of the principal manuscript told a very peculiar tale. It appears that on March 1st, 1925, a thin, dark young man of neurotic and excited aspect had called upon Professor Angell bearing the singular clay bas-relief, which was then exceedingly damp and fresh.

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436

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His card bore the name of Henry Anthony Wilcox, and my uncle had recognised him as the youngest son of an excellent family slightly known to him, who had latterly been studying sculpture at the Rhode Island School of Design and living alone at the Fleur-de-Lys Building near that institution.

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437

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Wilcox was a precocious youth of known genius but great eccentricity, and had from childhood excited attention through the strange stories and odd dreams he was in the habit of relating.

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438

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He called himself “psychically hypersensitive”, but the staid folk of the ancient commercial city dismissed him as merely “queer”.

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439

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Never mingling much with his kind, he had dropped gradually from social visibility, and was now known only to a small group of aesthetes from other towns.

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440

"strange storys, more like CHATGPT SLOp"

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Even the Providence Art Club, anxious to preserve its conservatism, had found him quite hopeless.

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441

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On the occasion of the visit, ran the professor’s manuscript, the sculptor abruptly asked for the benefit of his host’s archaeological knowledge in identifying the hieroglyphics on the bas-relief.

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442

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He spoke in a dreamy, stilted manner which suggested pose and alienated sympathy;

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443

[Sunlight1232]

and my uncle shewed some sharpness in replying, for the conspicuous freshness of the tablet implied kinship with anything but archaeology.