XI
In Fairhope was the Organic School, invention of Mrs. Marietta Johnson. It was then a rudimentary affair, conducted in a couple of shacks, but has since become famous. Our son, David, then eight years old, attended it. His education had been scattery, with his parents moving from a winter resort to a summer resort. But he had always had the world’s best literature and had done the rest for himself. Fairhope he found to his taste; we had a back porch and a front porch to our isolated cottage, and he would spread his quilt and pillow on the former, and I would spread mine on the latter, and sleep outdoors every night on the floor. I asked if he minded the hard surface, and his reply belongs to the days of the world’s divine simplicity. “Oh, Papa, it’s fine! I like to wake up in the night and look at the moon, and listen to the owl, and pee!”
I tried the experiment of fasting while doing my writing; a marvelous idea, to have no stomach at all to interfere with creative activity! A comedy sprang full-grown into my brain, and I wrote it in two days and a half of continuous work—a three-act play, The Naturewoman. I record the feat as a warning to my fellow writers—don’t try it! During a fast you are living on your nerves and cannot stand the strain of creative labor. When I finished, I could hardly digest a spoonful of orange juice.
The Naturewoman, like all my plays, had no success. It was published in the volume Plays of Protest a couple of years later, and had no sale. Not long thereafter, the students of Smith College, studying drama under Samuel Eliot, gave it in New York, and these emancipated young ladies found it charmingly quaint and old-fashioned; they played it in a vein of gentle farce. Apparently it never occurred to them that the author might have meant it that way. I have frequently observed that an advocate of new ideas is not permitted to have a sense of humor; that is apparently reserved for persons who have no ideas at all. For fifty-six years I have been ridiculed for a passage in The Jungle that deals with the moral claims of dying hogs—which passage was intended as hilarious farce. The New York Evening Post described it as “nauseous hogwash”—and refused to publish my letter of explanation.
Corydon had come to Fairhope for a while, and then had gone north on affairs of her own; it had been arranged that she was to get a divorce from me. I thought that a novel about modern marriage that would show the possibility of a couple’s agreeing to part, and still remaining friends, would be interesting and useful. So I began Love’s Pilgrimage. In the spring I came north and took up my residence in another single-tax colony, at Arden, Delaware, founded and run by Frank Stephens, a sculptor of Philadelphia; a charming place about twenty miles from the big city, with many little cabins and bungalows scattered on the edge of the woods. Frank was glad to have me come—and alas, a year and a half later he was gladder to have me go! For the Philadelphia newspapers found me out, and thereafter, in the stories that appeared about Arden, socialism was more prominent than single tax, and I was more prominent than the founder. This was my misfortune, not my fault. I wanted nothing but to be let alone to write my book; but fate and the editors ruled otherwise.