The Eye of Wilbur Mook — Reading Notes

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Hickey, H. B., 1916-1987 Project Gutenberg 2010 Not confirmed
Fantasy fiction; Cowardice -- Fiction; Arthur, King -- Fiction; Merlin (Legendary character) -- Fiction; Courage -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 11,901
Reading time 52 min
Text sections 2

Before opening The Eye of Wilbur Mook — Reading Notes, the edition data offers a quick orientation: 11,901 words, 52 min estimated reading time, and 2 detected text sections.

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Project Gutenberg metadata also associates the work with “Fantasy fiction,” connecting these edition facts with the source record’s subject description.

H. B. Hickey's 1948 fantasy follows Wilbur Mook, a self-described coward, who is transported to Camelot and tasked with swapping his timidity for King Arthur's reckless bravery via Merlin's Elixir of Caution. The narrative shifts between mundane office dread and Arthurian legend, using mirror-gazing, dream sequences, and pacing contrasts to explore fear and fearlessness.
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Editorial Edition Score 4.5/5

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  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
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Read the Text

What was even worse was the fact that everyone else knew it too. It could not have been more evident had Wilbur carried a sign. The only thing he could say was that his mother loved him anyway. Small consolation.

"Read the paper on the streetcar," she said as she helped him into his coat. "And don't run. You know it upsets your stomach when you've just eaten breakfast."

His breakfast had consisted, as always, of orange juice, one poached egg on toast and warm milk. Anything stronger than warm milk, Mrs. Mook had discovered, disturbed Wilbur no end.

As he walked to the car Wilbur's mind went back over the dream. That was the stuff! And one of these days he was going to make that dream come true. Pete Bellows was going to find out a thing or two.

"Whyncha look where you're goin'?" a shrill voice demanded.

Wilbur stopped abruptly. In his trance-like state he had stepped on the heel of a twelve-year-old boy bound for school. The boy was glaring at him fiercely and Wilbur cringed.

"I'm dreadfully sorry," he said, knowing that his face was losing color.

"Yah!" the boy snarled. "Look where you're goin' and you won't have to be sorry."

For a moment Wilbur feared the boy was going to hit him. Then a call came from down the street as another school-bound lad hove into sight, and the first one promptly forgot about Wilbur.

Heaving a sigh of relief, Wilbur crossed gingerly to the safety island and waited for his car. When it came he found that all the seats were occupied but he discovered a vacant corner at the front and huddled there.

Unfolding his paper carefully he scanned the world news and found it depressing. It always was, Wilbur thought. He turned to the sport pages for solace. That too was depressing, for it featured the doings of those public heroes who battered each other to a pulp for profit and applause.

Not that Wilbur would have been unwilling to attend a prize fight. No indeed. He would have enjoyed it immensely, except that he could not stand the sight of men beating each other. And the blood! Even the thought of blood made him slightly ill.

He turned quickly to the want ads. Those were always safe, sometimes even exciting. Today there was a man who needed a bodyguard. Wilbur reflected wistfully that he would have made a fine bodyguard, if only things were different.

Actually he was a writer of greeting-card poetry, and as he swung off the car his mind was already busy on a poem for Mother's Day. All he needed was a good last line. So far it went:

"To the Mother so loving and tender, On this day that is yours alone, Homage I willingly render, Ta ta-ta tum ta ta."

The last line would come to him, Wilbur knew. It always did. In the meantime he nodded shyly to the elevator starter and found himself a place at the back of the car. It rose swiftly and his heart pounded.

What if it should stop suddenly between floors? There was a beautiful girl standing next to Wilbur and he thought how fear would flood her face. That was the time when a cool and confident voice could avert panic. But Wilbur was aware that there was more chance that the voice would be the girl's rather than his.

His mind went back to the last line of the ditty he had been composing. He almost had it, then it was gone. He bit down on his tongue in concentration, unaware that he was staring at the girl next to him.

"My devotion you'll always own," Wilbur murmured.

"On such short acquaintance?" the girl smiled.

Wilbur turned pink, then red. He wanted to tell her he hadn't meant it that way, and he found himself wishing he had. She was the kind of girl he sometimes dreamed about, tall and not too thin, with golden hair and gray eyes in which flecks of color danced.

"I meant my mother," Wilbur managed at last.

"How sweet. Now would you mind getting out of my way?"

Wilbur looked down and found that he had somehow managed to walk from the elevator to his office without knowing it. He had his hand on the doorknob.

"I beg your pardon," he mumbled, and flung the door open in what he hoped was a gallant gesture.

There was a crash as the door swung inward for a few feet and stopped. The crash was immediately followed by a howl of pain. A moment later Pete Bellows' flushed and furious face came around the side of the door. He was rubbing his head.

"Mook, you idiot!" Bellows roared. "I ought to punch your nose for this!"

"He didn't know your head was in the way," the girl said.

"Huh?" Bellows grunted. He took a good look at the girl and the anger drained from his face. Without thinking he straightened his tie and slicked back his oily black hair.

"You must be Miss Burnett, the girl the agency said they were sending," Bellows murmured in his most dulcet tones. "Well, well, Wilbur, this is my new secretary."

"But how do you know I'll do?" Miss Burnett said, startled.

"Oh, you'll do. I just know you will," Bellows told her. "You and I are going to get along just dandy."

"My shorthand is a little rusty," the girl said.

"What's a little thing like that?" Bellows laughed, ignoring the fact that he had fired his last secretary because she had misspelled an eight-syllable word.

But the last secretary had worn thick glasses, Wilbur recalled. That would make a difference to Pete Bellows. He was suddenly aware that Bellows was frowning at him.

"Get to work, Mook," Bellows said cheerfully. "Mother's Day is coming, you know."

With what he pretended was a gentle pat on the back Bellows flung Wilbur toward the tiny cubicle he occupied at the rear of the large office. Once Bellows had played tackle on a football team and although he was beefier now he was still very strong. Wilbur almost went through the thin partition.

He bounced off and recovered his balance, then went into his cubicle through the door. It was a windowless hole, lit by a single small bulb. Wilbur worked at an old table which was neatly stacked with sheets of blank paper. He furnished his own pen.

There was a small window in Wilbur's door, but contrary to what a visitor might have expected, it had not been placed there for Wilbur's convenience. The window was the means by which Bellows could watch his poet and be certain that he was working every minute of the time.

Today Wilbur found himself at a loss for rhymes. By mid-morning he had completed only fifteen poems in praise of Mother. He still had some fifty to go. But instead of writing he too often caught himself listening to what was going on in the outer office.

"Mr. Bellows--" the new girl started to say.

"Call me Pete," Wilbur heard Bellows tell her. "I'll call you Jean. Just one happy family, you know, you and I and Wilbur."

"Does Mr. Mook write all the poetry?" Miss Burnett wanted to know. She sounded quite impressed and Wilbur glowed with a new found pride.

"Just a knack. Doesn't take any brains," Bellows deprecated. "Any fool could do it."

I'd like to see you try, Wilbur thought. You're one fool who couldn't. He thought that was pretty good repartee, even if it was only mental. Wilbur wished he had the nerve to say the words to Bellows' face. But he didn't.

His newspaper, still folded to the classified ads, reposed in Wilbur's wastebasket and his eyes chanced to fall upon it. Something stirred in Wilbur. There had been one advertisement in particular. Just below the request for a bodyguard. He wondered if he had read it right.

Keeping one eye on the window to make sure Bellows did not observe him, Wilbur retrieved his newspaper. Quickly his eye sped down the column. There it was:

Are you timid? Do you lack confidence? I can help you. A. J. Merlin, 136 W. Erie St.

Wilbur shook his head and dropped the newspaper into the wastebasket. He was rather inclined to think A. J. Merlin was overestimating his powers. Probably a fake, anyway. Most of those fellows were.

Looking out of his window, Wilbur saw Bellows patting Jean on the shoulder as he explained something to her. He was a fast worker, was Pete Bellows. By the time Wilbur got the next line of poetry written Bellows was asking Jean if he could take her to lunch.

Before answering she turned her head toward Wilbur and he could see that she was none too happy about the offer. She seemed to be trying to think of a good reason for not accepting.

"Well?" Pete asked. Jean looked back at him.

"I--I guess so," Wilbur heard her say. Bellows patted her on the shoulder again.

I wonder, Wilbur thought, what she would say if I asked her sometime? That looked like a question which would never find an answer. It would take more nerve than he had to ask. But the very thought of him inviting a girl like Jean to lunch sent a pleasant tingle down Wilbur's back. He even allowed himself to think that she might prefer a smoother type of man than Pete Bellows. Smoother, Wilbur reminded himself miserably, not mushier.

Just before noon Pete Bellows came in to get the copy Wilbur had turned out through the morning. At the sight of the tiny stack which had accumulated Bellows' mouth turned down.

"Loafing!" he accused. "Just because I've been too busy to keep my eyes on you!"

It occurred to Wilbur that the only thing he'd seen Pete do that morning was pat Jean's shoulder, and that hardly seemed like hard work. But he didn't say anything.

"Probably reading the paper while my back was turned," Pete went on. He reached down and got the paper and put it in his pocket. "Now, listen to me, Mook. You'd better have some work done when Jean and I get back from lunch!"

Wilbur nodded without looking up at him. He was always afraid to look at Bellows when the burly man was angry. Pete could get a vicious glint in his eye. After Pete had left the cubicle Wilbur sneaked a look after him. He saw that Jean had heard the whole thing. And at sight of the distaste on her face he flushed.

Why couldn't he have told Pete off? Wilbur started to dream about what he should have said. Then he stopped. It was all right to daydream but Pete had sounded sore when he had said he wanted to see some work done. Wilbur put his head down and started writing.

Within the hour he had completed six odes to Mother. One of them, Wilbur knew, he could sell to a magazine for twenty times what Bellows would pay. For a moment he was tempted, even going so far as to pick up the sheet of paper preparatory to putting it in his pocket. Then he thought of what Pete Bellows might do if he found out. Wilbur set the paper back on the pile.

He was just in time. There were footsteps out in the hall and then the door swung open. Bellows and Jean came in. The girl was laughing now, and as Pete helped her off with her coat he was practically breathing down her neck. It looked as though he had made some progress.

"Is it all right if I go to lunch now?" Wilbur asked timidly. He had to wait until Pete had checked over his work. Then he got permission to go.

Until he was outside Wilbur felt hungry. For an hour his stomach had been reminding him that it was time to eat. But suddenly the pangs of hunger were gone. The thought of food was even unpleasant.

Maybe a short walk would give him fresh appetite, Wilbur thought. The day was pleasant and sunny. If he spent a half hour walking he would still have twenty minutes in which to gulp a sandwich. Pete Bellows had decreed that fifty minutes constituted a lunch hour for Wilbur.

It was with no conscious motive that Wilbur headed south. He found himself walking at a gait much faster than his usual one, but attributed that to the fine weather which he assured himself was exhilarating. Before he realized how fast he was going he had covered a dozen blocks.

The neighborhood had changed. Behind him lay the business district with its skyscrapers. All about him were the sagging and unsightly houses of a once fine residential neighborhood which had deteriorated into a slum area. The only places which seemed at all cared for were the rooming houses.

A poem of protest rose in Wilbur's breast, and was stilled as he became aware that he was on Erie street. The street had some meaning for him but it took several minutes before he realized why. Then he gasped. Only two doors from where he stood was 136 West Erie Street!

For a long time Wilbur stood looking at the house. It was an old red brick structure three stories high. The upper two floors appeared untenanted. If they were not, the occupants must have liked fresh air for there were no windows.

Wilbur directed his attention to the first floor. The windows there were too dusty to see through, but at least there were windows. A fat grey cat sunned itself on the window ledge and regarded Wilbur with unblinking eyes. He shuddered and had to summon all his courage to climb the stairs and look at the card nailed to the front door. A. J. Merlin, the card said, in an unusual script that Wilbur had trouble deciphering.

He raised his hand to knock, then changed his mind. But as he was turning away he heard the door open.

"Looking for me, bub?" a creaking voice said. Wilbur turned around.

He found himself face to face with an old gentleman wrapped in what appeared to be a blue dressing gown with white stars all over it. The old man had a wisp of a beard and white eyebrows that slanted way up at the outside corners. He was wearing on his head a blue dunce cap which also had white stars on it.

"Are you-uh-Mr. A. J. Merlin?" Wilbur stammered. "I mean the Mr. Merlin who gives people confidence?"

"I might be," the old man said cagily.

He stared down at Wilbur, and for the first time Wilbur noticed the old man had eyes as black and mysterious as a pool on a dark night. Those eyes regarded Wilbur, noting his size, weight and general construction.

"Bah," the old man snorted. "You won't do. Not timid enough."

"Yes, sir," Wilbur chattered. He started backward down the stairs and almost fell.

"Wait a minute," the creaky voice ordered.

Wilbur halted in mid-step. The black eyes regarded him. A hand tipped by long, curving fingernails stroked the wisp of a beard.

"On the other hand," the old man said, "you might be more timid than you look. Come on in."

Wilbur trailed after him down a long dark hallway that was musty with age. At the end of the hall was an equally musty room, sparsely furnished with sagging and broken odds and ends. It was not the furniture which engaged Wilbur's attention, but the other features of the place.

On an ancient stand a sun-dial reposed, and next to it a large and milk-white glass ball. Near the stand a tripod stood over a sheet of metal on which a small fire blazed, and from the tripod a kettle was suspended. Something bubbled in the kettle, something that gave off a strange and noxious odor.

Around the room jugs were scattered, and as Wilbur caught sight of the labels a chill ran up his back. There were such unusual items as _Essence of Dried Toad_, _Basilisk Oil_, _Chimera's Breath-Distilled_.

"Sit down," A. J. Merlin said suddenly. Wilbur sat down with such abruptness that he almost went through an ancient sofa to the floor. Merlin's eyes lit up.

"You really are timid," he said.

"Yes, sir," Wilbur agreed hastily. "Do you think you can help me?"

"Depends. It isn't my regular line. I came here looking for a special kind of person. If you're that person you can help me. In return I'll do the same for you. All depends on how cowardly you are."

"I've never been brave about anything in my life," Wilbur said truthfully.

He went on in detail. In a short history of his life he made it clear that he was a complete and abject coward. He was afraid of anything that walked or swam or flew, no matter how small. He was afraid of dark rooms. A dirty look made him tremble.

"Perfect," Merlin breathed. He rubbed his taloned hands together. "Not a shred of courage in you."

"Is that good?" Wilbur gasped.

Merlin smiled, and with his smile his eyebrows slanted more than ever. His ears were suddenly elongated.

"Ordinarily not," he said. Wilbur had a hunch that this time there would be nothing extraordinary to alter the case.

"I've tried everything," he told Merlin. "I've gone to psychologists, read books, even tried Yoga. Nothing helps."

"Naturally," Merlin said. "I'll tell you why: Everyone is a mixture of traits handed down from his ancestors. Somewhere in every man's ancestry is a brave person. Even if that bravery is hidden, it's still there, and it can be brought out."

"What happened to me?" Wilbur wanted to know.

"You got cheated," Merlin said as though he were immensely pleased. "You got only half the traits, and they were the cowardly ones. That's why you couldn't be cured. There was no bravery in you to be brought out."

"Oh," Wilbur gulped. "I guess I'd better be going." He started to rise.

"Sit down," Merlin said. Wilbur plunked back into the sofa. He watched Merlin walk to the stand and lift the glass ball. The old man peered into the ball and its color changed to rose, then purple. Something was going on inside it but Wilbur couldn't see what.

"Who's this fellow Pete Bellows?" Merlin wanted to know.

Wilbur was astonished. He hadn't mentioned Pete's name. When he told the old man who Pete was Merlin chuckled.

"Thinks he's quite a man with the ladies, doesn't he? I'll fix him."

Merlin made a pass over the glass ball and muttered a few words which Wilbur didn't catch. There was a sudden thump, clearly audible to Wilbur, and Merlin chuckled gleefully.

"What happened?" Wilbur asked.

"The door opened just as he was going by and he walked into the edge of it. He's got a black eye."

"Good-bye," Wilbur said. The hair on the back of his neck was standing on end as he moved toward the door of the room.

"Come back here," Merlin commanded. "You want me to make you brave, don't you?"

Wilbur's mind whirled. He had fallen into the hands of this old madman and now he didn't know how to get away. Who knew what might happen to him? He had to think of something.

"What do you charge?" he asked. No matter what Merlin said Wilbur was prepared to say he didn't have that much. In no way was he prepared for Merlin's words.

A cold sweat formed on Wilbur Mook's brow. His teeth chattered. Down at his little toe a tremor started and worked its way up along his spine. The roof of his mouth turned dry as dust and his throat was parched.

"I haven't got it," he choked. Because he had been ready to say that he had said it automatically. Too late he realized it was the wrong answer.

"Don't be a fool," Merlin told him sternly. "Wouldn't you rather be a one-eyed hero than a two-eyed coward?"

Merlin glared at him balefully and Wilbur quailed and cringed. What sort of nightmare had he wandered into? He would gladly have given everything he owned to be back in the office. Even Pete Bellows was better than this maniac!

"Could I please go, Mr. Merlin?" Wilbur begged. "I'll be late if I don't. Pete will be sore."

"Tell you what I'll do," Merlin said, in a manner of one offering an added incentive. "You let me have your right eye and I'll see to it that Bellows falls down the stairs and breaks his neck."

The story opens with Wilbur Mook waking from a dream of punching his tormentor Pete Bellows, only to be yanked back to reality by his mother's voice. Hickey establishes Wilbur's cowardice through his own mirror-gazing: he mutters Émile Coué's mantra, “Every day in every way I am getting better and better,” then revises it to “braver and braver,” but the narrative undercuts him with the blunt statement, “Unfortunately it was not true.” The prose shifts from the cramped, domestic morning routine—lamb's wool slippers, a skipped shower—to a sudden cloud of smoke and a “horrid visage,” yanking Wilbur into Merlin's underground chamber. This tonal whiplash sets up the central tension: a mundane coward thrust into mythic stakes.

Mirror, Mantra, and the Mechanics of Cowardice

Hickey uses the mirror as a recurring device to externalize Wilbur's internal state. In the opening, Wilbur surveys himself approvingly—firm skin, clear blue eyes—then undercuts the image with the admission that he has “the soul of a rabbit.” The mantra “Every day in every way I am getting braver and braver” is repeated, but the narrator immediately declares it false. This pattern of self-assessment followed by narrative contradiction creates a rhythm of hope deflated. Later, in Merlin's castle, Wilbur again studies his reflection, but now the mirror is absent; instead, he sees himself through Merlin's calculating gaze. The shift from literal mirror to metaphorical one—being sized up as an ingredient—deepens the theme. The prose lingers on physical details (lamb's wool slippers, reddish-brown hair) to ground Wilbur's ordinariness, making his fantastical predicament feel more absurd and poignant.

Two Kinds of Recklessness: Arthur and Wilbur

Hickey contrasts Wilbur's timidity with Arthur's absolute fearlessness through parallel dialogue and physical description. Arthur is introduced with “a clear ringing laugh” and eyes “with an expression of complete fearlessness.” When Merlin asks what he would do against five-to-one odds, Arthur laughs and says he would fight even at fifty to one. Wilbur “thrilled to the words,” while Merlin “shuddered slightly.” The exchange reveals the story's core irony: both extremes are dangerous. Merlin's plan—to brew an Elixir of Caution using Wilbur's eye—literalizes the idea that courage and cowardice are transferable substances. Hickey avoids moralizing; instead, he lets the absurdity of the premise (a coward's eye as a potion ingredient) carry the weight. The prose remains brisk, with short action beats (“He raised the sword in a salute … and was gone in a cloud of dust”) that keep the tone light even as the stakes darken.

Pace and the Compression of Time

Hickey manipulates narrative pace to mirror Wilbur's helplessness. The opening morning scene unfolds in real time—washing, dressing, mirror-gazing—creating a sense of mundane routine. Then, with a single paragraph break, Wilbur is transported to Merlin's castle via “a cloud of smoke, a horrid visage.” The transition is abrupt, leaving the reader as disoriented as Wilbur. Once in the castle, time slows again: Wilbur and Merlin sit on stone couches “for some hours” in silence, the stillness “wearing Wilbur down.” The dialogue that follows is measured, each line a negotiation. This alternation between rushed transitions and static waiting emphasizes Wilbur's lack of agency. He is moved by forces beyond his control—first by his mother's voice, then by Merlin's magic. The pacing itself becomes a commentary on his passivity, making the eventual confrontation with Arthur feel both inevitable and unsettling.

Readers should pay attention to how Hickey uses small, domestic details—a clock reading eight o'clock, a pair of lamb's wool slippers—to anchor the fantasy. The story's brevity (under 12,000 words) means every mirror scene and mantra repetition carries weight. Notice also how Merlin's offhand remark, “My father was an incubus,” is delivered without elaboration, leaving the reader to wonder how much of the Arthurian lore is being reimagined. The excerpts end before the elixir is brewed, so the resolution remains uncertain; the pleasure lies in watching Hickey balance farce and genuine unease.

I’ve always treasured how Wilbur Mook’s mirror-gazing in Hickey’s tale feels less like magic and more like the quiet dread of an empty reading room. That private tremor echoes in The Outcry — Edition Insights, where even a painting’s silence seems to hold its breath. Both books understand that courage often hides in the pause before speaking.

Amelia Anderson
3 weeks ago

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5 out of 5 (1 User reviews )

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