The brass collar of the reading lamp at your shoulder has gone smooth underneath, where fingers have turned it toward one page or another for longer than the varnish has lasted. You move it a few degrees downward and the light settles into a circle on the table. The cloth there is an older weave, thinned to threads at the corner nearest the window. The carriage takes a curve and the whole compartment leans, holds the lean, and comes back. Beyond the glass the dark is not complete. There are fields out there, black and level, and one farmhouse light standing in the middle of them. It travels along the window frame at the pace of a walk, then goes behind an embankment.
Inside, the lamplight reaches about as far as the opposite seat and stops. The panel between the windows is walnut veneer, laid in a fan, and the seams of the fan have lifted a little with the years of heat and cold. Above the seat there is a mirror with its silvering gone in freckles around the edges, so that the reflection of the lamp sits inside a scatter of small blooms. The luggage rack is woven cord on a brass frame, sagged in the middle in the shape of the cases that have rested there. On the wall below the rack, a framed photograph of mountains has faded to blue with a paler band down one side where the sun used to fall. The seat cushions are dark green moquette. Along the front edge of yours the nap is rubbed to a shine, and the shine runs the whole width, thinning where knees have passed.
The sound comes up through the floor first, then through the seat frame. The wheels cross the rail joints in sets of four, close together and then apart, close together and then apart, and the rhythm changes slightly when the train crosses a bridge and the noise goes hollow underneath. The pane beside you sits in a rubber lip that has hardened, so the glass ticks against it on the longer curves. Somewhere ahead a door in the corridor is drawn open and let go, and it rolls the last of the way and knocks into its jamb. Two carriages back, the guard is humming. It is eight or nine notes, then a pause, then the same notes again lower down, and the language they came from is not one you can place. He stops in the middle of a phrase and starts it later from the beginning.

