Americans All Part 24

He took hold of her two arms because they were trembling. "Aw, now, Gert, I didn't say anything complaining. I----"

"You did, Jimmie, you did, and--and I never was so glad over you that you did complain. I just never was so glad. I want you to go, Jimmie. I want you to go and get a man made out of you. They'll make a better job out of you than ever I can. I want you to get the yellow streak washed out. I want you to get to be all the things he said you would. For every line he was talking up there, I could see my boy coming home to me some day better than anything I could make out of him, babying him the way I can't help doing. I could see you, honey-bee, coming back to me with the kind of lift to your head a fellow has when he's been fighting to make the world a safe place for dem--for whatever it was he said. I want you to go, Jimmie. I want you to beat the draft, too. Nothing on earth can make me not want you to go."

"Why, Gert--you're kiddin'!"

"Honey, you want to go, don't you? You want to square up those shoulders and put on khaki, don't you? Tell me you want to go!"

"Why--why, yes, Gert, if----"

"Oh, you're going, Jimmie! You're going!"

"Why, girl--you're crazy! Our flat! Our furniture--our----"

"What's a flat? What's furniture? What's anything? There's not a firm in business wouldn't take back a boy's furniture--a boy's everything--that's going out to fight for--for dem-o-cracy! What's a flat? What's anything?"

He let drop his head to hide his eyes.

Do you know it is said that on the Desert of Sahara, the slope of Sorrento, and the marble of Fifth Avenue the sun can s.h.i.+ne whitest?

There is an iridescence to its glittering on bleached sand, blue bay, and Carrara facade that is sheer light distilled to its utmost.

On one such day when, standing on the high slope of Fifth Avenue where it rises toward the Park, and looking down on it, surging to and fro, it was as if, so manifest the brilliancy, every head wore a tin helmet, parrying sunlight at a thousand angles of refraction.

Parade-day, all this glittering midstream is swept to the clean sheen of a strip of moire, this splendid desolation blocked on each side by crowds half the density of the sidewalk.

On one of these sun-drenched Sat.u.r.days dedicated by a growing tradition to this or that national expression, the Ninety-ninth Regiment, to a flare of music that made the heart leap out against its walls, turned into a scene thus swept clean for it, a wave of olive drab, impeccable row after impeccable row of scissors-like legs advancing. Recruits, raw if you will, but already caparisoned, sniffing and scenting, as it were, for the great primordial mire of war.

There is no state of being so finely sensitized as national consciousness. A gauntlet down, and it surges up. One ripple of a flag defended can goose-flesh a nation. How bitter and how sweet it is to give a soldier!

To the seething kinetic chemistry of such mingling emotions there were women who stood in the frontal crowds of the sidewalks stifling hysteria, or ran after in terror at sight of one so personally hers, receding in that great impersonal wave of olive drab.

And yet the air was martial with banner and with shout. And the ecstasy of such moments is like a dam against reality, pressing it back. It is in the pompless watches of the night or of too long days that such dams break, excoriating.

For the thirty blocks of its course Gertie Slayback followed that wave of men, half run and half walk. Down from the curb, and at the beck and call of this or that policeman up again, only to find opportunity for still another dive out from the invisible roping off of the sidewalk crowds.

From the middle of his line, she could see, sometimes, the tail of Jimmie Batch's glance roving for her, but to all purports his eye was solely for his own replica in front of him, and at such times, when he marched, his back had a little additional straightness that was almost swayback.

Nor was Gertie Slayback crying. On the contrary, she was inclined to laughter. A little too inclined to a high and brittle sort of dissonance over which she seemed to have no control.

"'By, Jimmie. So long! Jimmie! You-hoo!"

Tramp. Tramp. Tramp-tramp-tramp.

"You-hoo! Jimmie! So long, Jimmie!"

At Fourteenth Street, and to the solemn stroke of one from a tower, she broke off suddenly without even a second look back, dodging under the very arms of the crowd as she ran out from it.

She was one and three-quarter minutes late when she punched the time-clock beside the Complaints and Adjustment Desk in the Bargain-Bas.e.m.e.nt.

FANNIE HURST

"I find myself at twenty-nine exactly where at fourteen I had planned I would be." So Miss Hurst, in a sketch written for the _American Magazine_ (March, 1919), sums up the story of a remarkable literary career.

Fannie Hurst was born in St. Louis, October 19, 1889. She attended the public schools, and began to write--with the firm intention of becoming an author--before she was out of grammar school. "At fourteen," she tells us in the article just referred to, "the one pigeon-hole of my little girl's desk was already stuffed with packets of rejected verse which had been furtively written, furtively mailed, and still more furtively received back again by heading off the postman a block before he reached our door." To this dream of authors.h.i.+p--the secret of which was carefully guarded from her family--she sacrificed her play and even her study hours. The first shock to her family came on St. Valentine's Day. There was to be a party that night, her first real party. A new dress was ready for the occasion, and a boy escort was to call for her in a cab. It happened that Valentine's day fell on Sat.u.r.day, and Sat.u.r.day was her time for writing. That day she turned from poetry to fiction, and was just in the middle of her first story when it came time to get ready for the party. She did not get ready. The escort arrived, cab and all; the family protested, but all to no purpose. She finished the story, mailed it, three weeks later received it back, and began her second story. All through her high school days she mailed a ma.n.u.script every Sat.u.r.day, and they always came back.

After high school she entered Was.h.i.+ngton University, St. Louis, graduating in 1909. And still she kept writing. To one journal alone she sent during those four years, thirty-four short stories. And they all came back--all but one. Just before graduation she sold her first article, a little sketch first written as a daily theme, which was published in a local weekly, and brought her three dollars. This was the total result of eight years' literary effort. So quite naturally she determined to go on.

She announced to her family that she was going to New York City to become a writer. There was a stormy discussion in the Hurst family, but it ended in her going away, with a bundle of ma.n.u.scripts in her trunk, to brave the big city alone. She found a tiny furnished room and set forth to besiege the editors' offices. One evening she returned, to find the house being raided, a patrol wagon at the curb, and the lodgers being hustled into it. She crossed the street and walked on, and never saw her bag or baggage again. By the help of the Young Women's Christian a.s.sociation she found another room, in different surroundings, and set out again to make the round of the editorial offices.

Then followed months and months of "writing, rewriting, rejections, and re-rejections." From home came letters now beseeching, now commanding her to return, and at length cutting off her allowance. So she returned her rented typewriter and applied at a theatrical agency. She secured a small part in a Broadway company, and then came her first acceptance of a story, with an actual check for thirty dollars. She left the stage and rented another typewriter,--but it was six months before she sold another story.

In all this time she dipped deeply into the great stream of the city's life. To quote her own account:

For a month I lived with an Armenian family on West Broadway, in a room over a tobacconist's shop. I apprenticed myself as a sales-girl in New York's most gigantic department store. Four and one-quarter yards of ribbon at seven and a half cents a yard proved my Waterloo, and my resignation at the end of one week was not entirely voluntary. I served as waitress in one of New York's most gigantic chain of white-tiled lunch rooms. I st.i.tched boys' pants in a Polish sweatshop, and lived for two days in New York's most rococo hotel. I took a graduate course in Anglo Saxon at Columbia University, and one in lamp-shade making at Wanamaker's: wormed into a Broadway musical show as wardrobe girl, and went out on a self-appointed newspaper a.s.signment to interview the mother of the richest baby in the world.

All these experiences yielded rich material for stories, but no one would print them. Her money was gone; so was a diamond ring that had been a Commencement present; it seemed as if there was nothing left but to give up the struggle and go back home. Then, just as she had struck bottom, an editor actually told her she could write, and followed up his remark by buying three stories. Since that time she has never had a story rejected, and her checks have gone up from two figures into four.

And so, at the end of a long fight, as she says, "I find myself at twenty-nine exactly where at fourteen I had planned I would be. And best of all, what popular success I am enjoying has come not from pandering to popular demand or editorial policy, but from pandering to my own inner convictions, which are like little soul-tapers, lighting the way."

All her work has been in the form of the short story. Her first book, _Just Around the Corner_, published in 1914, is a collection of stories dealing with the life of working girls in a city. _Every Soul Hath Its Song_ is a similar collection; the t.i.tle suggests the author's outlook upon life. Some one has said that in looking at a puddle of water, you may see either the mud at the bottom or the sky reflected on its surface. Miss Hurst sees the reflection of the sky. The _Boston Transcript_ said of this book: "Here at last is a story writer who is bent on listening to the voices of America and interpreting them."

_Gaslight Sonatas_, from which "Bitter-Sweet" is taken, showed an advance over her earlier work. Two of the stories from this volume were selected by Mr. O'Brien for his volume, _Best Short Stories_, for 1916 and 1917. _Humoresque_, her latest work, continues her studies of city types, drawn from New York and St. Louis. The stories show her insight into character and her graphic descriptive power. Miss Hurst is also the author of two plays, _The Land of the Free_ and _The Good Provider_.

IN THE LUMBER COUNTRY

_The men of the woods are not as the men of the cities. The great open s.p.a.ces where men battle with the primeval forest set their mark upon their inhabitants, not only in physique but in character. The lumberman,--rough, frank, independent, humorous, equally ready for a fight or a frolic, has been portrayed at full length by Stewart Edward White in_ THE BLAZED TRAIL _and_ THE RIVERMAN. _In the following sketch, taken from his_ BLAZED TRAIL STORIES, _he shows the lumberman at work and at play._

THE RIVERMAN

BY

STEWART EDWARD WHITE

I first met him one Fourth of July afternoon in the middle eighties. The sawdust streets and high board sidewalks of the lumber town were filled to the brim with people. The permanent population, dressed in the stiffness of its Sunday best, escorted gingham wives or sweethearts; a dozen outsiders like myself tried not to be too conspicuous in a city smartness; but the great mult.i.tude was composed of the men of the woods.

I sat, chair-tilted by the hotel, watching them pa.s.s. Their heavy woollen s.h.i.+rts crossed by the broad suspenders, the red of their sashes or leather s.h.i.+ne of their belts, their short kersey trousers "stagged"

off to leave a gap between the knee and the heavily spiked "cork boots"--all these were distinctive enough of their cla.s.s, but most interesting to me were the eyes that peered from beneath their little round hats tilted rakishly askew. They were all subtly alike, those eyes. Some were black, some were brown, or gray, or blue, but all were steady and unabashed, all looked straight at you with a strange humorous blending of aggression and respect for your own business, and all without exception wrinkled at the corners with a suggestion of dry humor. In my half-conscious scrutiny I probably stared harder than I knew, for all at once a laughing pair of blue eyes suddenly met mine full, and an ironical voice drawled,

"Say, bub, you look as interested as a man killing snakes. Am I your long-lost friend?"