This meeting came about in a literary way. Some months earlier, in May, to be exact, Hurd of the Transcript had placed in my hands a novel called Zury and my review of it had drawn from its author, a western man, a letter of thanks and a cordial invitation to visit him as I passed through Chicago, on my way to my old home. This I had gladly accepted, and now with keen interest, I was on my way to his home.
Joseph Kirkland was at this time nearly sixty years of age, a small, alert, dark-eyed man, a lawyer, who lived in what seemed to me at the time, plutocratic grandeur, but in spite of all this, and notwithstanding the difference in our ages, I liked him and we formed an immediate friendship. "Mrs. Kirkland and my daughters are in Michigan for the summer," he explained, "and I am camping in my study." I was rather glad of this arrangement for, having the house entirely to ourselves, we could discuss realism, Howells and the land-question with full vigor and all night if we felt like it.
Kirkland had read some of my western sketches and in the midst of his praise of them suddenly asked, "Why don't you write fiction?"
To this I replied, "I can't manage the dialogue."
"Nonsense!" said he. "You're lazy, that's all. You use the narrative form because it's easier. Buckle to it—you can write stories as well as I can—but you must sweat!"
This so surprised me that I was unable to make any denial of his charge. The fact is he was right. To compose a page of conversation, wherein each actor uses his own accent and speaks from his own point of view, was not easy. I had dodged the hard spots.
The older man's bluntness and humor, and his almost wistful appreciation of my youth and capacity for being moved, troubled me, absorbed my mind even during our talk. Some of his words stuck like burrs, because they seemed so absurd. "When your name is known all over the West," he said in parting, "remember what I say. You can go far if you'll only work. I began too late. I can't emotionalize present day western life—you can, but you must bend to your desk like a man. You must grind!"
I didn't feel in the least like a successful fictionist and being a household word seemed very remote,—but I went away resolved to "grind" if grinding would do any good.
Once out of the city, I absorbed "atmosphere" like a sponge. It was with me no longer (as in New England) a question of warmed-over themes and appropriated characters. Whittier, Hawthorne, Holmes, had no connection with the rude life of these prairies. Each weedy field, each wire fence, the flat stretches of grass, the leaning Lombardy trees,—everything was significant rather than beautiful, familiar rather than picturesque.
Something deep and resonant vibrated within my brain as I looked out upon this monotonous commonplace landscape. I realized for the first time that the east had surfeited me with picturesqueness. It appeared that I had been living for six years amidst painted, neatly arranged pasteboard scenery. Now suddenly I dropped to the level of nature unadorned, down to the ugly unkempt lanes I knew so well, back to the pungent realities of the streamless plain.