So I may have found the right sort of words and measured their possibilities and pitfalls. But again: it’s a nerve-racking task to choose out one word from seven, one from five, one from two. I see two words which may be the only proper ones out of ten thousand to bear my thought. The two may be Echo and After-glow, each an unacknowledged half-sister to the other: meaning respectively something living and growing and vibrant in my spirit-ears, and fading and dying and radiant before my spirit-eyes. But because my spirit-ears may glow bright and hot from what they heard, or my spirit-eyes may seem to themselves to gaze a moment at a soundless sound—an Unheard Melody of Keats,—I miss the raylike distinction and I write After-glow when my true word was Echo.
But another time I write Echo perfectly and masterfully to my own delight: having meant After-glow.
So it is. There’s no plain sailing on this analytic sea. And if there were it would be not worth while. I want nothing, nothing, nothing that comes easily. What comes easily I distrust, be it love or language. It afterward proves dead-sea fruit. What I suffer to get I know to be life-food even if it drugs or pains or poisons me. It is one lesson I have learned.
Without doubt it is so with everybody, all around. One sees only surfaces, husks. Anyone looking casually at this Me sitting writing might say, ‘How easily and smoothly and well she writes. How kind of God to give her so light a task in life. How complacently go her working hours.’ And I looking casually at—oh—Miss Lily Walker singing and swaying and glancing sideways in a gorgeous Broadway chorus—I might say, ‘How easy a task in life has that brainless gazelle. To work with her body and not even with the sweats and sinews of it like a scrub-woman, and not with the facile shames of it like a lorette, but with the grace and suppleness and beauty and suggestions of it, aided by a soprano throat and a soprano face—with only the effort it wants to fling it all over footlights. And that pastime gets her her livelihood.’
But whoever marks me writing as one doing an easy task because I write along rapidly enough considers nothing of my mental travail for the thought, my blind grope for the language, my little nervous anguish of choice among the double-edged and triple-pronged words: and the neat concise failure of the result.
And no, I do not thus comment on Miss Lily Walker. I have an appreciative pleasure in her charm and suppleness and bird-and-butterfly prettiness. But after a bit of contemplation and analysis of her surface I deduce the unconscious struggle it may be for Miss Lily Walker to be supple on nights when she does not feel supple, the thin agony of being sweet when she does not feel sweet, the neurotic torture of being seductive regularly—by the night: the more that perchance the struggle always is unconscious. Her brain being required in her body it’s to be assumed there’s none in her head. But I can deduce a nervous red heart beating illogically somewhere in her being protesting dumbly sometimes against one irking item, sometimes against another, sometimes against all the items in Miss Lily Walker’s scheme of life, but beating and beating on, like a little automatic drum wound up tight and tossed into a maelstrom to beat itself out.
I’d like—like with breathless eagerness—to read the analyzed being just beneath Miss Lily Walker’s skin.
Everybody—every human being—is wildly Real: radiant and desolate.—
With no amount of temperamental struggling could Miss Lily Walker analyze a psychic emotion of her own and then find the right word-combination to write it in.
With no conceivable effort of mine could I manage to be supple when I do not feel supple.