Mother, I have taken poison. I have sold my body to a doctor for dissection; the money I give you is part of the price. You have upbraided me for never making money; I have sold all I possess—my body—and given you my money. You have told me of the stain on my birth; I can not live and write after that; all the poetical fame in the world would not wash away such a stain. Your bitter words, my bitter fate, I can bear no longer; I go to the other world; God will pardon me. Yes, yes. From the bright moon and stars this night, there came down a voice, saying, God would take me up to happiness amid his own bright worlds. Give my body to the men who are waiting for it, and so let every trace of Andrew Carson vanish from the earth.
Now read any passage in the stories here included from the same magazine. The point to be emphasized is the generally higher standard of present-day fiction, as the high standard of the magazine has been uniform.
Again, the charge finds entertainment that American fiction lacks depth; yet it flows full and deep from the head sources of all the races that make America. Granted that within a thousand years, from some white heat of common interest, fusion may effect a greater national literature. It will be different from this of to-day, but it will look back—if it looks, at all—on the Twentieth Century not as one of childish beginnings. American writers have their origins among Anglo-Saxon scops, Celtic bards, French trouvères, Hebrew psalmists and historians. A patent fact, yes; but too frequently ignored by those who like to regard American literature as infant literatures of old races are regarded. Nationally, America may lack depth of common interest; the soil may be “insufficiently fertilized,” as one critic says; but, racially, America has all that her several races have ever possessed. The short story is the exact vessel for catching and holding the various racial characteristics.
“And because we like to be loved,” says another,[E] “we dare not touch upon the wounds of life—the hunger, the passions, the buffets, the defeats that purge its sordidness, gild its drabness, and actuate us to nobler aspirations.”
By way of reply to this challenge Francis Edwards Faragoh might have written “The Distant Street” had he not already published it. Emanuel’s desire for undiscovered mysteries back of the yellow pools, for life behind the flowers, by him prefigured as unattainable, symbol of the ideal; his buffets at home, his climactic defeat through human passion—these are of the essence of life. Emanuel’s worldly success, built on the supremacy of the practical pull, poignantly concedes to life the insignificance of a single unit amid an infinity of units. His desire, which leads him—in his “unaccountable fits”—to the distant street, maintains his ego triumphant, ultimately inviolate. The lyric strain in this young doctor has the potency of passages in the Song of Solomon; his ideal of duty has the greater potency of the Mosaic tablets.
Growing out of the Swedish settlements in Wisconsin, from another tributary race flowers “Witch Mary.” The men and women of this story, blue-eyed and blond, among whom Black Eric represents the darker strength of Satan, retain the fancy, the poetry, of early Scandinavian peoples. Those peoples, more than a thousand years ago, saw etins and elves and nickers on the sea; their terror was of those monsters, the nipping night, and the northern wind. Of the inland country, in Miss Larsson’s narrative, the river is still the source of fear, as was the sea while Beowulf was growing slowly to epic size. Those children who saw Witch Mary fly, like the wind, from the river, are descended in the fortieth generation or so from those children who followed the flight of Grendel’s mother to her lair under the waters of the haunted mere.
“Prelude” pictures without ruth the dominant Anglo-Saxon in decay. But in Selina Jo, the humble fighter whose perseverance and patience land her in the reformatory of her desire, it hints at resurrection out of dust. Stock of the past, impoverished, dry as Phœnix ashes, yet may renew itself, like the fabled bird, for another thousand years. Heritage of the South, the poor white has been loosely accepted as drift left by flood and ebb of a splendid civilization. Only in recent years have writers come out of the South who treat him in the individual manner he deserves. Mr. Smith has done so with originality, true democracy, and thorough understanding. Selina Jo he has made a living girl, typical of her social stratum, seemingly typical in her departure from it. Hope lies in just this seeming divergence, which is in reality the survival of warrior blood second to none the earth has ever produced.
Though perhaps not apparent to the reader, “The Wager” represents in its authorship one who carries on the traditions of the feudal South. Those who have been longest in these states are first to scatter to other corners of the world in foreign service, in far-flung naval exploits, and in military outposts. If a considerable percentage of American fiction uses foreign settings, the conclusion must not be falsely drawn, “We have nothing at home to write about, it would appear,” but rather “Most at home in America, most at home abroad.” Isa Urquhart Glenn, in employing the scenes she knew while her husband saw service in the Philippines, only makes use of what for her was immediately at hand. Surely there lie in this tale feeling for race and compassion for the weak—hallmarks of noblesse oblige.
“Shadowed,” by Mary Synon, climactically presents the few hours which mark the climax of a political career. At the moment Stroude is about to be nominated for the presidency of the United States, he receives a letter from a dying woman. The significance of this letter lies in the facts that he loved her, that she had released him to climb a mountain higher than Pisgah, and that he had promised to return to her if she ever needed him. His struggle must be brief, since he must either accept the nomination without seeing the woman or must see her at the cost of losing the highest honour in the land. His code of honour has never faltered in the years he has smiled at the devious ways of politicians and kept his integrity, nor does it falter now. He goes back to Pisgah. If this eventuality is criticized as the one less likely to occur in real life, yet it has the merit of seeming true in the life of fiction. And every reader will admit the essential truth of the ideal. The author, herself of the Middle West, has paid tribute to the Southern mountaineer.
“The Bamboo Trap” illustrates the struggle of the American scientist far afield. John Mather’s adventure in the Andes, wherein his problem is to escape from a hole in the mountain side is enlivened by spiders. He escapes through a gallant physical fight. It is impossible to resist reference to a suggestion made by a reader of this story, a reader who is avowedly of the camp preferring Russian to American fiction. This tale would be more life-like, he said, if it ended on the unfinished struggle. “Why have that flood tear down the remaining barrier? Accident, wasn’t it?” But if Mather had not very nearly destroyed the barrier, accident would have availed him nothing. An Oriental in that trap doubtless would have concluded, “If I am fated to die I shall die.” Therein is exemplified the difference between the philosophy in literature of the negative and philosophy in literature of the positive. Life in America is not torpid, sick, neurasthenic, if one agrees with Theodore Dreiser, as he expressed himself in a recent interview.[F] “What I am driving at is the fact that the portrayal of American life does not lend itself to Russian atmosphere, to a Dostoyefsky plot, to Gorki treatment.” Mather’s escape is not so much the ingenious end to a clever plot as it is the logical end of just such a situation in real life, provided the chief actor be American and not Russian. The fighter may escape, the weakling dies. If the ideal of a people be annihilation, death the easy surrender either to indifference or to a divine nostalgia, just so surely literature will reflect that ideal. Not before America as a nation embraces pessimism will its literature be affected seriously by the literature of pessimism. And, incidentally, it will be worth while watching the literature of New Russia for a change of ideals.