WHAT DIANTHA DID
CHAPTER V.
When the fig growns on the thistle,
And the silk purse on the sow;
When one swallow brings the summer,
And blue moons on her brow—
Then we may look for strength and skill,
Experience, good health, good will,
Art and science well combined,
Honest soul and able mind,
Servants built upon this plan,
One to wait on every man,
Patiently from youth to age,—
For less than a street cleaner's wage!
When the parson's gay on Mondays,
When we meet a month of Sundays,
We may look for them and find them—
But Not Now!
When young Mrs. Weatherstone swept her trailing crepe from the automobile to her friend's door, it was opened by a quick, soft-footed maid with a pleasant face, who showed her into a parlor, not only cool and flower-lit, but having that fresh smell that tells of new-washed floors.
Mrs. Porne came flying down to meet her, with such a look of rest and comfort as roused instant notice.
"Why, Belle! I haven't seen you look so bright in ever so long. It must be the new maid!"
"That's it—she's 'Bell' too—'Miss Bell' if you please!"
The visitor looked puzzled. "Is she a—a friend?" she ventured, not sure of her ground.
"I should say she was! A friend in need! Sit here by the window,
Viva—and I'll tell you all about it—as far as it goes."
She gaily recounted her climax of confusion and weariness, and the sudden appearance of this ministering angel. "She arrived at about quarter of ten. I engaged her inside of five minutes. She was into a gingham gown and at work by ten o'clock!"
"What promptness! And I suppose there was plenty to do!"
Mrs. Porne laughed unblushingly. "There was enough for ten women it seemed to me! Let's see—it's about five now—seven hours. We have nine rooms, besides the halls and stairs, and my shop. She hasn't touched that yet. But the house is clean—clean! Smell it!"
She took her guest out into the hall, through the library and dining-room, upstairs where the pleasant bedrooms stretched open and orderly.
"She said that if I didn't mind she'd give it a superficial general cleaning today and be more thorough later!"
Mrs. Weatherstone looked about her with a rather languid interest. "I'm very glad for you, Belle, dear—but—what an endless nuisance it all is—don't you think so?"
"Nuisance! It's slow death! to me at least," Mrs. Porne answered. "But I don't see why you should mind. I thought Madam Weatherstone ran that—palace, of yours, and you didn't have any trouble at all."
"Oh yes, she runs it. I couldn't get along with her at all if she didn't. That's her life. It was my mother's too. Always fussing and fussing. Their houses on their backs—like snails!"
"Don't see why, with ten (or is it fifteen?) servants."
"Its twenty, I think. But my dear Belle, if you imagine that when you have twenty servants you have neither work nor care—come and try it awhile, that's all!"
"Not for a millionaire baby's ransom!" answered Isabel promptly.
"Give me my drawing tools and plans and I'm happy—but this business"—she swept a white hand wearily about—"it's not my work, that's all."
"But you enjoy it, don't you—I mean having nice things?" asked her friend.
"Of course I enjoy it, but so does Edgar. Can't a woman enjoy her home, just as a man does, without running the shop? I enjoy ocean travel, but I don't want to be either a captain or a common sailor!"
Mrs. Weatherstone smiled, a little sadly. "You're lucky, you have other interests," she said. "How about our bungalow? have you got any farther?"
Mrs. Porne flushed. "I'm sorry, Viva. You ought to have given it to someone else. I haven't gone into that workroom for eight solid days. No help, and the baby, you know. And I was always dog-tired."
"That's all right, dear, there's no very great rush. You can get at it now, can't you—with this other Belle to the fore?"
"She's not Belle, bless you—she's 'Miss Bell.' It's her last name."
Mrs. Weatherstone smiled her faint smile. "Well—why not? Like a seamstress, I suppose."
"Exactly. That's what she said. "If this labor was as important as that of seamstress or governess why not the same courtesy—Oh she's a most superior and opinionated young person, I can see that."
"I like her looks," admitted Mrs. Weatherstone, "but can't we look over those plans again; there's something I wanted to suggest." And they went up to the big room on the third floor.
In her shop and at her work Isabel Porne was a different woman. She was eager and yet calm; full of ideas and ideals, yet with a practical knowledge of details that made her houses dear to the souls of women.
She pointed out in the new drawings the practical advantages of kitchen and pantry; the simple but thorough ventilation, the deep closets, till her friend fairly laughed at her. "And you say you're not domestic!"
"I'm a domestic architect, if you like," said Isabel; "but not a domestic servant.—I'll remember what you say about those windows—it's a good idea," and she made a careful note of Mrs. Weatherstone's suggestion.
That lady pushed the plans away from her, and went to the many cushioned lounge in the wide west window, where she sat so long silent that Isabel followed at last and took her hand.
"Did you love him so much?" she asked softly.
"Who?" was the surprising answer.
"Why—Mr. Weatherstone," said Mrs. Porne.
"No—not very much. But he was something."
Isabel was puzzled. "I knew you so well in school," she said, "and that gay year in Paris. You were always a dear, submissive quiet little thing—but not like this. What's happened Viva?"
"Nothing that anybody can help," said her friend. "Nothing that matters. What does matter, anyway? Fuss and fuss and fuss. Dress and entertain. Travel till you're tired, and rest till you're crazy! Then—when a real thing happens—there's all this!" and she lifted her black draperies disdainfully. "And mourning notepaper and cards and servant's livery—and all the things you mustn't do!"
Isabel put an arm around her. "Don't mind, dear—you'll get over this—you are young enough yet—the world is full of things to do!"
But Mrs. Weatherstone only smiled her faint smile again. "I loved another man, first," she said. "A real one. He died. He never cared for me at all. I cared for nothing else—nothing in life. That's why I married Martin Weatherstone—not for his old millions—but he really cared—and I was sorry for him. Now he's dead. And I'm wearing this—and still mourning for the other one."
Isabel held her hand, stroked it softly, laid it against her cheek.
"Oh, I'll feel differently in time, perhaps!" said her visitor.
"Maybe if you took hold of the house—if you ran things yourself,"—ventured Mrs. Porne.
Mrs. Weatherstone laughed. "And turn out the old lady? You don't know her. Why she managed her son till he ran away from her—and after he got so rich and imported her from Philadelphia to rule over Orchardina in general and his household in particular, she managed that poor little first wife of his into her grave, and that wretched boy—he's the only person that manages her! She's utterly spoiled him—that was his father's constant grief. No, no—let her run the house—she thinks she owns it."
"She's fond of you, isn't she?" asked Mrs. Porne.
"O I guess so—if I let her have her own way. And she certainly saves me a great deal of trouble. Speaking of trouble, there they are—she said she'd stop for me."
At the gate puffed the big car, a person in livery rang the bell, and Mrs. Weatherstone kissed her friend warmly, and passed like a heavy shadow along the rose-bordered path. In the tonneau sat a massive old lady in sober silks, with a set impassive countenance, severely correct in every feature, and young Mat Weatherstone, sulky because he had to ride with his grandmother now and then. He was not a nice young man.
*
Diantha found it hard to write her home letters, especially to Ross. She could not tell them of all she meant to do; and she must tell them of this part of it, at once, before they heard of it through others.
To leave home—to leave school-teaching, to leave love—and "go out to service" did not seem a step up, that was certain. But she set her red lips tighter and wrote the letters; wrote them and mailed them that evening, tired though she was.
Three letters came back quickly.
Her mother's answer was affectionate, patient, and trustful, though not understanding.
Her sister's was as unpleasant as she had expected.
"The idea!" wrote Mrs. Susie. "A girl with a good home to live in and another to look forward to—and able to earn money respectably! to go out and work like a common Irish girl! Why Gerald is so mortified he can't face his friends—and I'm as ashamed as I can be! My own sister! You must be crazy—simply crazy!"
It was hard on them. Diantha had faced her own difficulties bravely enough; and sympathized keenly with her mother, and with Ross; but she had not quite visualized the mortification of her relatives. She found tears in her eyes over her mother's letter. Her sister's made her both sorry and angry—a most disagreeable feeling—as when you step on the cat on the stairs. Ross's letter she held some time without opening.
She was in her little upstairs room in the evening. She had swept, scoured, scalded and carbolized it, and the hospitally smell was now giving way to the soft richness of the outer air. The "hoo! hoo!" of the little mourning owl came to her ears through the whispering night, and large moths beat noiselessly against the window screen. She kissed the letter again, held it tightly to her heart for a moment, and opened it.
"Dearest: I have your letter with its—somewhat surprising—news. It is a comfort to know where you are, that you are settled and in no danger.
"I can readily imagine that this is but the preliminary to something else, as you say so repeatedly; and I can understand also that you are too wise to tell me all you mean to be beforehand.
"I will be perfectly frank with you, Dear.
"In the first place I love you. I shall love you always, whatever you do. But I will not disguise from you that this whole business seems to me unutterably foolish and wrong.
"I suppose you expect by some mysterious process to "develope" and "elevate" this housework business; and to make money. I should not love you any better if you made a million—and I would not take money from you—you know that, I hope. If in the years we must wait before we can marry, you are happier away from me—working in strange kitchens—or offices—that is your affair.
"I shall not argue nor plead with you, Dear Girl; I know you think you are doing right; and I have no right, nor power, to prevent you. But if my wish were right and power, you would be here to-night, under the shadow of the acacia boughs—in my arms!
"Any time you feel like coming back you will be welcome, Dear.
"Yours, Ross."
Any time she felt like coming back?
Diantha slipped down in a little heap by the bed, her face on the letter—her arms spread wide. The letter grew wetter and wetter, and her shoulders shook from time to time.
But the hands were tight-clenched, and if you had been near enough you might have heard a dogged repetition, monotonous as a Tibetan prayer mill: "It is right. It is right. It is right." And then. "Help me—please! I need it." Diantha was not "gifted in prayer."
When Mr. Porne came home that night he found the wifely smile which is supposed to greet all returning husbands quite genuinely in evidence. "O Edgar!" cried she in a triumphant whisper, "I've got such a nice girl! She's just as neat and quick; you've no idea the work she's done today—it looks like another place already. But if things look queer at dinner don't notice it—for I've just given her her head. I was so tired, and baby bothered so, and she said that perhaps she could manage all by herself if I was willing to risk it, so I took baby for a car-ride and have only just got back. And I think the dinner's going to be lovely!"
It was lovely. The dining-room was cool and flyless. The table was set with an assured touch. A few of Orchardina's ever ready roses in a glass bowl gave an air of intended beauty Mrs. Porne had had no time for.
The food was well-cooked and well-served, and the attendance showed an intelligent appreciation of when people want things and how they want them.
Mrs. Porne quite glowed with exultation, but her husband gently suggested that the newness of the broom was visibly uppermost, and that such palpable perfections were probably accompanied by some drawbacks. But he liked her looks, he admitted, and the cooking would cover a multitude of sins.
On this they rested, while the week went by. It was a full week, and a short one. Mrs. Porne, making hay while the sun shone, caught up a little in her sewing and made some conscience-tormenting calls.
When Thursday night came around she was simply running over with information to give her husband.
"Such a talk as I have had with Miss Bell! She is so queer! But she's nice too, and it's all reasonable enough, what she says. You know she's studied this thing all out, and she knows about it—statistics and things. I was astonished till I found she used to teach school. Just think of it! And to be willing to work out! She certainly does her work beautiful, but—it doesn't seem like having a servant at all. I feel as if I—boarded with her!"
"Why she seemed to me very modest and unpresuming," put in Mr. Porne.
"O yes, she never presumes. But I mean the capable way she manages—I don't have to tell her one thing, nor to oversee, nor criticize. I spoke of it and she said, 'If I didn't understand the business I should have no right to undertake it."
"That's a new point of view, isn't it?" asked her husband. "Don't they usually make you teach them their trade and charge for the privilege?"
"Yes, of course they do. But then she does have her disadvantages—as you said."
"Does she? What are they?"
"Why she's so—rigid. I'll read you her—I don't know what to call it.
She's written out a definite proposition as to her staying with us, and
I want you to study it, it's the queerest thing I ever saw."
The document was somewhat novel. A clear statement of the hours of labor required in the position, the quality and amount of the different kinds of work; the terms on which she was willing to undertake it, and all prefaced by a few remarks on the status of household labor which made Mr. Porne open his eyes.
Thus Miss Bell; "The ordinary rate for labor in this state, unskilled labor of the ordinary sort, is $2.00 a day. This is in return for the simplest exertion of brute force, under constant supervision and direction, and involving no serious risk to the employer."
"Household labor calls for the practice of several distinct crafts, and, to be properly done, requires thorough training and experience. Its performer is not only in a position of confidence, as necessarily entrusted with the care of the employer's goods and with knowledge of the most intimate family relations; but the work itself, in maintaining the life and health of the members of the household, is of most vital importance.
"In consideration of existing economic conditions, however, I am willing to undertake these intricate and responsible duties for a seven day week at less wages than are given the street-digger, for $1.50 a day."
"Good gracious, my dear!" said Mr. Porne, laying down the paper, "This young woman does appreciate her business! And we're to be let off easy at $45.00 a month, are we"
"And feel under obligations at that!" answered his wife. "But you read ahead. It is most instructive. We shall have to ask her to read a paper for the Club!"
"'In further consideration of the conditions of the time, I am willing to accept part payment in board and lodging instead of cash. Such accommodations as are usually offered with this position may be rated at $17.00 a month."
"O come now, don't we board her any better than that?"
"That's what I thought, and I asked her about it, and she explained that she could get a room as good for a dollar and a-half a week—she had actually made inquiries in this very town! And she could; really a better room, better furnished, that is, and service with it. You know I've always meant to get the girl's room fixed more prettily, but usually they don't seem to mind. And as to food—you see she knows all about the cost of things, and the materials she consumes are really not more than two dollars and a half a week, if they are that. She even made some figures for me to prove it—see."
Mr. Porne had to laugh.
"Breakfast. Coffee at thirty-five cents per pound, one cup, one cent. Oatmeal at fourteen cents per package, one bowl, one cent. Bread at five cents per loaf, two slices, one-half cent. Butter at forty cents per pound, one piece, one and a-half cents. Oranges at thirty cents per dozen, one, three cents. Milk at eight cents per quart, on oatmeal, one cent. Meat or fish or egg, average five cents. Total—thirteen cents."
"There! And she showed me dinner and lunch the same way. I had no idea food, just the material, cost so little. It's the labor, she says that makes it cost even in the cheapest restaurant."
"I see," said Mr. Porne. "And in the case of the domestic servant we furnish the materials and she furnishes the labor. She cooks her own food and waits on herself—naturally it wouldn't come high. What does she make it?"
'Food, average per day . . . $0.35
Room, $1.50 per w'k, ave. per day . . . .22
——-
.57
Total, per month . . . $17.10
$1.50 per day, per month . . . $45.00
"'Remaining payable in cash, $28.00.' Do I still live! But my dear Ellie, that's only what an ordinary first-class cook charges, out here, without all this fuss!"
"I know it, Ned, but you know we think it's awful, and we're always telling about their getting their board and lodging clear—as if we gave'em that out of the goodness of our hearts!"
"Exactly, my dear. And this amazing and arithmetical young woman makes us feel as if we were giving her wampum instead of money—mere primitive barter of ancient days in return for her twentieth century services! How does she do her work—that's the main question."
"I never saw anyone do it better, or quicker, or easier. That is, I thought it was easy till she brought me this paper. Just read about her work, and you'll feel as if we ought to pay her all your salary."
Mr. Porne read:
"Labor performed, average ten hours a day, as follows: Preparation of food materials, care of fires, cooking, table service, and cleaning of dishes, utensils, towels, stove, etc., per meal—breakfast two hours, dinner three hours, supper or lunch one hour—six hours per day for food service. Daily chamber work and dusting, etc., one and one-half hours per day. Weekly cleaning for house of nine rooms, with halls, stairs, closets, porches, steps, walks, etc., sweeping, dusting, washing windows, mopping, scouring, etc., averaging two hours per day. Door service, waiting on tradesmen, and extras one-half hour per day. Total ten hours per day."
"That sounds well. Does it take that much time every day?"
"Yes, indeed! It would take me twenty!" she answered. "You know the week I was here alone I never did half she does. Of course I had Baby, but then I didn't do the things. I guess when it doesn't take so long they just don't do what ought to be done. For she is quick, awfully quick about her work. And she's thorough. I suppose it ought to be done that way—but I never had one before."
"She keeps mighty fresh and bright-looking after these herculean labors."
"Yes, but then she rests! Her ten hours are from six-thirty a.m., when she goes into the kitchen as regularly as a cuckoo clock, to eight-thirty p.m. when she is all through and her kitchen looks like a—well it's as clean and orderly as if no one was ever in it."
"Ten hours—that's fourteen."
"I know it, but she takes out four. She claims time to eat her meals."
"Preposterous!"
"Half an hour apiece, and half an hour in the morning to rest—and two in the afternoon. Anyway she is out, two hours every afternoon, riding in the electric cars!"
"That don't look like a very hard job. Her day laborer doesn't get two hours off every afternoon to take excursions into the country!"
"No, I know that, but he doesn't begin so early, nor stop so late. She does her square ten hours work, and I suppose one has a right to time off."
"You seem dubious about that, my dear."
"Yes, that's just where it's awkward. I'm used to girls being in all the time, excepting their day out. You see I can't leave baby, nor always take him—and it interferes with my freedom afternoons."
"Well—can't you arrange with her somehow?"
"See if you can. She says she will only give ten hours of time for a dollar and a half a day—tisn't but fifteen cents an hour—I have to pay a woman twenty that comes in. And if she is to give up her chance of sunlight and fresh air she wants me to pay her extra—by the hour. Or she says, if I prefer, she would take four hours every other day—and so be at home half the time. I said it was difficult to arrange—with baby, and she was very sympathetic and nice, but she won't alter her plans."
"Let her go, and get a less exacting servant."
"But—she does her work so well! And it saves a lot, really. She knows all about marketing and things, and plans the meals so as to have things lap, and it's a comfort to have her in the house and feel so safe and sure everything will be done right."
"Well, it's your province, my dear. I don't profess to advise. But I assure you I appreciate the table, and the cleanness of everything, and the rested look in your eyes, dear girl!"
She slipped her hand into his affectionately. "It does make a difference," she said. "I could get a girl for $20.00 and save nearly $2.60 a week—but you know what they are!"
"I do indeed," he admitted fervently. "It's worth the money to have this thing done so well. I think she's right about the wages. Better keep her."
"O—she'll only agree to stay six months even at this rate!"
"Well—keep her six months and be thankful. I thought she was too good to last!"
They looked over the offered contract again. It closed with:
"This agreement to hold for six months from date if mutually satisfactory. In case of disagreement two weeks' notice is to be given on either side, or two weeks' wages if preferred by the employer." It was dated, and signed "Miss D. C. Bell."
And with inward amusement and great display of penmanship they added
"Mrs. Isabel J. Porne," and the contract was made.
[Erratum]
Apology is due to Mr. Horace Traubel, by whose kind permission "Little
Leafy Brothers," in our February issue, was reprinted from "The
Conservator," for not giving proper acknowledgment. Also to our readers
for the same omission.
OUR ANDROCENTRIC CULTURE; or, THE MAN-MADE WORLD
V.
MASCULINE LITERATURE.
When we are offered a "woman's" paper, page, or column, we find it filled with matter supposed to appeal to women as a sex or class; the writer mainly dwelling upon the Kaiser's four K's—Kuchen, Kinder, Kirche, Kleider. They iterate and reiterate endlessly the discussion of cookery, old and new; of the care of children; of the overwhelming subject of clothing; and of moral instruction. All this is recognized as "feminine" literature, and it must have some appeal else the women would not read it. What parallel have we in "masculine" literature?
"None!" is the proud reply. "Men are people! Women, being 'the sex,' have their limited feminine interests, their feminine point of view, which must be provided for. Men, however, are not restricted—to them belongs the world's literature!"
Yes, it has belonged to them—ever since there was any. They have written it and they have read it. It is only lately that women, generally speaking, have been taught to read; still more lately that they have been allowed to write. It is but a little while since Harriet Martineau concealed her writing beneath her sewing when visitors came in—writing was "masculine"—sewing "feminine."
We have not, it Is true, confined men to a narrowly construed "masculine sphere," and composed a special literature suited to it. Their effect on literature has been far wider than that, monopolizing this form of art with special favor. It was suited above all others to the dominant impulse of self-expression; and being, as we have seen essentially and continually "the sex;" they have impressed that sex upon this art overwhelmingly; they have given the world a masculized literature.
It is hard for us to realize this. We can readily see, that if women had always written the books, no men either writing or reading them, that would have surely "feminized" our literature; but we have not in our minds the concept, much less the word, for an overmasculized influence.
Men having been accepted as humanity, women but a side-issue; (most literally if we accept the Hebrew legend!), whatever men did or said was human—and not to be criticized. In no department of life is it easier to contravert this old belief; to show how the male sex as such differs from the human type; and how this maleness has monopolized and disfigured a great social function.
Human life is a very large affair; and literature is its chief art. We live, humanly, only through our power of communication. Speech gives us this power laterally, as it were, in immediate personal contact. For permanent use speech becomes oral tradition—a poor dependence. Literature gives not only an infinite multiplication to the lateral spread of communion but adds the vertical reach. Through it we know the past, govern the present, and influence the future. In its servicable common forms it is the indispensable daily servant of our lives; in its nobler flights as a great art no means of human inter-change goes so far.
In these brief limits we can touch but lightly on some phases of so great a subject; and will rest the case mainly on the effect of an exclusively masculine handling of the two fields of history and fiction. In poetry and the drama the same influence is easily traced, but in the first two it is so baldly prominent as to defy objection.
History is, or should be, the story of our racial life. What have men made it? The story of warfare and conquest. Begin at the very beginning with the carven stones of Egypt, the clay records of Chaldea, what do we find of history?
"I Pharaoh, King of Kings! Lord of Lords! (etc. etc.), "went down into the miserable land of Kush, and slew of the inhabitants thereof an hundred and forty and two thousands!" That, or something like it, is the kind of record early history gives us.
The story of Conquering Kings, who and how many they killed and enslaved; the grovelling adulation of the abased; the unlimited jubilation of the victor; from the primitive state of most ancient kings, and the Roman triumphs where queens walked in chains, down to our omni present soldier's monuments: the story of war and conquest—war and conquest—over and over; with such boasting and triumph, such cock-crow and flapping of wings as show most unmistakably the natural source.
All this will strike the reader at first as biased and unfair. "That was the way people lived in those days!" says the reader.
No—it was not the way women lived.
"O, women!" says the reader, "Of course not! Women are different."
Yea, women are different; and men are different! Both of them, as sexes, differ from the human norm, which is social life and all social development. Society was slowly growing in all those black blind years. The arts, the sciences, the trades and crafts and professions, religion, philosophy, government, law, commerce, agriculture—all the human processes were going on as well as they were able, between wars.
The male naturally fights, and naturally crows, triumphs over his rival and takes the prize—therefore was he made male. Maleness means war.
Not only so; but being male, he cares only for male interests. Men, being the sole arbiters of what should be done and said and written, have given us not only a social growth scarred and thwarted from the beginning by continual destruction; but a history which is one unbroken record of courage and red cruelty, of triumph and black shame.
As to what went on that was of real consequence, the great slow steps of the working world, the discoveries and inventions, the real progress of humanity—that was not worth recording, from a masculine point of view. Within this last century, "the woman's century," the century of the great awakening, the rising demand for freedom, political, economic, and domestic, we are beginning to write real history, human history, and not merely masculine history. But that great branch of literature—Hebrew, Greek, Roman, and all down later times, shows beyond all question, the influence of our androcentric culture.
Literature is the most powerful and necessary of the arts, and fiction is its broadest form. If art "holds the mirror up to nature" this art's mirror is the largest of all, the most used. Since our very life depends on some communication; and our progress is in proportion to our fullness and freedom of communication; since real communication requires mutual understanding; so in the growth of the social consciousness, we note from the beginning a passionate interest in other people's lives.
The art which gives humanity consciousness is the most vital art. Our greatest dramatists are lauded for their breadth of knowledge of "human nature," their range of emotion and understanding; our greatest poets are those who most deeply and widely experience and reveal the feelings of the human heart; and the power of fiction is that it can reach and express this great field of human life with no limits but those of the author.
When fiction began it was the legitimate child of oral tradition; a product of natural brain activity; the legend constructed instead of remembered. (This stage is with us yet as seen in the constant changes in repetition of popular jokes and stories.)
Fiction to-day has a much wider range; yet it is still restricted, heavily and most mischievously restricted.
What is the preferred subject matter of fiction?
There are two main branches found everywhere, from the Romaunt of the
Rose to the Purplish Magazine;—the Story of Adventure, and the Love
Story.
The Story-of-Adventure branch is not so thick as the other by any means, but it is a sturdy bough for all that. Stevenson and Kipling have proved its immense popularity, with the whole brood of detective stories and the tales of successful rascality we call "picaresque" Our most popular weekly shows the broad appeal of this class of fiction.
All these tales of adventure, of struggle and difficulty; of hunting and fishing and fighting; of robbing and murdering, catching and punishing, are distinctly and essentially masculine. They do not touch on human processes, social processes, but on the special field of predatory excitement so long the sole province of men.
It is to be noted here that even in the overwhelming rise of industrial interests to-day, these, when used as the basis for a story, are forced into line with one, or both, of these two main branches of fiction;—conflict or love. Unless the story has one of these "interests" in it, there is no story—so holds the editor; the dictum being, put plainly, "life has no interests except conflict and love!"
It is surely something more than a coincidence that these are the two essential features of masculinity—Desire and Combat—Love and War.
As a matter of fact the major interests of life are in line with its major processes; and these—in our stage of human development—are more varied than our fiction would have us believe. Half the world consists of women, we should remember, who are types of human life as well as men, and their major processes are not those of conflict and adventure, their love means more than mating. Even on so poor a line of distinction as the "woman's column" offers, if women are to be kept to their four Ks, there should be a "men's column" also; and all the "sporting news" and fish stories be put in that; they are not world interests; they are male interests.
Now for the main branch—the Love Story. Ninety per cent. of fiction is In this line; this is preeminently the major interest of life—given in fiction. What is the love-story, as rendered by this art?
It is the story of the pre-marital struggle. It is the Adventures of Him in Pursuit of Her—and it stops when he gets her! Story after story, age after age, over and over and over, this ceaseless repetition of the Preliminaries.
Here is Human Life. In its large sense, its real sense, it is a matter of inter-relation between individuals and groups, covering all emotions, all processes, all experiences. Out of this vast field of human life fiction arbitrarily selects one emotion, one process, one experience, as its necessary base.
"Ah! but we are persons most of all!" protests the reader. "This is personal experience—it has the universal appeal!"
Take human life personally then. Here is a Human Being, a life, covering some seventy years; involving the changing growth of many faculties; the ever new marvels of youth, the long working time of middle life, the slow ripening of age. Here is the human soul, in the human body, Living. Out of this field of personal life, with all of its emotions, processes, and experiences, fiction arbitrarily selects one emotion, one process, one experience, mainly of one sex.
The "love" of our stories is man's love of woman. If any dare dispute this, and say it treats equally of woman's love for man, I answer, "Then why do the stories stop at marriage?"
There is a current jest, revealing much, to this effect:
The young wife complains that the husband does not wait upon and woo her as he did before marriage; to which he replies, "Why should I run after the street-car when I've caught it?"
Woman's love for man, as currently treated in fiction is largely a reflex; it is the way he wants her to feel, expects her to feel; not a fair representation of how she does feel. If "love" is to be selected as the most important thing in life to write about, then the mother's love should be the principal subject: This is the main stream. This is the general underlying, world-lifting force. The "life-force," now so glibly chattered about, finds its fullest expression in motherhood; not in the emotions of an assistant in the preliminary stages.
What has literature, what has fiction, to offer concerning mother-love, or even concerning father-love, as compared to this vast volume of excitement about lover-love? Why is the search-light continually focussed upon a two or three years space of life "mid the blank miles round about?" Why indeed, except for the clear reason, that on a starkly masculine basis this is his one period of overwhelming interest and excitement.
If the beehive produced literature, the bee's fiction would be rich and broad; full of the complex tasks of comb-building and filling; the care and feeding of the young, the guardian-service of the queen; and far beyond that it would spread to the blue glory of the summer sky, the fresh winds, the endless beauty and sweetness of a thousand thousand flowers. It would treat of the vast fecundity of motherhood, the educative and selective processes of the group-mothers; and the passion of loyalty, of social service, which holds the hive together.
But if the drones wrote fiction, it would have no subject matter save the feasting of many; and the nuptial flight, of one.
To the male, as such, this mating instinct is frankly the major interest of life; even the belligerent instincts are second to it. To the female, as such, it is for all its intensity, but a passing interest. In nature's economy, his is but a temporary devotion, hers the slow processes of life's fulfillment.
In Humanity we have long since, not outgrown, but overgrown, this stage of feeling. In Human Parentage even the mother's share begins to pale beside that ever-growing Social love and care, which guards and guides the children of to-day.
The art of literature in this main form of fiction is far too great a thing to be wholly governed by one dominant note. As life widened and intensified, the artist, if great enough, has transcended sex; and in the mightier works of the real masters, we find fiction treating of life, life in general, in all its complex relationships, and refusing to be held longer to the rigid canons of an androcentric past.
This was the power of Balzac—he took in more than this one field. This was the universal appeal of Dickens; he wrote of people, all kinds of people, doing all kinds of things. As you recall with pleasure some preferred novel of this general favorite, you find yourself looking narrowly for the "love story" in it. It is there—for it is part of life; but it does not dominate the whole scene—any more than it does in life.
The thought of the world is made and handed out to us in the main. The makers of books are the makers of thoughts and feelings for people in general. Fiction is the most popular form in which this world-food is taken. If it were true, it would teach us life easily, swiftly, truly; teach not by preaching but by truly re-presenting; and we should grow up becoming acquainted with a far wider range of life in books than could even be ours in person. Then meeting life in reality we should be wise—and not be disappointed.
As it is, our great sea of fiction is steeped and dyed and flavored all one way. A young man faces life—the seventy year stretch, remember, and is given book upon book wherein one set of feelings is continually vocalized and overestimated. He reads forever of love, good love and bad love, natural and unnatural, legitimate and illegitimate; with the unavoidable inference that there is nothing else going on.
If he is a healthy young man he breaks loose from the whole thing, despises "love stories" and takes up life as he finds it. But what impression he does receive from fiction is a false one, and he suffers without knowing it from lack of the truer broader views of life it failed to give him.
A young woman faces life—the seventy year stretch remember; and is given the same books—with restrictions. Remember the remark of Rochefoucauld, "There are thirty good stories in the world and twenty-nine cannot be told to women." There is a certain broad field of literature so grossly androcentric that for very shame men have tried to keep it to themselves. But in a milder form, the spades all named teaspoons, or at the worst appearing as trowels—the young woman is given the same fiction. Love and love and love—from "first sight" to marriage. There it stops—just the fluttering ribbon of announcement, "and lived happily ever after."
Is that kind of fiction any sort of picture of a woman's life? Fiction, under our androcentric culture, has not given any true picture of woman's life, very little of human life, and a disproportioned section of man's life.
As we daily grow more human, both of us, this noble art is changing for the better so fast that a short lifetime can mark the growth. New fields are opening and new laborers are working in them. But it is no swift and easy matter to disabuse the race mind from attitudes and habits inculcated for a thousand years. What we have been fed upon so long we are well used to, what we are used to we like, what we like we think is good and proper.
The widening demand for broader, truer fiction is disputed by the slow racial mind: and opposed by the marketers of literature on grounds of visible self-interest, as well as lethargic conservatism.
It is difficult for men, heretofore the sole producers and consumers of literature; and for women, new to the field, and following masculine canons because all the canons were masculine; to stretch their minds to a recognition of the change which is even now upon us.
This one narrow field has been for so long overworked, our minds are so filled with heroes and heroes continually repeating the one-act play, that when a book like David Harum is offered the publisher refuses it repeatedly, and finally insists on a "heart interest" being injected by force.
Did anyone read David Harum for that heart interest? Does anyone remember that heart interest? Has humanity no interests but those of the heart?
Robert Ellesmere was a popular book—but not because of its heart interest.
Uncle Tom's Cabin appealed to the entire world, more widely than any work of fiction that was ever written; but if anybody fell in love and married in it they have been forgotten. There was plenty of love in that book, love of family, love of friends, love of master for servant and servant for master; love of mother for child; love of married people for each other; love of humanity and love of God.
It was extremely popular. Some say it was not literature. That opinion will live, like the name of Empedocles.
The art of fiction is being re-born in these days. Life is discovered to be longer, wider, deeper, richer, than these monotonous players of one June would have us believe.
The humanizing of woman of itself opens five distinctly fresh fields of fiction: First the position of the young woman who is called upon to give up her "career"—her humanness—for marriage, and who objects to it; second, the middle-aged woman who at last discovers that her discontent is social starvation—that it is not more love that she wants, but more business in life: Third the interrelation of women with women—a thing we could never write about before because we never had it before: except in harems and convents: Fourth the inter-action between mothers and children; this not the eternal "mother and child," wherein the child is always a baby, but the long drama of personal relationship; the love and hope, the patience and power, the lasting joy and triumph, the slow eating disappointment which must never be owned to a living soul—here are grounds for novels that a million mothers and many million children would eagerly read: Fifth the new attitude of the full-grown woman who faces the demands of love with the high standards of conscious motherhood.
There are other fields, broad and brilliantly promising, but this chapter is meant merely to show that our one-sided culture has, in this art, most disproportionately overestimated the dominant instincts of the male—Love and War—an offense against art and truth, and an injury to life.
WATER-LURE
We who were born of water, in the warm slow ancient years,
Love it to-day for all we pay
Of terror and loss and tears.
The child laughs loud at the fountain, laughs low in the April rain,
And the sea's bright brim is a lure to him
Where a lost life lives again.