V
But during the decade of the high tide came some of the strongest work in American literature. It was the period of the earlier and better work of Hamlin Garland and Alice French, of Richard Harding Davis and Ambrose Bierce, of Mrs. Deland and F. H. Smith, with Garland, perhaps, the most distinctive worker. Garland began as an iconoclast, a leader of the later phase of realism—depressed realism after the Russian and the French types. His little book of essays, Crumbling Idols, breezy and irreverent, with its cry for a new Americanism in our literature, new truth, new realism, was the voice of the new generation after Harte and Howells, the school inspired by Ibsen, Hardy, Tolstoy, Maupassant. The Middle West was his background and he knew it with completeness. He had been born in a Wisconsin "coulé" on a ragged, half-broken farm, and before he was eleven he had migrated with his parents westward, three different times. His boyhood had followed the middle western border. The father was of Maine Yankee stock, full of the restlessness and eagerness of his generation. In his son's record he stands out in almost epic proportions.
Hour after hour we pushed westward, the heads of our tired horses hanging ever lower, and on my mother's face the shadow deepened, but my father's voice calling to his team lost nothing of its edge. He was in his element. He loved this shelterless sweep of sod. This westward march delighted him. I think he would have gladly kept on until he reached the Rocky Mountains.[152]
He had stopped this time in Iowa and had begun once again the tremendous task of making a farm out of the virgin prairie. The boy took his full share of work. Speaking of himself in the third person, he says: "In the autumn that followed his eleventh birthday he plowed for seventy days, overturning nearly one hundred and fifty acres of stubble." At fifteen he was head farmer and took a man's place on the reaper, at the threshing, and in all of the farm work. Education came to him as he could get it. He attended the winter sessions of the district school and he read all the books that the neighborhood afforded. By rarest good fortune his father subscribed for the new Hearth and Home in which the serial The Hoosier Schoolmaster was running, and in the boy's own words in later years the story was a "milestone in his literary progress as it was in the development of distinctive Western fiction."
His later struggles toward culture, his graduation in 1881 from Cedar Valley Seminary, Osage, Iowa, his school teaching in Illinois and Dakota, his experience as a settler during the Dakota land "boom" of 1883, his Howells-like journey to Boston the following year, and his years of life there as teacher and eager student, must be passed over swiftly. He haunted the Boston public library and read enormously, he became impressed with the theories of the new French school of "Veritists," and he soon began to write, first photographic sketches of Middle-Western life—corn and wheat raising, rural customs, and the like—then after a long period he returned West for his first vacation. At Chicago he visited Joseph Kirkland (1830–1894), author of Zury: the Meanest Man in Spring County (1887), a book of crude yet strong pictures of Western life, and the call was another milestone in his literary life.
The result of that vacation was three books of short stories, their author's most distinctive work, Main-Traveled Roads, Prairie Folks, and Other Main-Traveled Roads. His own account of the matter is worthy of quotation:
The entire series was the result of a summer-vacation visit to my old home in Iowa, to my father's farm in Dakota, and, last of all, to my birthplace in Wisconsin. This happened in 1887. I was living at the time in Boston, and had not seen the West for several years, and my return to the scenes of my boyhood started me upon a series of stories delineative of farm and village life as I knew it and had lived it. I wrote busily during the two years that followed, and in this revised definitive edition of Main-Traveled Roads and its companion volume, Other Main-Traveled Roads (compiled from other volumes which now go out of print), the reader will find all of the short stories which came from my pen between 1887 and 1889.
It remains to say that, though conditions have changed somewhat since that time, yet for the hired man and the renter farm life in the West is still a stern round of drudgery. My pages present it—not as the summer boarder or the young lady novelist sees it—but as the working farmer endures it.
After the years at Boston the life of his native region had taken on for him a totally new aspect. He saw it now as Howard saw it in "Up the Coulé," the grinding toil of it, the brutality and hopelessness and horror of it, and it filled him with fierce anger. He wrote with full heart and with an earnestness that was terrible, and he had the courage of his convictions. Will Hannan takes Agnes from the hell into which she has married and bears her into his own new home of love and helpfulness and there is no apology, and again the same theme in later tales. There is the grimness and harshness and unsparing fidelity to fact, however unpleasant, that one finds in the Russian realists, but there is another element added to it: the fervor and faith of the reformer. Such a story as "Under the Lion's Paw," for instance, does not leave one, like Ibsen and Hardy, in despair and darkness; it arouses rather to anger and the desire to take action harsh and immediate. There is no dodging of facts. All the dirt and coarseness of farm life come into the picture and often dominate it. The author is not writing poetry; despite his Prairie Songs he is no poet. Howard is visiting home after a long absence:
It was humble enough—a small white story-and-a-half structure, with a wing set in the midst of a few locust trees; a small drab-colored barn with a sagging ridge-pole; a barnyard full of mud, in which a few cows were standing, fighting the flies and waiting to be milked. An old man was pumping water at the well; the pigs were squealing from a pen near by; a child was crying....
As he waited, he could hear a woman's fretful voice, and the impatient jerk and jar of kitchen things, indicative of ill-temper or worry. The longer he stood absorbing this farm-scene, with all its sordidness, dullness, triviality, and its endless drudgeries, the lower his heart sank. All the joy of the home-coming was gone, when the figure arose from the cow and approached the gate, and put the pail of milk down on the platform by the pump.
"Good-evening," said Howard, out of the dusk.
Grant stared a moment. "Good-evening."
Howard knew the voice, though it was older and deeper and more sullen. "Don't you know me, Grant? I am Howard."
The man approached him, gazing intently at his face. "You are?" after a pause. "Well, I'm glad to see you, but I can't shake hands. That damned cow has laid down in the mud."
But the most pitiful pictures are those of the women. Lucretia Burns is a type:
She had no shawl or hat and no shoes, for it was still muddy in the little yard, where the cattle stood patiently fighting the flies and mosquitoes swarming into their skins, already wet with blood. The evening was oppressive with its heat, and a ring of just-seen thunder-heads gave premonitions of an approaching storm.
She arose from the cow's side at last, and, taking her pails of foaming milk, staggered toward the gate. The two pails hung from her lean arms, her bare feet slipped on the filthy ground, her greasy and faded calico dress showed her tired and swollen ankles, and the mosquitoes swarmed mercilessly on her neck and bedded themselves in her colorless hair.
The children were quarreling at the well, and the sound of blows could be heard. Calves were querulously calling for their milk, and little turkeys, lost in a tangle of grass, were piping plaintively.
It was a pitifully worn, almost tragic face—long, thin, sallow, hollow-eyed. The mouth had long since lost the power to shape itself into a kiss, and had a droop at the corners which seemed to announce a breaking-down at any moment into a despairing wail. The collarless neck and sharp shoulders showed painfully.
It is the tragic world of Mary E. Wilkins—her obstinate, elemental, undemonstrative rustics moved into a new setting. As in her work, simplicity, crude force, the power of one who for a moment has forgotten art and gives the feeling of actual life, verisimilitude that convinces and compels. The little group of stories is work sent hot from a man's heart, and they are alive as are few other stories of the period, and they will live. They are part of the deeper history of a section and an era.
This element of purpose is found in all of Garland's work. Nowhere is he a mere teller of tales. The Scotch and Yankee elements within him made of him a preacher, a man with a message. The narrow field of his first success could not long be worked, and, like the true son of a pioneer, he began to follow his old neighbors in their further migrations westward. His later work took the form of novels, many of them dealing with the extreme West and all of them saturated with purpose. His Captain of the Gray Horse Troop, for instance, attempted for the Indian what Ramona tried to do. It is a powerful study of the wrongs done a race, and, moreover, it is a novel. Still later the native mysticism of his race showed itself in such novels as The Tyranny of the Dark, The Shadow World, Victor Ollnee's Discipline—spiritualistic propaganda.
With the novel he has not fully succeeded. He lacks power of construction and ability for extended effort. The short story "A Branch Road" in Main-Traveled Roads has a gripping power, but the same theme treated at novel length in Moccasin Ranch becomes too much an exploiting of background. There is a sense of dilution, a loss of effect. The author's first fine edge of anger, of conviction, of complete possession by his material, is gone, and we have the feeling that he has become a professional man of letters, an exploiter of what he considers to be salable material. His best long novel is Rose of Dutcher's Coolly. Money Magic has a certain sense of power connected with it, but it lacks the final touch of actual life. Unlike The Rise of Silas Lapham, with which it may be compared, it leaves us unsatisfied. The quivering sense of reality that one finds in Main-Traveled Roads is not there. It is a performance, a brilliant picture made deliberately and coldly by a man in his study, whereas a story like "Among the Corn Rows" reads as if it had taken possession of its author, and had been written with a burst of creative enthusiasm. One late fragment of Garland's must not be overlooked, his A Son of the Middle Border, a part of which has appeared in serial form. It is an autobiography, and it is more: it is a document in the history of the Middle West. It has a value above all his novels, above all else that he has written, saving always those tense short stories of his first inspiration.