It would pay to cultivate a little home sentiment, wouldn't it? It would pay to let a little daylight in on the abysmal blank regarding the wonder-land of our own world—wouldn't it?
I don't know whether the affectation recognized as "the foreign pose" comes foremost or hindermost as a cause of this neglect of the wonders of our own land. When you go to our own Western Wonder Land, you can't say you have been abroad with a great long capital A; and it is wonderful what a paying thing that pose is in a harvest of "fooleries." There is a well-known case of an American author, who tried his hand on delineating American life and was severely let alone because he was too—not abroad, but broad. He dropped his own name, assumed the pose of a grand dame familiar with the inner penetralia and sacred secrets of the exclusive circle of the American Colony in Paris. His books have "gone off" like hot cross buns. Before, they were broad. Now they are abroad; and, like the tourist tickets, they are selling two to one.
The stock excuse among foreign poseurs for the two to one preference of Europe to America is that "America lacks the picturesque, the human, the historic." A straightforward falsehood you can always answer; but an implied falsehood masking behind knowledge, which is a vacuum, and superiority, which is pretense—is another matter. Let us take the dire and damning deficiencies of America!
"America lacks the picturesque." Did the ancient dwelling of the Stone Age sound to you as if it lacked the picturesque? I could direct you to fifty such picturesque spots in the Southwest alone.
There is the Enchanted Mesa, with its sister mesa of Acoma—islands of rock, sheer precipice of yellow tufa for hundreds of feet—amid the Desert sand, light shimmering like a stage curtain, herds exaggerated in huge, grotesque mirage against the lavender light, and Indian riders, brightly clad and picturesque as Arabs, scouring across the plain; all this reachable two hours' drive from a main railroad. Or there are the three Mesas of the Painted Desert, cities on the flat mountain table lands, ancient as the Aztecs, overlooking such a roll of mountain and desert and forest as the Tempter could not show beneath the temple. Or, there is the White House, an ancient ruin of Cañon de Chelly (Shay) forty miles from Fort Defiance, where you could put a dozen White Houses of Washington.
"But," your European protagonist declares, "I don't mean the ancient and the primeval. I mean the modern peopled hamlet type." All right! What is the matter with Santa Fe? Draw a circle from New Orleans up through Santa Fe to Santa Barbara, California; and you'll find old missions galore, countless old towns of which Santa Fe, with its twin-towered Cathedral and old San Miguel Church, is a type. Santa Fe, itself, is a bit of old Spain set down in mosaic in hustling, bustling America. There is the Governor's Palace, where three different nations have held sway; and there is the Plaza, where the burros trot to market under loads of wood picturesque as any donkeys in Spain; and there is the old Exchange Hotel, the end of the Santa Fe Trail, where Stephen B. Elkins came in cowhide boots forty years ago to carve out a colossal fortune. At one end of a main thoroughfare, you can see the site of the old Spanish Gareta prison, in the walls of which bullets were found embedded in human hair. And if you want a little Versailles of retreat away from the braying of the burros and of the humans, away from the dust of street and of small talk—then of a May day when the orchard is in bloom and the air alive with the song of the bees, go to the old French garden of the late Bishop Lamy! Through the cobwebby spring foliage shines the gleam of the snowy peaks; and the air is full of dreams precious as the apple bloom.
What was the other charge? Oh, yes—"lacks the human," whatever that means. Why are legends of border forays in Scotland more thrilling than true tales of robber dens in Horse-Thief Cañon and the cliff houses of Flagstaff and the Frijoles, where renegades of the Civil War used to hide? Why are the multi-colored peasant workers of Brittany or Belgium more interesting than the gayly dressed peons of New Mexico, or the Navajo boys scouring up and down the sandy arroyos? Why is the story of Jack Cade any more "human" than the tragedy of the three Vermont boys, Stott, Scott and Wilson, hanged in the Tonto Basin for horses they did not steal in order that their assassins might pocket $5,000 of money which the young fellows had brought out from the East with them? Why are not all these personages of good repute and ill repute as famous to American folklore hunters as Robin Hood or any other legendary heroes of the Old World?
Driven to the last redoubt, your protagonist for Europe against America usually assumes the air of superiority supposed to be the peculiar prerogative of the gods of Olympus, and declares: "Yes—but America lacks the history and the art of the old associations in Europe."
"Lacks history?" Go back fifty years in our own West to the transition period from fur trade to frontier, from Spanish don living in idle baronial splendor to smart Yankeedom invading the old exclusive domain in cowhide boots! Go back another fifty years! You are in the midst of American feudalism—fur lords of the wilderness ruling domains the area of a Europe, Spanish Conquistadores marching through the desert heat clad cap-à-pie in burnished mail; Governor Prince's collection at Santa Fe has one of those cuirasses dug up in New Mexico with the bullet hole through the metal right above the heart. Another fifty years back—and the century war for a continent with the Indians, the downing of the old civilization of America before a sort of Christian barbarism, the sword in one hand, the cross in the other, and behind the mounted troops the big iron chest for the gold—iron chests that you can see to this day among the Spanish families of the Southwest, rusted from burial in time of war, but strong yet as in the centuries when guarded by secret springs such iron treasure boxes hid all the gold and the silver of some noble family in New Spain. When you go back beyond the days of New Spain, you are amid a civilization as ancient as Egypt's—an era that can be compared only to the myth age of the Norse Gods, when Loki, Spirit of Evil, smiled with contempt at man's poor efforts to invade the Realm of Death. It was the age when puny men of the Stone Era were alternately chasing south before the glacial drift and returning north as the waters receded, when huge leviathans wallowed amid sequoia groves; and if man had domesticated creatures, they were three-toed horses, and wolf dogs, and wild turkeys and quail. Curiously enough, remnants of some sort of domesticated creatures are found in the cave men's houses, centuries before the coming of horses and cattle and sheep with the Spanish. The trouble is, up to the present when men like Curtis and dear old Bandelier and Burbank, and the whole staff of the Smithsonian and the School of Santa Fe have gone to work, we have not taken the trouble in America to gather up the prehistoric legends and ferret out their race meaning. We have fallen too completely in the last century under the blight of evolution, which presupposes that these cave races were a sort of simian-jawed, long-clawed, gibbering apes spending half their time up trees throwing stones on the heads of the other apes below, and the other half of their time either licking their chops in gore or dragging wives back to caves by the hair of their heads. You remember Kipling's poem on the neolithic man, and Jack London's fiction. Now as a matter of fact—which is a bit disturbing to all these accretions of pseudo-science—the remains of these cave people don't show them to have been simian-jawed apes at all. They had woven clothing when our ancestors were a bit liable to Anthony Comstock's activities as to clothes. They had decorated pottery ware of which we have lost the pigments, and a knowledge of irrigation which would be unique in apes, and a technique in basketry that I never knew a monkey to possess. Some day, when the evolutionary piffle has passed, we'll study out these prehistoric legends and their racial meaning.
As to the "lack of art," pray wake up! The late Edwin Abbey declared that the most hopeful school of art in America was the School of the Southwest. Look up Lotave's mural drawings at Santa Fe, or Lungrun's wonderful desert pictures, or Moran's or Gamble's, or Harmon's Spanish scenes—then talk about "lack of decadent art" if you will, but don't talk about "lack of art." Why, in the ranch house of Lorenzo Hubbell, the great Navajo trader, you'll find a $200,000 collection of purely Southwestern pictures.