Another innocent complication is that the interviewer does sometimes translate things into his native language. It would not seem odd that a French interviewer should translate them into French; and it is certain that the American interviewer sometimes translates them into American. Those who imagine the two languages to be the same are more innocent than any interviewer. To take one out of the twenty examples, some of which I have mentioned elsewhere, suppose an interviewer had said that I had the reputation of being a nut. I should be flattered but faintly surprised at such a tribute to my dress and dashing exterior. I should afterwards be sobered and enlightened by discovering that in America a nut does not mean a dandy but a defective or imbecile person. And as I have here to translate their American phrase into English, it may be very defensible that they should translate my English phrases into American. Anyhow they often do translate them into American. In answer to the usual question about Prohibition I had made the usual answer, obvious to the point of dullness to those who are in daily contact with it, that it is a law that the rich make knowing they can always break it. From the printed interview it appeared that I had said, 'Prohibition! All matter of dollar sign.' This is almost avowed translation, like a French translation. Nobody can suppose that it would come natural to an Englishman to talk about a dollar, still less about a dollar sign—whatever that may be. It is exactly as if he had made me talk about the Skelt and Stevenson Toy Theatre as 'a cent plain, and two cents coloured' or condemned a parsimonious policy as dime-wise and dollar-foolish. Another interviewer once asked me who was the greatest American writer. I have forgotten exactly what I said, but after mentioning several names, I said that the greatest natural genius and artistic force was probably Walt Whitman. The printed interview is more precise; and students of my literary and conversational style will be interested to know that I said, 'See here, Walt Whitman was your one real red-blooded man.' Here again I hardly think the translation can have been quite unconscious; most of my intimates are indeed aware that I do not talk like that, but I fancy that the same fact would have dawned on the journalist to whom I had been talking. And even this trivial point carries with it the two truths which must be, I fear, the rather monotonous moral of these pages. The first is that America and England can be far better friends when sharply divided than when shapelessly amalgamated. These two journalists were false reporters, but they were true translators. They were not so much interviewers as interpreters. And the second is that in any such difference it is often wholesome to look beneath the surface for a superiority. For ability to translate does imply ability to understand; and many of these journalists really did understand. I think there are many English journalists who would be more puzzled by so simple an idea as the plutocratic foundation of Prohibition. But the American knew at once that I meant it was a matter of dollar sign; probably because he knew very well that it is.
Then again there is a curious convention by which American interviewing makes itself out much worse than it is. The reports are far more rowdy and insolent than the conversations. This is probably a part of the fact that a certain vivacity, which to some seems vitality and to some vulgarity, is not only an ambition but an ideal. It must always be grasped that this vulgarity is an ideal even more than it is a reality. It is an ideal when it is not a reality. A very quiet and intelligent young man, in a soft black hat and tortoise-shell spectacles, will ask for an interview with unimpeachable politeness, wait for his living subject with unimpeachable patience, talk to him quite sensibly for twenty minutes, and go noiselessly away. Then in the newspaper next morning you will read how he beat the bedroom door in, and pursued his victim on to the roof or dragged him from under the bed, and tore from him replies to all sorts of bald and ruthless questions printed in large black letters. I was often interviewed in the evening, and had no notion of how atrociously I had been insulted till I saw it in the paper next morning. I had no notion I had been on the rack of an inquisitor until I saw it in plain print; and then of course I believed it, with a faith and docility unknown in any previous epoch of history. An interesting essay might be written upon points upon which nations affect more vices than they possess; and it might deal more fully with the American pressman, who is a harmless clubman in private, and becomes a sort of highway-robber in print.
I have turned this chapter into something like a defence of interviewers, because I really think they are made to bear too much of the burden of the bad developments of modern journalism. But I am very far from meaning to suggest that those bad developments are not very bad. So far from wishing to minimise the evil, I would in a real sense rather magnify it. I would suggest that the evil itself is a much larger and more fundamental thing; and that to deal with it by abusing poor journalists, doing their particular and perhaps peculiar duty, is like dealing with a pestilence by rubbing at one of the spots. What is wrong with the modern world will not be righted by attributing the whole disease to each of its symptoms in turn; first to the tavern and then to the cinema and then to the reporter's room. The evil of journalism is not in the journalists. It is not in the poor men on the lower level of the profession, but in the rich men at the top of the profession; or rather in the rich men who are too much on top of the profession even to belong to it. The trouble with newspapers is the Newspaper Trust, as the trouble might be with a Wheat Trust, without involving a vilification of all the people who grow wheat. It is the American plutocracy and not the American press. What is the matter with the modern world is not modern headlines or modern films or modern machinery. What is the matter with the modern world is the modern world; and the cure will come from another.
Some American Cities
There is one point, almost to be called a paradox, to be noted about New York; and that is that in one sense it is really new. The term very seldom has any relevance to the reality. The New Forest is nearly as old as the Conquest, and the New Theology is nearly as old as the Creed. Things have been offered to me as the new thought that might more properly be called the old thoughtlessness; and the thing we call the New Poor Law is already old enough to know better. But there is a sense in which New York is always new; in the sense that it is always being renewed. A stranger might well say that the chief industry of the citizens consists of destroying their city; but he soon realises that they always start it all over again with undiminished energy and hope. At first I had a fancy that they never quite finished putting up a big building without feeling that it was time to pull it down again; and that somebody began to dig up the first foundations while somebody else was putting on the last tiles. This fills the whole of this brilliant and bewildering place with a quite unique and unparalleled air of rapid ruin. Ruins spring up so suddenly like mushrooms, which with us are the growth of age like mosses, that one half expects to see ivy climbing quickly up the broken walls as in the nightmare of the Time Machine, or in some incredibly accelerated cinema.
There is no sight in any country that raises my own spirits so much as a scaffolding. It is a tragedy that they always take the scaffolding away, and leave us nothing but a mere building. If they would only take the building away and leave us a beautiful scaffolding, it would in most cases be a gain to the loveliness of earth. If I could analyse what it is that lifts the heart about the lightness and clarity of such a white and wooden skeleton, I could explain what it is that is really charming about New York; in spite of its suffering from the curse of cosmopolitanism and even the provincial superstition of progress. It is partly that all this destruction and reconstruction is an unexhausted artistic energy; but it is partly also that it is an artistic energy that does not take itself too seriously. It is first because man is here a carpenter; and secondly because he is a stage carpenter. Indeed there is about the whole scene the spirit of scene-shifting. It therefore touches whatever nerve in us has since childhood thrilled at all theatrical things. But the picture will be imperfect unless we realise something which gives it unity and marks its chief difference from the climate and colours of Western Europe. We may say that the back-scene remains the same. The sky remained, and in the depths of winter it seemed to be blue with summer; and so clear that I almost flattered myself that clouds were English products like primroses. An American would probably retort on my charge of scene-shifting by saying that at least he only shifted the towers and domes of the earth; and that in England it is the heavens that are shifty. And indeed we have changes from day to day that would seem to him as distinct as different magic-lantern slides; one view showing the Bay of Naples and the next the North Pole. I do not mean, of course, that there are no changes in American weather; but as a matter of proportion it is true that the most unstable part of our scenery is the most stable part of theirs. Indeed we might almost be pardoned the boast that Britain alone really possesses the noble thing called weather; most other countries having to be content with climate. It must be confessed, however, that they often are content with it. And the beauty of New York, which is considerable, is very largely due to the clarity that brings out the colours of varied buildings against the equal colour of the sky. Strangely enough I found myself repeating about this vista of the West two vivid lines in which Mr. W. B. Yeats has called up a vision of the East:—
And coloured like the eastern birds