A working diaphragm

I am not Respectable nor Refined nor in Good Taste.

I take a delicate M.-Mac-Lane pleasure in those facts.

I doubt if they are anyway peculiar to me, but they feel like a someway delicious clandestine circumstance: something to enjoy all to myself.

It is difficult to imagine any woman really Respectable on her inner side, the side that is turned toward herself alone. And it’s certain no woman is Refined: it feels not possible. (There are yet inland places where the word is used in its smug sense and believed in.) And no woman but a dead woman in her coffin is in complete Good Taste. Every live woman has for instance a working diaphragm: and in a diaphragm there is, in the final analysis, simply no taste at all.

(As for men--except poets--I mean poets: and perhaps scientists--they are so ungenuine: a race of discreet cautious puppets: wooden dolls who move as their strings are pulled: with nothing so real about them inside as even outside--what use to dwell upon them?)

Nearly all women are perplexingly interesting as human beings. And I am quite the most interesting human being I know: and with it the most appealing, the most sincere--in my own false fashion, and the most bespeaking.

It is much due to knowing and feeling me to be not Respectable nor Refined nor in Good Taste: particularly to being not in Good Taste.

One autumn evening in Boston I went to dine with a man in his apartment in Beacon Street. He is a mining engineer whom I have known since we were both children. He had bidden me to dinner in his off-hand engineering way, but when I arrived at his diggings he was not there. He did not come. Instead there was a dinner waiting, a Japanese boy to serve it, and a strange man who had happened in. The strange man had iron-gray hair, a brow like Apollo, a jowl like Bill Sikes and much conversation. He said that he was newly from China, South Africa and Egypt and that in his life he had been married seven times with book and bell. Together we ate the dinner, talking pleasantly in the light of colored Chinese lamp-shades. There were little birds to eat and Chinese wine to drink--sam shu distilled virilely from rice: always a little of it is too much. After the dinner we were standing by a teakwood sideboard and the strange man was holding me tightly in his arms against a large smooth evening panel of shirt-front, and he was kissing my mouth with a great deal of ardor. I did not like it. I thought of all the women he had married and wondered if they had liked it. And I mused in my placid brain, ‘As I was going to St. Ives I met a man with seven wives.’ It was the only thought in my mind as I waited boredly for him to have done. (It’s no good struggling.) And that incident I know was not Respectable.

And one summer day I was riding horseback up a steep gorge in these Montana hills. It was hot dusty riding. I came to a mountain stream with a beautiful little white-and-blue cascade tumbling over a high rock upon smooth pebbles below. I got down from my horse, took off my dusty khaki suit and all my clothes and stood under the fall of the little tumbling cascade, whitely naked, without so much as a figleaf’s covering. It was delectable and pagan, what with my quaint thoughts as I stood crouched beneath the sparkling splash. And I know there was nothing Refined in it.

And one evening between nine and ten, a week ago. I was walking across the broad desert valley east of this Butte. It is late November and the night was stormy. A strong high gale swept the Flat. Presently it rained. I was on my way back with a mile or two to go. It rained harder. Heavy sheets of black water whipped and whirled down on me and wrapped me in their wet wings. I love all weather when it is mild and more when it is rough except when it bears down too hard: then I feel indifferent to it. As I moved along the dark road not hurrying and not loitering I was saying inside me, ‘Why am I going to any shelter out of this heavy wet rain? Why am I not a houseless beggar-woman with nothing gentler in all my life than this November storm? It is not because I deserve gentler things--’ And with a sudden heavy shudder I whispered, ‘I wish I were a beggar-woman! I wish I had no roof to cover me in this cold night-blackness. It would be honest: I should be stripped to my deserts. And I wish it were so--this drenching rain, this strangling wind--nothing but this--shelter, money, comfort, self-satisfaction, however seemingly earned, are dishonest--thieved. I ought to be--ragged beggar--bleared eyes--dirty petticoats--a foul ratty hole to creep into--hunger--bodily misery--all the portion of outcasts-- As God may hear me--I’d eagerly tremblingly change lives this moment with a beggar-woman. I would--I would--!’ It is a piece of clear inside truth about myself. And I know it proves me to be in poor Taste.

It is a matter of attitude. Each of those incidents might happen to any woman--except perhaps the last. I have known but one girl who agreed with me in such a feeling. And not quite that feeling. She had married a lot of money with a horrible old gentleman and had wearied of both. But the other two episodes could readily belong to any woman of esprit who might be on the outside both Respectable and Refined: even a woman lawyer.

But my attitude in the incident of the strange iron-gray man, though in a bored way I could have viciously knifed him, was not a Respectable attitude. I was bored and fanciful when doubtless I ought to have been breathlessly angry. But my breathless anger is too rare and beautiful an emotion to waste on ridiculous strange iron-gray men.

In the incident of the sparkling cascade my attitude was shameless: something of the sort. It is never reprehensible for a woman to take a cold shower-bath in solitude and health. But my spirit rose and rejoiced at my bodily nakedness and then grew nymph-like and figleafless on its own account. My sex exploited itself in mental visions, like of Leda and the Swan or of myself as a slim villainous Scotch Aphrodite conceived by a bold surprising Titian. And doubtless I ought to have felt timorous in the vast sunlit mountainside, or like a sexless child (or merely ‘hygienic’ like William Muldoon and Bernarr McFadden). But the quick charm of the situation and the heavenly anguish of the icy water, and my lovely Body, and my odd moralless musings were too intriguing to expend themselves banalely.

The wet night road and the beggar-woman wish: it is drearily real to me. Though I wear two plain dainty dresses, in a house--in me, beating, beating, pounding down is a cold wild heavy rain: and under my feet a long lonely muddy road. If they belong to me--well. I love Me the more for feeling them.

And I feel them because I am not yet dead and in my coffin, but alive and with a working diaphragm: which diaphragms are in not Good Taste.


Lot’s wife

To-day in the afternoon I briskly manicured my fingernails, sitting by my gold-and-blue window, and I mused upon Lot’s Wife.

So many persons and incidents and events and adventures and episodes there are to muse upon, in this mixed world, dating from when it began till now. There’s something to charm any mood. Let me leave the doors of my mind open and anything at all may float in like an errant butterfly on a summer’s day.

It is an entertaining world, by and large: a limitless vaudeville.

Lot’s Wife is to me a fantasy from the antique, a bit of archaic frivol to beguile me.

When first I heard of her, from an acrid aunt of caustic humor who told me the tale tersely in explanation of a biblical print, I was seven years old. From that day to this my meditative thoughts have from time to time flitted backward to dwell interestedly upon Lot’s Wife. Later when I went to an Episcopal Sunday-school I was pleased to find this adjuration in according-to-St.-Luke: ‘Remember Lot’s Wife.’ There seemed no special meaning attached to it. It seemed like Remember Lot’s Wife in any way you like--as it might be with a card on her birthday, a useless gift at Christmas, in your prayers, or in retributive patriotism like Remember the Alamo, Remember the Maine.

But I remember her because I like her.

There’s no name given for Lot’s Wife in the brief biblical narrative, so I long ago named her Bella as expressive of the temperament and character that have grown around her image in my thoughts. Poor Bella, I ruminated as I tinted and polished my nails. Her life in Sodom was not entirely satisfying to her. Sodom was a town completely given over to pleasure of the physical and outward sorts. The dwellers lived in and for their physical senses alone. And Bella had it in her to care for the foods of the spirit. Not that she longed for them--she was not so conscious of herself--but she had it in her to care for them had they been given her. Still, Sodom and its ways were the best she knew and she had known them all her life. The roots of her temperament had shot down into the Sodomesque substrata. She fondly loved the place.

Sodom was a prototype for Babylon or Pompeii, worshiping the hotness of the sun in moralless plaisance, with fêtes and drinkings of wine from gold and silver cups, and bathings in warm scented marble-lined pools, and anointings with oils of olive and palm, and dwellings among flowers of thin bright petals and birds of vivid plumage and fountains of crystal and rainbow, and caterings to the sparkle and froth of human emotions, and browsings amid loves and lights o’ love. Can Bella be wondered at for growing fond of it all, having known nothing substantialer? And can she rightly be blamed for hating the thought of leaving it for dry sage-brush wilds in the mountains? She did hate and dread that thought with all her soul from the moment it was made known to her that Sodom for its sins was booked for destruction. She had perhaps a fortnight in which to dread it, and a fortnight if given over to dread is long enough to damage stronger spirits than hers.

Bella was slender and svelte, with long straight soft beautiful silken pale red hair and white-lidded eyes of grayish green. She was thirty-eight--a young thirty-eight. There’s an old thirty-eight which applies to greedy school-teachers, gangrenous woman government-clerks, fading hard-hearted stenographers, over-righteous woman doctors; to all whose virtue is ever indecently on guard. But there’s a glory-tinted sun-kissed young thirty-eight which applies to sensitive high-strung generously-emotional women like Bella Lot. She had smooth hands with supple tapering fingers, an irregular expressive-lipped mouth like a pimpernel-bloom, firm slim feet and the quivering suggestive white knees of a wood-nymph. From any angle-of-view can she be blamed for hating to take that equipment away from the city-de-luxe which was its so proper setting and hiding it in the sage-brush?

Furthermore Bella had a lover in Sodom. It is beyond a sane effort of the imagination that she could have loved that unpleasing old man Lot. The best and worst that can be said of him is that he was a fit addition to the company of the old Patriarchs who were for the most part an exceeding craven crew. The martyrs, the sages and especially the prophets had their splendors. But the lean old patriarchs--The sporting blood of all of them--in the sense of merest simplest courage--from Adam down, would hardly aggregate one drop. There are any number of reasons--as many as Bella had charms--to account for Lot’s having married her. But what she could have seen in him to make her wish or even willing to be married to him is a deep mystery to me. It may have been his family. I believe Bella lacked family: she was just a person. And was he not nephew to Abraham? But even being niece-in-law to Abraham himself seems insufficient compensation for being Lot’s Wife.

The Lots had two young daughters, one fifteen and one seventeen, it might be. I do not know their names--call them Ethel and Agnes. But they were of a recalcitrant temper and absorbed in their own racy pastimes among the younger youth of Sodom and they had no need of their mother. Besides, they ‘took after’ their father. So Bella was fain to turn outward in search of nurturing matter whereon to feed her humanness. Had it been expected of her to play fair with the patriarch she would have played fair. But it was not expected of her by anyone in Sodom--far from it, and least of all by the patriarch. She was eight-and-thirty, and Lot--he was doubtless eight or nine hundred years old, after the surprising long-lived fashion of the period.

So Bella found a lover ready and awaiting her. She would have found a lover in the circumstances even without caring to. But she quite cared to, I think. Everything points that way, and when one remembers that good old man her husband one can not censure her but only pity her. Be it as it may she had one--one as real as anything could be in that town of sparkling froth.

Of the lover’s identity--little is known, as the historians say. My fancy as I filed my fingernails failed me on the point. Suffice it to state that ever and anon as time passed in Sodom the gray-green eyes of Bella were gazed into with fondness, affection, adoration and desire: the white eyelids of Bella had showers of light kisses bestowed on them, soft-falling as rose-petals shaken loose in summer winds: the tapering white hands of Bella were caressed and caressing with the oddly intense tenderness of physical love: the pale red hair of Bella was ruffled and fluffed and disarrayed by the fingers of love: the red-pimpernel mouth of Bella was touched, bruised, clung to by the lips of love: the svelte whiteness and nymph-knees of Bella glowed as she broached love’s arms:--and all went much merrier than marriage bells. In short, Bella paid herself with usury for the deadliness of being Lot’s Wife.

And there we have the crux of Bella’s dread of leaving Sodom and its tempered sweetness for the arid sage-brush hills and the respectively cold and hectic companionship of the good old patriarch and the recalcitrant daughters.

It can not be claimed for Bella that any white poetic fires gleamed across her soul, that any limning beauty shone palely from within her. The air of Sodom was not conducive to suchlike matters and Bella was no finer than her breeding and generation. But she was gentle and wistful and kind of heart. She was lovely to look at and ingenuously lovable in her clinging affection and disarming naturalness. She was all one could want to imagine in the word charming.

Came the night set for destruction and the Lot family fled according to schedule. They fled away in the early damps of an autumn evening through the outer city gates and along a rough road faintly lit by a dying moon. They had three separate reasons for fleeing. Lot fled because he was a patriarch and was given to doing craven Old-Testamentish things of that sort: Bella fled because she was Lot’s Wife and obliged to act out the rôle: and Ethel and Agnes fled because they had true patriarchal blood in their veins and had therefore no marked inclination to remain in Sodom to be annihilated--‘safety first’ was one of their watchwords. They fled in the van. Lot came after them, being less swift of foot. Bella lagged behind. She didn’t want to go. Every way she looked at it she didn’t want to go. She hated that flight for a thousand reasons.

The ghastly moon shed a terror on her with its dim rays. The ground was hard and rutted with frosty mud and bruised her slender feet through her white buckskin sandals.

She wore a loose ninon gown of white silk and linen with a gold girdle around her narrow loins and a gold clasp at the left shoulder. Binding her long hair, so palely red in the moon, was a white-and-gold fillet. In one hand she carried a gold-and-enamel link bracelet, a gift but that afternoon from the lover. Suddenly she stopped and cried to herself, ‘I’m too lovely for this fate--I’m too lovely and beloved--the cruelty of God--: I’ll not go on!’ She thought of the gleams and colorings of Sodom. She quickly reckoned the cost and decided to pay it. She was a rare good sport, and a quaint. She looked back at the doomed city blazing in brimstone--‘But his wife looked back from behind him, and she became a pillar of salt.’--

As I put away my chamois-skin buffer and glass paste-jar through my mind floated the pensive burden of a by-gone French song--

‘Oh, the poor, oh, the poor, oh, the poor--dear--girl’--

She must have made a beautiful statue, all in glistening salt.

I wish I had a glistening little salty replica of it to set on my desk: a so unusual, a so dainty conceit, Lot’s Wife!


My echoing footsteps

While I live so still in this life-space, while I muse and meditate and analyze everything I touch, while I walk, while I work, while I change from one plain frock to the other: in quiet hours roiled tumbling storms of vicarious unhopeful Passion whirl, whirl in me: Passion of Soul, Passion of Mind, Passion of living, Passion of this mixed world: in terror, in wild unease, in reasonless mournful joy.

I never knew real Passion, Passion-meanings, till I reached thirty. It is now I’m at life’s storm-center, youth’s climax, the high-pulsed orgasmic moment of being alive.

At twenty the woman’s chrysalis soul and aching pulses awaken in crude chaste Spring-cold beauty. At forty her fires either have subsided to dim-glowing coals or leaped to too-positive, too-searing, too-obvious flames--her bones and the filigrees of her spirit may be alike dry, brittle-ish. But at thirty her Spring has but changed to midsummer. Poesy still waits upon her Passions.

My Spring has changed, bloomed, burst to midsummer.

Soft electrical heat-currents of being swing and sweep around me. They touch me and enter my veins. But the liquid essences of youth still quell and compass them. I am at youth’s climax--a half-sullen, half-smouldering youth which still is youth.

My rose of life is fragrant and aglow. Its sweet pink petals are uncurled and conscious in the wavering light.

Winds flutter and stir and rumple and twist those petals--

To-day is a To-morrow of countless unrests. Large and little Passions beat at me all the blue-and-copper day. I walked my floor with irregular lagging steps. I felt menacing, dangerous to myself, dynamic as nitro-glycerine: and smoothly drearily sane as a bar of white soap. I stood at my window and looked long at the circling range of mountains which skirt this Butte. Nothing else I have looked at, of sea or plain or hill, affected me like that chain of barren peaks. They are arid splendor and pale purple witchery and grief and lasting sadness and deathlike beauty and woe and wonder. Their color quietly stormed my eyes and blurred them with tears.

It was a mood in which any color or gleam or thought or strain of music or note of sad world-laughter or any un-sane loveliness of poetry could enchant or flay or transport me to my frayed last nerve.

There is terror in facing death on battlefields, on sinking ships, in black ice-floes, in blazing buildings. But to me no death, for I fear no death, could be so dreadfully pregnant with in-turning woe and frenzy and all intolerable feeling as facing starkly my futile life.

My life is a vast stone bastile of many little Rooms in which I am a prisoner. I am locked there in solitude on bread and water and let to roam in it at will. And each Room is tenanted by invisible garbled furies and dubious ecstasies. I run with echoing footsteps from Room to Room to escape them: but each Room is more unhabitable than the last. There are scores of little Rooms, each with its ghosts, each different.

In one Room silent voices in the air accuse my tired Spirit of wanton vacillations and barren lack of purpose and utter waste, waste, waste of itself. And they threaten death and destruction. I know that accusation and I hate it: I hate it the more for that it’s wholly just. To escape it I run from that Room along a dim passage into another one. In it unseen fingers clutch my Heart. In their touch also is an accusation: of selfishness and waste and want of something to beat for: and in their touch is the savor of wild wishes and human longings and passionate prayers for something warm and simple and real to rest against: and in their pressing clutching turbulent touch is a tormenting half-promise, chance-promise, no-promise: and the hovering inevitable threat of death and destruction. That too I know and hate and half-love: and I can’t bear it. So I run out of that Room along a passage and into another. I hear my footsteps echoing as I run.

--as a child when I ran in the early night through a dark leaf-lined tunnel-like driveway the sound of my own flying footsteps on the hardened gravel was the only thing that frightened me. I quite believed there were bears in the brushwood on either side, but fear of them never struck to the core of my child-being like the unknown thing in my echoing steps. And it is fear I feel now from the ghost-sound of my ghost-footsteps running, running away from the little Rooms. It is realer to me now than were my child footsteps to my child-self long ago: it is more definite than my hand which writes this: it is hideous--

Out of a dim passage I run into another little Room. In it some gray filmy threads, like strands of loose cobwebs caught on ceilings, float about. They sweep gently against my cheeks and hands and neck, and cling and twine and lightly hold with the half-felt feeling peculiar to bits of cobwebs on the skin. And it torments my woman-flesh with calefacient thrills fierce and goading and sweet. There also is the accusation, now against my Body; for tissues and strength wasted: for useless fires meant to warm human seeds to life, meant to make me fruitful, meant to make me bear dear race-burdens: accusation for the cosmic waste of hot objectless desire, for the subtle guilt of a Lesbian tendency, for an unleashed over-positive sex-fancy. With it too is the lowering promise of death and destruction. It also is just. But out of my borne-along helplessness in it comes no culpable emotion because of cobweb thrills and their arraignment but only a wearing wearying despair. I rush out of that Room in shrugging impatience, with only scorn for a threat of death, for a threat of destruction--but with a wild fear of my own flying steps. I hurry and hurry on from door to door: but it’s no good. In some other Room my brain is anathematized from frowning walls as an impish demoniac power which I use with no good intent and therefore with bad intent: and again I shrink and run away. In another Room are all the lies I have ever told: I have told legions--my own peculiar lies, gentler on me than truths: they dart around me in the Room like black heavy-winged moths, clouds of them fluttering at my forehead. They drive me out shivering. In another Room four times when I was a not-good-sport confront me in a row like pictures and sting me and make me hide my eyes: I’d rather be a leper, a beast, a maniac than a not-good-sport (for my own precious reasons)--and I rush away again. In some other Room--

--the same galling torment in all the Rooms. Wherever I run with the echo-echo of steps there are Accusing voices and half-formed Prayer and uncertain Yearning and violent yet dumb and inexpectant Protest and the unfailing Threat of death and destruction: not earth-death but universe-death: death and death and death everywhere coming on and on: myself knowing the just note in it all and from it grown numb with some cold and restless terror. Also I know no door I run through with my panic-feet will ever set me free of the bastile except a death door: the earthly death of this tired life--

But it’s from this maelstrom that the flashing burning sparkling mad magic of being alive leaps out brilliant and barbarous--and throbbing and splendid and sweet. A merely human hunger comes back on me. Then I want all I ever wanted with a hundredfold more voltage of wanting than I have ever yet known.

I am all unhopeful, all unpeaceful, all a desperate Languor and a tragic Futileness: I am an unspeakably untoward thing.

And already I have been seared and scarred trivially from standing foolishly near some foolish human melting-pots.

No matter for any of it. I want to plunge headlong into life--not imitation life which is all I’ve yet known, but honest worldly life at its biggest and humanest and cruelest and damnedest: to be blistered and scorched by it if it be so ordered--so that only it’s realness--from the outside of my skin to the deeps of my spirit.

It is not happiness I want--nothing like it: its like never existed since this world began.

I want to feel one big hot red bloody Kiss-of-Life placed square and strong on my mouth and shot straight into me to the back wall of my Heart.

* * * * *

I write this book for my own reading.

It is my postulate to myself.

As I read it it makes me clench my teeth savagely: and coldly tranquilly close my eyelids: it makes me love and loathe Me, Soul and bones.

Clench and close as I will the winds flutter and stir and crumple and twist my petals as they will:--as I sit here tiredly, tiredly sane.


A comfortably vicious person

The blue-and-copper of yesterday is dead and buried this To-morrow in a maroon twilight.

I this moment saw darkly from my window the somber hills in their heavy spell of pale-purple and grief and splendor and sadness and beauty and wonder and woe.

But their color brings no tears to my wicked gray eyes.

The passion-edged mood is burnt out.

Gone, gone, gone.

I listlessly change into the other black dress for listless dinnertime and all my thought is that my abdomen is beautifully flat and that I must purchase a new petticoat.

I rub a little rouge on my pale mouth and I idlingly recall a clever and filthy story I once heard.

I laugh languidly at it and feel myself a comfortably vicious person.

I pronounce a damn on the familiar ache in my beloved left foot and turn away from myself.

I stick out the tip of my forked-feeling tongue at the bastard clock on the stairs. I note the hour on it with a fainness in my spirit-gizzard to dedicate Me from that time forth to a big blue god of Nastiness: Nastiness so restful, humorous, appetizing, reckless, sure-of-itself.

--these hellish To-morrows creeping in their petty pace: they bring in weak-kneed niceness, and they bring in doubts, and they bring in meditation and imagery and all-around humanness, till I’m a mere heavy-heeled dubious complicated jade.


In my black dress and my still room

I have fits of Laughter all to myself.

The world is full of funny things. All to myself I Laugh at them. I lounge at my desk in the small night hours, and I finger a pencil or a box or a rubber or a knife and rest my chin on my hand, and sit on my right foot, and Laugh intermittently at this or that.

Ha! ha! ha! I say inwardly: with all my Heart: relishingly.

I laugh at the thought of a mouse I once encountered lying dead--so neat, so virtuous--though soft and o’er-long dead--with its tail folded around it--in a porcelain tea-pot: a strong inimical anomaly to all who viewed it. It had a look of a saint in effigy in a whited sepulcher. Looked at as a mouse it seemed out of place. Looked at as a saint it was perfect.

I Laugh at the recollection of a lady I once met who had thick black furry eyebrows incongruous to her face, which she took off at night and laid on her bureau. They were at once ‘detached’ and detachable: itself a subtle phenomenon. She referred to her mind as her ‘intellects’ and talked with a quaint bogus learnedness, and in remarkable grammar, of the Swedenborgian doctrines. Looked at as a person she was inadequate. Looked at as a conundrum she was gifted and profound.

I Laugh at that extraordinary tailor in the Mother Goose rhyme--him ‘whose name was Stout,’ who cut off the petticoats of the little old woman ‘round about,’ herself having recklessly fallen asleep on the public highway. The tale leaves me the impression that such were the straitly economic ideas of the tailor that he obtained all his cloth by wandering about with his shears until he happened upon persons slumbering thus publicly and vulnerably. Looked at in any light that tailor is ever surprising, ever original, ever rarely delectable.

I Laugh at William Jennings Bryan.

How William Jennings Bryan may look to the country and world-at-large I have never much considered.

It is all in the angle of view: St. Simeon Stilites may seem rousingly funny to some: Old King Cole may have been a frosty dullard to those who knew him best.

To me William Jennings Bryan means bits of my relishingest brand of gay mournful Laughter.

The ensemble and detail of William Jennings Bryan and his career as a public man, viewed impersonally--as one looks at the moon--is something hectic as hell’s-bells.

I remember William Jennings Bryan when his star first rose. It was before Theodore Roosevelt was more than a name: before the battleship Maine was sunk at Havana: before Lanky Bob wrested the heavyweight title from Gentleman Jim at Carson: before aëroplanes were and automobiles were more than rare thin-wheeled restless buggies: before the song ‘My Gal She’s a High-born Lady’ had yet waned: before one Carrie Nation had hewn her way to fame with a hatchet. I was a short-skirted little girl devouringly reading and observing everything, and I took note of all those. So I took note of William Jennings Bryan nominated for president by the Democratic convention in eighteen-ninety-six. The zealous Democratic newspapers referred to him, though he was then thirty-six, as the Boy Orator of the Platte. Looked at as a grown man, advocating free coinage of silver at sixteen-to-one--a daring dashing Democrat, he was a plausible thing and even romantic. Looked at as a Boy Orator he turned at once into a bald and aged lad oddly flavored with an essence of Dare-devil Dick, of the boy on the burning deck, of a kind of political Fauntleroy madly matured.

Long years later with the top of his hair and his waistline buried deep in his past he became Secretary of State: and at the same time a Chautauqua Circuit lecturer--entertaining placid satisfied audiences alternately with a troupe of Swiss Yodlers. Of all things, yodlers. Politics makes strange bedfellows and always did. But never before has the American Department of State combined and vied with the yodler’s art to entertain and instruct. Looked at as a monologist he might pass if sufficiently interpolated with ah-le-ee! and ah-le-o-o! Looked at as Secretary of State he is grilling and gruelling to the senses: a frightful figure quite surpassing a mouse softly dead in a tea-pot, a pair of detachable fuzzy Swedenborg-addicted eyebrows, a presumptuously economical tailor.

And he entertained the foreign ministers at a state dinner, did this unusual man, and he gave them to drink--what but grape-juice, grape-juice in its virginity. Plain water might have seemed the crystalline expression of a rigid puritanic spirit. Budweiser Beer, bitter and bourgeois, might have been possible though surprising. But grape-juice, served to seasoned Latin Titles and Graybeards and Gold-Braid, long tamely familiar with the Widow Clicquot: that in truth seems, after all the years, boyishly oratorical, wildly and darkly Nebraskan. Looked at as an appetizing wash for a children’s white-collared and pink-sashed party, or for anybody on a summer afternoon, grape-juice is satisfactory. In the careless hands of William Jennings Bryan with his soul so unscrupulously at peace, the virgin grape-juice becomes a vitriolic thing: a defluent purple river crushing one’s helpless spirit among its rocks and rapids.

--a terrible American, William Jennings Bryan. He is for ‘peace at any price.’ There were some, long and long ago, who suffered and endured one starveling winter in camp at Valley Forge that William Jennings Bryan might wax Nebraskanly fat: and he is valiantly for peace: at any price--

For that my Laughter is tinged with fulfilling hatred.

Rich hot-livered Laughter must have in it essential love or hatred.

To William Jennings Bryan everything he has done in his political career must seem all right.

It is all right, undoubtedly. Just that.

--that Silver-tongued Boy Orator

those Yodlers

that Peerless Leader

that Grape-juice--

They come breaking into my melancholy night-hours with an odd high-seasoned abruptness.

I wonder what God thinks of him.

It might be God thinks well of him.

But I--in my black dress and my still room--I say inwardly and willy-nilly, and with all my Heart and relishingly:

Ha! ha! ha!


Their little shoes

Often in windy autumn nights I lie awake in my shadowy bed and think of the children, the Drab-eyed thousands of children in this America who work in coal mines and factories.

Whenever I’m wakeful and the night is windy and my room is dark and I lie in aloneness--a long aloneness: centuries--then shadows come from far-off world-wildnesses and float and flutter dimly unhappy around my bed. They tell me tales of shame and tame petty hopelessness and trifling despair.

And the one that comes oftenest is the one that tells of those Drab-Eyed children distances from here, but very immediate, who work in coal mines and factories. I read about them in magazines and newspapers, but they aren’t then one one-hundredth so real as when their shadow floats as close to me in the windy autumn night.

Once in Pennsylvania I saw a group of children, very Drab in the Eyes and very thin in the necks and legs, who worked in a mill. Their look made its imprint in my memory and more in my flesh. And it comes back as if it were the only thing that mattered as I lie wakeful in the windy night.

The children--unconscious and smiling their small decayed smiles--they are living and being crushed between greed and need as between two murderous millstones. Their frail flesh and their little brittle bones, their voices and their pinched insides, the sweet vague childish looks which belong in their faces are squeezed and crunched by two millstones--squeezed, squeezed till their scrawny fledgeling bodies are dry, breathless, and are gasping, strangling, striving frightfully for life: and still are slowly, all too slowly, dying between two millstones.

If it were their own greed or their own need--but it’s the greed of fat people and the need of their own warped gaunt parents. Betwixt the two the children meet homelike hideous ruin. Placidly they are cheated and blighted and blasted, placidly and with the utmost domesticness.

The most darkling-luminous thing about the Drab-Eyed children is that they never weep. They talk among themselves and smile their little dreadful decayed smiles, but they don’t weep. When they walk it’s with a middle-aged gait: when they eat their noontime food it’s as grown people do, with half-conscious economic and gastronomic consideration. They count their Tuesdays and Wednesdays with calculation as work-days, which should be childishly wind-sweptly free. Which is all of less weight than the heavy fact that they never weep.

They reckon themselves fairly fortunate with their bits of silver in yellow envelopes every Saturday. They are permitted to keep a bit of it, each child a bit for herself or himself, so that on Sunday afternoons they lose themselves for precious hours watching Charlie Chaplin. Many pink-faced inconsequent children whose parents nurture them and guard them and eternally misunderstand them are less worldlily lucky. But the pink-faced children often weep--loudly, foolishly like puppies and snarling furry cubs--and wet sweet salt tears of proper childishness are round and bright on their cheeks and lashes. It’s a sun-washed blestness for them: they’re impelled and allowed to weep. But the Drab Eyes shed no tears--they know no reason why they should. There’s no impulse for soft liquid grief in the murderous philosophy of two grinding millstones. And there’s no time--the lives of the work-children move on fast. Their very shoes are ground between the millstones.

--their little shoes are heartbreaking. The millstones grind many things along with little-little shoes of children: germs of potent splendid humanness that might grow bigly American in heroic ways or in sane round honesty: germs that might grow into brave barbaric beauty or warm wistful sweetness: germs that would grow into lips blooming tender and fragrant as jonquils or into minds swimming with lyrics:--what is strongly lasting and glorified in the forlorn divine human thing--crumpled--twisted forever when millstones grind children’s little poor shoes--

The young Drab Eyes are endlessly betrayed: their very color thieved. There’s no reason why they should weep.

But there’s a far-blown sound as if ten thousand bad and good worldly eyes were weeping in their stead: with a note in it careless, compassionate and jadedly menacing.

I seem to hear it in the wakeful windy night. And I hear no world-music pouring out of small throats of work-children shrill with woe-and-joy. The sound they make is a dumb sound, for they never weep: a ghost-wail of partly-dead children borne lowly across this mixed world on a stale hellish breeze.


The sleep of the dead

When I’m dead I want to Rest awhile in my grave: for I’m Tired, Tired always.

My Soul must go on as it has gone on up to now.

It has a long way to go, and it has come a long way.

My Soul first started on its journey somewhere in Asia before the dawn of this civilization. And it has gone on since through the centuries and through strange phases of Body, terrors of flesh and blood, suffering long. But it has gone someway on, each space of the journey taking it nearer to the journey’s-End.

It is the dim-felt memory of those journeys that heaps the Tiredness on me now. Not only is my spirit Tired. Through my spirit my hands are Tired: my knees are Tired: my drooping shoulders: my thin feet: my sensitive backbone. When I lift my hand in the sunshine the weight of the yellow honeyed air bears down and down on it because I’m so Tired. When I start to walk on stone pavements the ache of them is in my feet before I set a foot on them because I’m so Tired. The pulse in my veins Tires my blood as it beats. My low voice, though I speak but rarely--it Tires my throat. My breath Tires my chest. The weight of my hair Tires my forehead and temples. My plain frocks Tire my Body to wear. My swift trenchant thoughts Tire my Mind.

It is not the Tiredness of effort though I strive to the limits of my strength every day.

It is not pain, Restful pain. It is Tired Tiredness.

So when I’m dead I want to Rest awhile in my grave. It would Rest me.

In the Episcopal Church they use a ritual of poetic beauty, full of Restful things. One of them is the sleep of the dead. The crucified Nazarene slept three days. But all others of us when we go down into our graves are to sleep until a Judgment Day. ‘Judgment Day’ is preposterous and evilly crude: there’s no judgment till each can judge himself simply and cruelly in the morning light. But the sleep of the dead--

--the sleep of the dead. Its sound by itself without the thought is Restful--

And the thought is Restful.

I imagine me wrapped in a shroud of soft thin wool cloth of a pale color, laid in a plain wood coffin: and my eyelids are closed, and my Tired feet are dead feet, and my hands are folded on my breast. And the coffin is nine feet down in the ground and the earth covers it. Upon that some green sod: and above, the ancient blue deep sheltering sky: and the clouds and the winds and the suns and moons, and the days and nights and circling horizons--those above my grave.

And my Body laid at its length, eyes closed, hands folded, down there Resting: my Soul not yet gone but laid beside my Body in the coffin Resting.

--might we lie like that--Resting, Resting, for weeks, months, ages--

Year after long year, Resting.


Stickily mad

It is damn-the-Smell-of-Turpentine!

Here I happen on a damn in me which is not desultory but bloodily strong and alive and alone.

The wood in my blue-white room has been newly painted. For a day and a night I intermittently encounter and go to bed in a spirit of Turpentine. It bears a cruel obscure abortive message to my nerves.

I lie wakeful in the dark and try to reason out a logicalness or poetry in a thing so artfully pestilential. But I am hysterically lost in it and my heart beats hysterically in it.

I remember the inexpressible ingenuity of man: of white man as against bone-brained savage races. Every invented usefulness feels like divine witchcraft. A pen and a bottle of perfume and a door-knob and a granite kettle and an electric light: I have the use of each since white man is so ingenious. Were I a red Indian I should have only the awkward barbarous stupid tools my race had used a thousand years. I contrast the two as I lie wakeful, with a sense of richness and of detailed repletion and of material blestness.

But at once comes the Smell of Turpentine and announces itself something outside that and different, something stronger, something masterfuler than ingenuity and savagery together. It tortures my nerves: it burns my eyes: it lames my flesh: it jerks and flays and garbles my inner body. The ingenuity of man has produced opium and cocaine which would combat and hide it all behind a heavy curtain of stupor, with effects equally damaging if less grievously subtle.

The Smell of Turpentine is a thing to bear since all its counter-things bring only solider evil.

The paint was put on the wood by a dirty little man whom I briefly inspected as something removed from my range of life. In return he covertly eyed me. I expected my wakeful hours would be punished by strong new paint and be-visioned by dirty little men. But it is all sheer Turpentine with a power suggesting nothing human nor super-natural nor divine. Just itself: a goblin virulence.

In all my Soul and bones and Mary-Mac-Laneness it is damn-the-Smell- of-Turpentine as a bastard murderous hurt.

I have an odd feeling God has no more power over it than have I.

It half-calls for a different Turpentine God.

I am shakily mad tonight, I believe, from a so slight sticky matter.


God compensates me

It’s a Sunday midnight and I’ve just eaten a Cold Boiled Potato.

I shall never be able to write one-tenth of my fondness for a Cold Boiled Potato.

A Cold Boiled Potato is always an unpremeditated episode which is its chief charm.

It’s nice to happen on a book of poetry on a window-sill. It’s nice to surprise a square of chocolate in a glove box. It’s nice to come upon a little yellow apple in ambush. It’s nice to get an unexpected letter from Jane Gillmore. It’s nice to unearth a reserve fund of silk stockings under a sofa pillow. And especially it’s nice to find a Cold Boiled Potato on a pantry shelf at midnight.

I like caviare at luncheon. And I like venison at dinner, dark and bloody and rich. And I like champagne bubbling passionately in a hollow-stemmed glass on New Year’s day. And I like terrapin turtle. And I like French-Canadian game-pie. And artichokes and grapes and baby onions. And none of them has the odd gnome-ish charm of a Cold Boiled Potato at midnight.

I can imagine no circumstance in which a Cold Boiled Potato would not take precedent with me at midnight. If I had a broken arm: if I had a husband lying dead in the next room: if I were facing abrupt worldly disaster: if there were a burglar in the house: if I’d had a dayful of depression: if God and opportunity were knocking and clamoring at my door: I should disregard each and all some minutes at midnight if I had also a Cold Boiled Potato.

I love to read Keats’s Nightingale in my hushed life. I love to remember Caruso at the Metropolitan singing Celeste Aïda. I love to watch the bewitching blonde Blanche Sweet in a moving picture. I love to feel the summer moonlight on my eyelids. And it’s disarmingly contented I am with a Cold Boiled Potato at midnight.

Content is my rarest emotion and I get it at midnight out of a Cold Boiled Potato.

Some things in life thrill me. Some drive me garbledly mad. Some uplift me. Some debauch me. Some strengthen and enlighten me. Some hurt, hurt, hurt. But I’m not thrilled nor maddened nor uplifted nor debauched nor strengthened nor enlightened nor hurt, but only fed-up and fattened in spirit by a Cold Boiled Potato at midnight.

I stand in the pantry door leaning against the jamb, with a tiny glass salt-shaker in one hand and the sweet dark pink Cold Boiled Potato in the other. And I sprinkle it with salt and I nibble, nibble, nibble. And I say aloud, ‘Gee, it’s good!’

I liked Cold Boiled Potato at four-and-twenty. I liked it at seventeen. I liked it at twelve. At three I climbed on cake-boxes in search of one. And now in the deep bloom of being myself I am made roundly replete at midnight with a Cold Boiled Potato.

A Cold Boiled Potato--it tastes of chestnuts at midnight, the first frost-kissed chestnuts in the woods: and it tastes of rain-water and of salt and of roses: it tastes of young willow-bark and of earth and of grass-stems: it tastes of the sun and the wind and of some nameless relishingness born of the summer hillside that grew it: it tastes at midnight so like a Cold Boiled Potato.

A precious peach-colored orchid, an antique spider-web-like lace handkerchief, a delicate purple butterfly, an emerald bracelet: I’d strive for each of those in an eagerly casual way. But it’s like an ogre at midnight I pounce on a Cold Boiled Potato.

A Cold Boiled Potato reminds me of the Dickens books in which so much food is eaten cold and tastes so savory--even the ‘wilderness of cold potatoes’ portioned to the Marchioness by Sally Brass. And it reminds me of the Rip Van Winkle play--‘give this fellow a cold potato and let him go.’ And it reminds me of Hamlet--funeral baked meats might include it. And it reminds me of Robin Hood’s merry men, and Huckleberry Finn, and the Canterbury Pilgrims, and the Prodigal Son, and all the picturesque wayfarers. It reminds me of the poor as a colorful race wrapped around with hungry romance. It reminds me that life is full of life--rich and fruitful and evolutionary and cosmic: few things feel so cosmic as a Cold Boiled Potato at midnight. It makes me want as I nibble to plant a field of potatoes on a southern-exposed hill and hoe them and dig them all by myself: and give all but one to the poor and Boil that to eat Cold at midnight.

I have to be very hungry to crave a Cold Boiled Potato, but being hungry no possible morsel of food can so interest me at midnight. The same potato hot is domestic and tasteless. The same potato at ten in the evening lukewarm within and sodden with memories of dinner, is a repellent item. At midnight it is all unexpected magnetism. At midnight my whole being is profoundly courteous, wooingly cordial toward a Cold Boiled Potato.

If I had only what I deserved my portion might well be a Cold Boiled Potato. Intrinsically it is rated low and I know me to be a sort of jezebel. But I’d wonder each midnight if whoever metes out the deserts in this surprising universe knew with what gust I rise at it--would I get it.

Nor am I satisfied like the meek and lowly with my midnight supper of Cold Boiled Potato: damn the meek and lowly. It’s a satanic delight I take in it. It’s a sly private orgie I make of it: a pirate’s banquet, a thieves’ picnic, a pagan rite, a heathen revelry, a conceit all and unhallowedly my own. My thoughts as I nibble are set mostly on my villainies. No food I eat brings me so broad a license of feeling--a sense of freedom--as a Cold Boiled Potato at midnight.

On a Cold Boiled Potato at midnight I am lightly valorous: call me a trickster and I’ll call you a rotter: call me a liar and I’ll call you a traitor: call me a coward and I’ll call you another: not pugnaciously but gayly and serenely.

I am then in my most bespeaking mood. Anyone who met me standing nibbling in a pantry doorway at midnight would be charmed. I would talk with a dainty ribaldry and offer to share the feast.

For shadow-things piled too near God compensates me in unexpected midnights with a Cold Boiled Potato: along with it a pantry doorway to stand in and a little glass salt-shaker to hold in my other hand.


The strange braveness

If God has human feelings he must often have a burning at the eyes and a fullness at the throat at the strange Braveness of human people: their Braveness as they go on in the daily life, with aching dumbish minds and disgruntled bereft bodies and flattened pinched gnawed hearts.

The easy human slattern way would be to sink beneath the burden.

Instead, people: I and Another and all others--seamstresses and monotonous clerks and lawyers and housewives: sit upright in chairs and talk into telephones and walk fast and eat breakfasts and brush hair: all the while marooned in a morass of small wild unexciting tasteless Pain.

Of others--what do I know?

But I might say, ‘Look, God, I am not fallen on the ground, from this and that--utterly lost and down. But sitting, drooping but strong, in a chair, mending a lamp-shade--neat, orderly and at-it in my misery.’


Just beneath my skin

This I write is a strange thing.

So close to fact: so far from it.

So close to truth: so surrounded by lies.

It does not contain lies but is someway surrounded by a mist of lies.

A strange thing about it is that it is expressing the Self Just Beneath My Skin.

That Self is someways trivial and outlandish and mentally nervous, flightly, silly--silly to a verge of tragicness. I know that to be true from a long acquaintance with me. It is oddly intriguing to read over some chapters and find it shown.

Some unconscious exact photography aids my writing talent.

Some chapters are bewilderingly and mysteriously true to life.

My everyday self that casually speaks to this or that person is nothing like this book. My absorbed self that writes a letter to an intimate acquaintance is not like this book. My heartfelt self that deeply loves a friend, and gives of its depths, and thrills answeringly to other depths, is not like this book.

This book is my mere Hidden Self--just under the skin but hid away closer than the Thousand Mysteries: never shown to any other person in any conversation or any association: never would be shown: never could be.

How Another, any Other, would come out: what Another would show: photographed Beneath the Skin--what do I know?

Perchance ten times more trivial and inconsequent and mad than Me.

If Another thinks Me someway mad, let him look at Himself Just Beneath the Skin.

Perchance Another every day as he thanks a janitor for holding open a door, would much prefer to drive a long rusty brad-nail deep into the janitor’s skull.

Perchance Another has a brain like Goethe, a Soul like a humming-bird, a Heart like a little round nutmeg.

What do I know?

I know what I am.

Another may know what he is.

But I can’t tell Me to Another and Another can’t tell Himself to Me.

I can tell Me to myself and write it.

Another if he reads will see Me: but not as I see Me. Instead, through many veil-curtains and glasses, very darkly.


God’s kindly caprice

For twenty-five cents and one hour and twelve minutes one may get in this present detailed world a bit of unforgettable complete enchantment.

So I found to-day in a moving-picture theater. A Carmen, the real Carmen of Prosper Mérimée glowed, vibrated, lived and died with passion on a white screen.

Of all prose writers I know Prosper Mérimée is the one--(intimate and sensitively alive as if I had lain against his shoulder as I read ‘La Guzla’ and ‘Venus d’Ille’--he melts into my veins--)whom I would most eagerly see interpreted. Of all fiction characters--if she is fiction--the poignant Carmen is the one I would most eagerly see realized.

Carmen is one of those fictions which are truer to life than life is. Such fiction-things are all around, touching everybody: the spoken truths which grow false at being spoken: the thought lies which turn to truths the moment they touch words.

I have heard Carmen sung and seen her filmed by the lustrous Farrar, and I have seen her play-acted by some lesser lights. But Bizet’s opera, a sparkling music-storm, creates a sonant objective Carmen, a beautiful bloody lyric, remote from Mérimée who made a Carmen intensely peculiar to his own subjective art. And the stage-Carmen has always been a stage-Carmen waiting in dusty, draughty wings for her cues. It remained for the cinematograph, which is a true literal mirror of human expression, to make Carmen burst into violent physical life.

But it was less the scopes of the films which made Carmen animate than it was the virile woman who played her. It was acting--but acting in the sense of losing and sinking and saturating and dissolving herself in another woman’s temperament: and by it she achieved some strong sword, keen shadings of the Carmen character--to the hair’s-breadth.

And she looked like Carmen. It was not important to the vigorous fire of her acting but it made bewitchment in the portrait. No one I have before seen play Carmen fitted the elusive points of her description.

‘Her eyes were set obliquely in her head but they were magnificent and large. Her lips, a little full but beautifully shaped, revealed a set of teeth as white as newly-skinned almonds. Her hair was black with blue lights on it like a raven’s wing, long and glossy. To every blemish she united some advantage which was perhaps all the more evident by contrast. There was something strange and wild about her beauty. Her face surprised you at first sight but nobody could forget it. Her eyes especially had an expression of mingled sensuality and fierceness which I had never seen in any human glance. Gypsy’s eye, wolf’s eye’--

This (from the English translation of the story by Lady Mary Loyd) fitted to a charm the pictured vision of the foreign-looking woman--her name is Theda Bara--who flung a throbbing Carmen across the screen with indescribable heat and color and luster. It was comparable only to the muscular force of the original which that Mérimée rubs nervously and heavily into one’s thoughts. I felt it someway satisfyingly unbelievable--an illusion more actual than actuality: a dream which outbore fact.

I suppose there’s no other character like Carmen for flaming roundness in all fiction: filled with her treacheries yet purely true to herself, without fear, utterly game: fierce, coarse, ruthless and reckless yet wrapped in a maddening unwitting pathos: strong and bold and cruelly poised yet capable of sudden complete surrender: ignorant and abandoned and criminal in every instinct yet beyond every littleness, every pettiness: sensual yet contemptuous and indifferent in it, a woman of essential chastity. Carmen is the one criminal conception in whom there is no vulgar evil, no personal maculateness though wrecking all the wildness of her temper in her tempestuous days’-journeys. She is a romantic murderous appeal to human superjudgment. It was this isolate quality of her which Theda Bara gave out with mystic masterful art. She gauged the personal odors and blood-pressures of Carmen. She slipped into Carmen’s skin and first sucked in and then breathed out the irresistible menacingness and arresting ruination of her beautiful diabolic spirit. A little feverish artistic thrill ran in my veins as I sat in the dark watching.

‘She had thrown her mantilla back,’ says Don José in the translated tale, ‘to show her shoulders and a great bunch of acacias that was thrust into her chemise. She had another acacia bloom in the corner of her mouth and she walked along swaying her hips like a filly from the Cordova stud farm. In my country anyone who had seen a woman dressed in that fashion would have crossed himself. In Seville every man paid her some bold compliment on her appearance. She had an answer to each and all with her hand on her hip--“Come, my love,” she began again, “make me seven ells of lace for my mantilla, my pet pin-maker.” And taking the acacia blossom out of her mouth she flipped it at me with her thumb so that it hit me just between the eyes. I tell you, sir, I felt as if a bullet had struck me.’

This first meeting of Carmen with the dragoon was pictured in a brilliant hot-looking plaza as if before the cigarette factory in Seville. This woman in throwing the flower at the soldier expressed wonderfully in one fleet moment, by hand and lip and eye, the savage sordid poetry and passionate freedom--that unearthly fragrance--which is Carmen.

The film version followed the scenes of the opera rather than the story, which took nothing from the headlong truth of the central figure.

But no picturing can equal the star-clarity of Mérimée’s prose in Carmen’s death-scene--a thing of a piercing pathos comparable to nothing I know in writing.

‘After we had gone a little distance I said to her, “So, my Carmen, you are quite ready to follow me, isn’t it so?”

She answered, “Yes, I’ll follow you to the death--but I won’t live with you any more.”

We had reached a lonely gorge. I stopped my horse.

“Is this the place?” she said.

And with a spring she reached the ground. She took off her mantilla and threw it at her feet, and stood motionless with one hand on her hip, looking at me steadily.

“You mean to kill me, I see that well,” she said. “It is fate. But you’ll never make me give in.”

I said to her: “Be rational, I implore you; listen to me. All the past is forgotten. Yet you know it is you who have been my ruin--it is because of you that I am a robber and a murderer. Carmen, my Carmen, let me save you, and save myself with you.”

“José,” she answered, “what you ask is impossible. I don’t love you any more. You love me still and that is why you want to kill me. If I liked I might tell you some other lie, but I don’t choose to give myself the trouble. Everything is over between us two. You are my rom and you have the right to kill your romi, but Carmen will always be free. A calli she was born and a calli she’ll die.”

“Then you love Lucas?” I asked.

“Yes, I have loved him--as I loved you--for an instant--less than I loved you, perhaps. And now I don’t love anything. And I hate myself for ever having loved you.”

I cast myself at her feet, I seized her hands, I watered them with tears, I reminded her of all the happy moments we had spent together, I offered to continue my brigand’s life, if that would please her. Everything, sir, everything--I offered her everything if she would only love me again.

She said: “Love you again? That’s not possible. Live with you? I will not do it.”

I was wild with fury. I drew my knife. I would have had her look frightened and sue for mercy--but that woman was a demon. I cried: “For the last time I ask you, Will you stay with me?”

“No! No! No!” she said and she stamped her foot. Then she pulled a ring I had given her off her finger and cast it into the brushwood. I struck her twice over--I had taken Garcia’s knife because I had broken my own. At the second thrust she fell without a sound. It seems to me that I can still see her great black eyes staring at me. Then they grew dim and the lids closed.--For a good hour I lay there prostrate beside the corpse.’--

No play-acting could make the scene so pregnant and palpitant with human-stuff and alive in vision as that translucent jewel-prose of Mérimée. But so close as one art may counterfeit another, by drinking-up the fiery spirit essence which informs it, so close did this actor-woman compass and consummate the strong delicious unafraidness of Carmen’s death-hour.

The scene was staged as in the opera--a court outside the bull-fighting arena, with Carmen richly bejeweled and dressed in the lacy smart-lady clothes of the Toreador’s mistress. But that was nothing. The gypsy wildness of the written scene was in every insolently splendid bodily movement and each fateful loveliness of eyes and lips of the fulfilling Theda Bara.

I can still see the dark drooping-lidded dying eyes. I sensed Carmen in conscious chambers of my Mind. I felt her in my throat. It was Carmen herself living and breathing near me, the fearsomely adorable Carmen who has haunted the edge of my thoughts since I first read her.

There are some odd crudenesses in Theda Bara’s acting which had the effect of making her un-stagey, unobvious. They made her humanly vibrant. And they added a devilish wistfulness to her Carmen and a surprising feel of genuineness to the whole masque.

The actor’s art brings out the romance which is in human bone-and-flesh. And Theda Bara seems someway a master of its physical and spiritual subtleties. She expressed the swift emotion of Carmen by ringing slightest possible changes on her own virile and mobile body: insolence by kimboing an elbow: cruelty by the twitch of a wrist: sensual feeling by moving a knee and an ankle: murder in the twisting of her waistline: a fleet repressed animal tenderness by a posture of shoulder and breast: a heartbreak of mirth in her careless vivid lips: the desperate bravery of that death by the tilt of her potent chin: the hurricane-freedom of Carmen’s soul by lifting her face and her arms in the night wind. She worked with an exquisite muscular sincerity, as if she strongly gave her best of brain and blood and mettle to the part.

I looked at photographs of her which decorated the lobby of the theater. She looks a beautiful and earnest-seeming girl of a mental rather than a physical caste, with melancholy dark eyes, a childlike mouth-profile and the slim patrician hands of a Bourbon duchess. She will live in my warmed memory as the star of all the Carmens.

A flood of life and color goes into the staging of a Carmen film: a throng of attractive faces and bodies of people, women and men and lovely children, move through it in a pulsating gay pageant: flowers and Spanish prettinesses of costume and country-side and street and café are all over it, bright as life: and sweet winds blow in it and leaves and grasses wave and flutter, and the sunshine melts and mellows the air--all as if one saw it thrice-enlarged through windows. It is not poetry--it is not in itself any art, but a dear delectable counterfeit of it, a miracle-taste of the outer-looking madly-peopled world.

For me it meant my long-adored Mérimée given sudden brief life, the haunting Carmen turned into flesh: a spell of silent human-music which glowed and burned upon me like gentle fire.

Often is God thus capriciously kind to me.


A fascinating creature

I am a fascinating creature.

I move in no stultifying ruts. There’s no real yoke of custom on my shoulders. My round white breasts beneath their black serge are concurrent with nothing settled or subservient or discreet.

My Mind goes in no grooves made by other minds. It lives like a witch in a forest, weaving its spells, revelling in smooth vivid adventure. When I look at a round gray stone by a roadside I look at it not as a young woman, not as a person, not as an artist, nor a geologist, nor an economist, but as Me--as Mary MacLane--and as if there had not before been a round gray stone by a roadside since the world began. When I look at a chair with my somber eyes I say to the chair, ‘What other persons may see when they look at you, chair, I don’t know--how could I know? But I well know what I see and that what I see is uninfluenced by other eyes that may have looked at you, were they Aristotle’s or Galileo’s or an archangel’s.’ There may be equally egotistic viewpoints--in Waco-Texas, or Japan, or Glasgow-Scotland or the Orkney Islands, where not? I don’t know--I don’t care. What is it to me? I know my own virile vision and that it thrills and informs and translates me as if crackling bright-jagged lightnings broke along my sky.--

It is a night of whispering breezes and little restless clouds, an endearing night. It makes solitude a delectation. I walked out in it, in the glimmering moonlight past buildings and houses and mines and mounds. My thoughts as I walked were all of Me: how fascinating is Me.

I came in at midnight and met Me in my mirror. I pushed my three-cornered hat backward off my head, slipped out of my loose coat and dropped my squeezed gloves. I sank fatiguedly into a little chair before the mirror, tipped the chair forward on its front legs, rested my elbows on the bureau and my chin in my hands and looked absorbedly at myself. Lovingly, tenderly, discerningly, marveling and absorbed and deeply fascinated I looked at Me in the mirror. ‘You enchanted one!’ said I, ‘You Witch-o’-the-world! you Mary MacLane!--who you are I don’t know--what you are I but partly know. You’re my Companion, my Familiar, my Lover, my wilding Sweetheart--I love you! I know that--that’s enough. I love your garbled temper, your aching thoughts, your troubled Heart, your wasted spirit. I know much, much, much of you and love you! I love your beauty-sense and your proud scornful secret super-sensitiveness. I love your Eyes and your Lips and your bodily Fire and Ice’--

--to know oneself: apart from all the world!

One looking at me sees a cold-poised young woman, reserved and aloof, slightly diffusing insolence and inspiring misgivings.

But I looking at Me see a woman standing high on flame-washed battlements of her life in whom burn and beat the spirits and lights and star-discords of uncounted tired lustrous ages. I see me forlorn and radiant, drab and brilliant. I see me wrapped in a fiery potentiality of pain and beauty and love and sorrow. I hear wild voices in Me like horrid-sweet wailing of ghost-violins, muted but crying loudly in frightful reasonless vital joy and in unspeakable terror and sadness. I see Me ragged-clothed, bleeding, with disordered tangled hair and bloodshot eyes, with coarse soiled hands, broken-nailed, like a criminal’s: a woman of woes. And I see Me wistful in quiet pure garments like one seeking light. I see Me old as old sin and young as new Spring days. I see Me un-sanely sensitive and hardened over--closed in worldly cases: guarded antagonism round my thoughts, protecting indifference round my Heart, dead silence round my Soul. I see Me with brains to know, with prescient mind to grasp, with mobile sense to feel. I see Me all futile, all hopeless, all miserable. I see Me all poetry. I see Me all wonder, mystery and beauty. I see Me!--

--much more than that, this Me sitting here! my deep gray wanton dark eyes: my lips--like pink flowers--with the inscrutable expression: my white fingers--slim, strong, glossy-nailed, silken at the tips. My glass gives Me back to Me, sitting by it, languid of Body, tense of spirit and Mind, bathed in witcheries of Self--

I love my Mary MacLane! Ah--I love her!

It is good--since I can’t find God, since I can’t find way-of-truth however I grope about.

Every human friendship I form throws me back more completely on myself.

Whom then shall I love but myself?

I know my own human enchantments and that they never fail me.

I’ll know them more! I’ll love them more!--I’ll love them in sane madness lest mad madness overtake and destroy Me, Soul and bones.


No resonance

My life, myself, I know are nothing noble, nothing constructive.

There is no resonance in this analysis, but all Dissonance.

Something lives, lives muscularly in me that constantly betrays me, destroys me against all my own convictions, against all my own knowledge, against all my own desire.

It may be true of Everybody.

I don’t know. I think about it but get nowhere.

It seems someway unlike God to make each person a something all of cross-purpose.

But I doubt that I am different from Everybody.

I doubt if I am anyway abnormal.

I am very sane.

A match-flame burns me the same as it burns Everybody: pins prick me and hurt.

Yet I look in myself and see, through harmonic details, the massed Dissonance.

I am dying in a pit.


Black-browed Wednesdays

All my life I’ve liked the Back of a magazine.

Some black-browed Wednesday I purchase a magazine, a fifteen-cent one, and read it through. I read the stories and they deeply engage or lightly interest me. I read the ‘special articles’ and if they tell about flying machines or wild birds or hospitals or woman-prisoners in penitentiaries they charm or absorb my thoughts. I look at the illustrations and try to decide whether they are art or science or mechanism. I read the verse and if it’s poetry it exhilarates me as if closed shutters were opened to let Day into a gloomy Room.

Then I read the advertisements in the Back and they do all of those things to me in comforting life-giving oxygen-furnishing ways. Each advertisement is a short story with an eerie little ‘plot’ in it: each is a special article full of purpose: each is fruitful poetry: and in my two hands I all-but have and hold those wonderful Things they exploit.

They make me feel it’s my birthday and I’m presented a wealth of lavish gifts.

They make me feel it’s all a world of playthings.

They make me feel like a baby with a rattle, a ball and a hoop of bells.

I like everything in the Back of a magazine.

I like the Revolvers, handsome plausible short-barreled Revolvers with pictures of ordinary people in dim-lit midnight bedrooms, and ordinary expected-looking burglars climbing in windows--Revolvers of ten shots and of six, and of different calibers, and all of them gleamingly mystically desirable: I like the Soaps, smooth amorous appetizing Soaps, some in luxurious Paris packets, and others spread out in blue water and rosy foam, splashed in by athletic Archimedesque young men and fat creamy babies and slim beautiful ladies--Mary Garden Soap of pungent delicious scent, tar Soap for the long lovely hair of girls, austere Ivory Soap--It floats: I like the Rubber Heels of resilient charm so tellingly pictured and described that at once I desire them beneath my spirit-heels--springy and solid and thick and firm: I like the Tooth-pastes and Tooth-powders and Tooth-lotions in tubes and tins and bottles, each bearing beneficent messages to the human white teeth of this world--one unfailing kind coming lyrically out like a ribbon and lying flat on the brush: I like the foods--of miraculous spotless purity and enticement--Biscuits and Chocolate and Figs, and Foie-gras in thick glossy little pots, so richly pictured and sung that merely to let my thoughts graze in their pasturage fattens my Heart: I like the men’s very thin Watches, and men’s Garters--no metal can touch you--, and men’s fluffy-lathered shaving sticks, and men’s trim smart flawless tailored Suits, in none of which I have use or interest until I find them in the Back of a magazine--where at once they grow charming and romantic: I like the jars and boxes and tubes and glasses of Cold Cream, Cold Cream fit for skins of goddesses, fit for elves to feed on--a soft satiny scented snow-white elysium of wax and vaseline and almond paste, pictured in forty alluring shapes till it feels pleasantly ecstatic just to be living in the same world with bewitching vases of Cold Cream, Cold Cream, Cold Cream--always bewitching and lovely but never so notably and festively as in the Back of a magazine: and I like the Pencils: and Book-cases: and Silver: and Jewels: and Glass: and Gloves: and Shoes--beautiful Shoes: and Fountain-pens: and Leather things: and Paint--silkish salubrious Paints, house-Paints, and the panegyrics with them--they make me long to own a spirit-house and paint it liberally: and Rugs: and Varnish: and Clothes--wonderful Clothes: and Bungalows: and Phonographs--his master’s voice: and Paper--fine-wrought Paper to write on--bond and linen and hand-pressed, pale-tinted--a vast virgin treasure: and Oranges: and Cigarettes--a shilling in London a quarter here: and Water-Bottles of powdery rubber: and Stockings--patrician Stockings which take me into realms of silk-looms and delicate dyes and slim ankles: and Candle-Shades: and Candle-Sticks: and countless Cosmetics--Cosmetics of tender colors for the outer women: and Sealingwax indescribably useless and attractive: and Tennis-Racquets: and Ivory--smooth Vantine Ivory toys and trinkets polished softly bright as moonlight--and their lily-worded descriptions like restrained sonnets: and Washing Powders--let the Gold Dust twins do your work: and Shower-baths: and Evans’ Ale: and Flying Boats: and Umbrellas: and Cameras--if it isn’t an Eastman it isn’t a kodak: and boxes of Candy--sweet wilderness of chocolates--their very makers’ names have a melting gust--Allegretti, Huyler, Clarence Crane, Maillard--cloying courtiers all: and Diamond Dyes--a child can use them: and Veranda Screens--she can look out but he can’t look in: and Cedar Chests: and Chartreuse from Carthusian monasteries: and Perfumes--Perfumes in their maddening-sweet pride, Perfumes from Paris, Perfumes bottled in thick crystal, enchantingly costly--each American dollar added to their price-by-the-ounce making them fragranter to my thoughts: and boxes of benevolent Matches, and captivating Brooms, and fascinating Scouring-powders--a Dutch girl on the can chasing dirt--all three luscious tempting things in the Back of a magazine: and Automobiles--ask the man who owns one: and Rifles--simple and formidable and fine: and restful Rat-poison--they die in the open air seeking water: and sacks of Flour--eventually why not now--flour unusual and piquant in the Back of a magazine, flour novel and endearing: and Type-writers: and Mushrooms: and Monkey-Wrenches: and Rosaries: and Rock-salt--

the Back, the Back, the Back of a magazine--

There’s no sadness and no terror in the Back of a magazine.

And it is for Everybody, Everybody.

A million people read a story in the middle of the magazine and half the million readily miss its point. But a single tin of Talcum Powder in the Back--the whole million note that and miss nothing in it: it gets to them both on and under their skin.

Some of the million read a ten-line poem in vers libre in the front of the magazine--and nine-tenths of their number are hard-put to it: the mentalities of this human race being mostly shops shut down. It is something pregnant and prophetic to a poet, merely musical to a plain prose writer, arrant folly to a telephone girl, amusing nonsense to a butcher, a comic fantasy to a milliner, a form of insanity to a plumber, an unknown tongue to a milk-man, a kind of sin to a Baptist minister. But to each of those a Can of Soup in the Back of the same magazine has easily, exactly the same ox-tail-ish meanings: it reaches them where they live.

A thousand persons agree with an article about atavism in orang-outangs and ten thousand more quite refute it. But they all harmoniously commit suicide with the same make of Revolver--hammer the hammer--or get rousing drunk to the same degree with the same brand of high-powered whiskey--Wilson, that’s all.

A countess, a courtesan and a convict-woman summarily pass over the front and middle of the magazine as containing nothing to their purpose. But like jungle denizens at their drinking pool the three of them meet hostilely on the common ground of a popular Cigarette featured in the Back--a blend to suit every taste--wherewith they unwittingly smoke away half their generic differentiations. The Colonel’s Lady and Judy O’Grady anoint themselves nightly into a state of shining invisible kinship from separated twin jars of the same bewitching Cold Cream.

I’m not sure myself and Miss Lily Walker of the Broadway chorus regard similarly a beauteous box of Rice Powder: she perchance would at once dash madly into it and powder herself o’er with it, whereas I would fain ponder about it awhile as a tiny be-violeted adventure. But pondering or powdering, equally exciting to each of us is its delicate pale lilac blazonment in the Back of a magazine.

The front of the magazine may mean little to you and the middle of the magazine may mean nothing to me: the Back of it none of us escapes.

It is for Everybody, Everybody.

Even Senegambians: they can look at the pictures and marvel over them.

I can there meet a Senegambian on the common ground of it might be a delicate transparent oval of Pears’ Soap, pretty as a jewel of price: perchance we would each unconsciously feel we wouldn’t be happy till we got it.

It’s only as playthings I want the Things in the Back of a magazine.

To me they are toys, lyrics of matter, food of the senses.

The octroi would have no sympathy with my loiterings among their wares. It is a fête of my own, indolent and fanciful, unrecognized in commerce. Any article I may put to its forthright use in actuality becomes an idyllic toy when I find it in the Back of a magazine. The desirable Revolvers are not firearms with which to shoot myself and burglars, but only bijous to have and handle and caress. The luxuriant vervain- and violet-scented Soaps are not for my toilet, but something to eat, for my astral body to feed on--nourishing food they make. The lush Cold Creams have no massaging possibilities in them--they are for my thoughts to gambol among, for my meddlesome spirit-fingers to touch and fuss with deliciously, blissfully, transcending all vulgar use. The men’s thin Watches mean nothing to me as Watches: and their Garters--what’s it to me whether no-metal-can-touch-you or no-metal-at-all? My thoughts merely revel and juggle with them, picture and legend--they are pastimes of my child-self. The cream-woven Note Papers are not to write on but wherewithal to imagine how cool and smooth they would feel drawn slowly across my flushed cheek. A sack of Flour--I feel only how I’d like to have it spilled out--eventually-why-not-now--in a thick warm-tinted heap on the blue-velvety floor of my room that I might roll and bathe in it and feel it feathery-fluffy on my skin.

So I play with my toys on black-browed Wednesdays.

Some Wednesdays even fail to be black-browed because there are Backs to magazines.


The conscious analyst

I don’t know whether I write this because I wear two plain dresses or whether I wear two plain dresses because I write it.

My life fell into a lowering mood which calls for but two dresses: which mood compels me to write out these things that are in me as inevitably as heavy gathered clouds come raining to the ground. The mood having overtaken me I can not keep from writing this day after day, more than I can keep from brushing my hair every day, and eating lumps of food every day, and picking up tiny white specks from my blue rug.

I love this book and I fear and hate it. I love the writing of it though it is a finical unobvious task--more so than it looks. And often I fear to read it over lest I hurt my own feelings. And I hate it in ways. I am a particularly sane woman when all’s said. And many things I come to in me are grating and inexplicable and incongruous.

But also I love it. It is my companion ‘when the world is gone.’ I am as solitary as if I had no human place in this earth. My days are as silent as if I lived in it alone. The few voices that bespeak me in a day or a week stop at my ear-drums and are immensely alien. At times, for weeks on end, I am quite alone in this house and the silence then has a depth and a hollowness. From it I feel not alone in a house but alone in a world: and more when the family is in the house.

And it is what-should-I-do if I had not a writing talent to expend me upon from day to day, and so rest me. I feel God around some corner but that feeling is no rest, but only an odd terror which wants the dignity of terror.

Times I wonder if I shall have this published afterward for all to read and if so what colors it will paint on my world--and what else may befall.

But it’s an aspect dim and remote now. I wearing but two nunlike dresses and face to face with me, have nothing to do with publishing books and with the beautiful noisy world and its befallings. It is easy to believe I shall never again have to do with any of that. This may be my death-mood. I am very tired. The weight of being a person is heavy on me as weights of lead. And still I know if I suddenly bloomed with beautiful frocks and went out to-morrow to lose myself among people, people, people I should at once achieve a veneer of the utmost frivol. I have an odd frivolous quality full of an ardor and strength, with all of my mental mettle in it. Also I know if I did that now it would be but postponing this analytic reckoning. Which would confront me again with the more rancor, the more futileness gathered into it from having been put off.

This book and the two dresses are my present portion. If I could escape them (I am not quite sure I want to--but--hell!)--it would be of no use. They would come back again in an unexpected ripeness of time and demand a hearing: an exquisite nervous tragic hearing.

They are such stuff as the conscious analyst is made of.

But though I’m the conscious analyst I can’t quite tell whether I write the book because I wear two plain black dresses or I wear those because I write it.


Eye when I mean tooth

I write it, and it’s a surprising book.

It is not what on the surface it looks to be.

I do not write what my clear Mind may want to say to the white blank paper.

I do not write what my thoughts are saying to me.

Those things are facile, uninformed--flat mental pictures, the writer’s craft.

I write what still voices of life: voices trivially frightful in their secret pettiness: voices of all my life--merest living--say to my ancient Soul and my young present Body and what they two may answer.

I am in some sort a wonderful person--and in places I do that, nearly perfectly.

I am also tired and someway whelmed by self-conscious despair, and possessed of a talent imperfect and inadequate to reveal the radiances and shades my being perceives: and in places I fail.

I fail remarkably. I write Eye when I mean Tooth. I write Fornicate when I mean Caress. I write Wine when I mean Blood. For no better reason than that my writing hand is not sufficiently dexterous: the little flashing shutters open and shut so quick that the second ones are shut and the third starting to open before I have got written the things I saw through the first ones.

Only not always.


A wild mare

Also I am dissatisfying to myself.

My thoughts smother me: they keep me from life.

I am a hundred times more introspective than most people, most women. Most women, even conventional ones, are lawless--the more conventional, the more lawless usually.

And so most women beat me to life. Where they yield to an impulse the moment they feel it--I, because an impulse itself is adventure-fabric--I feel of its quality, test it for defects, wash a little corner of it to see if the color will run--and conclude not to use it.

That I gaze inward at the garbled biograph of Me keeps me from several sorts of violent action.

I have violent action in me, chained in analysis.

Most women are secretly lawless on the old plan inaugurated by Eve--of inclining to do anything forbidden, of hugging everything they are unsupposed to hug, of determinedly kicking over the traces when coerced too much. The ban is the chief attraction.

It’s but little like that with me. There would be point and purpose in my Action. But it is kept in stupor by analysis.

I am malcontent about that, though I live upon analysis. I hate the inaction and inertia that follow on its heels.

I could be an anarchist. I condemn anarchists but not as I condemn Me. I would respect me more were I this moment prisoned in a real bastile for having stuck a good knife into a bad king. I could feel, no matter how foolish and mistaken in itself the act, that I had done the strong and brave thing at sacrifice of my personal selves. The dry living-death of the prison would be compensated for each day when I said to Me, ‘It was a needful honorable act and I did it: for once in my life I was a Regular Person.’

There would be a nourishment in being able to tell that to myself. There would be warming food in owning one so brave remembrance of myself.

But, my Soul-and-bones!--at the very moment of lifting the good knife a thought would come: ‘How is this king worse than another? What rotten rascal mightn’t rise in his place?’ And on with a lightning-trail of analysis till my pale hand dropped inert and the knife in it grew harmless as a lily-petal.

It isn’t that I haven’t the guts. I have.

I am a wild mare in foal: and unfoaling.


The mist

Because I am to myself someways dissatisfying and exasperating often this thing I write is dissatisfying and exasperating.

It is a true account of what is inside me. ‘The wine must taste of its own grapes.’

It would be easier to make it an untrue account, for fiction is the most effortless of writing. So I have found it. And I am very clever.

I could write myself as a pretty dainty harmlessly purring one--the leopard with claws clipped and fangs drawn.

When my dynamos rest I am like that, doubtless.

But the wears and tears of breathing and the influences of varied life-details and of clothes worn and food eaten start me moving devilishly.

Phases of a score of persons, men and women, come to light in me.

To be one human being means to be monstrously mixed.

I write me out not as I might be, nor as I should be--whatever that may be--: but merely as I am.

As, Just Beneath The Skin, I am.

So my written account must come out someways dissatisfying and exasperating. Logically dissatisfying and divinely and ethically exasperating.

--a passage in Vergil tells of a Mist that is all over and about this world from the human ‘tears that are falling, falling, falling always.’ Something, and it may be that Mist, makes one’s view of everything--everything in life--a little blurred. It may even blur one’s view of oneself. So it may be I do not see myself with entire clearness--

I only know I write me as clearly as I see me, considering the Mist.


A white liner

To-day came the Finn woman and cleaned my blue-and-white bedroom.

She comes now and again and cleans excellently.

I would like to clean my room myself but lack the strength and skill to do it well.

But I stay with the Finn woman and show her how and I watch her work and muse upon her. She would be called in England a charwoman, but in this America of the vast mongrel heterogenesis she is an unclassified laborer.

I like to watch her and talk with her a bit and dwell on her mixed potentialities. She contrasts fascinatingly with me.

She is a human being and so am I, and beyond and with that there are odd parallels and similarities and distinctions between her and me.

Her name is Josephina and she looks as if it might be.

Mine is Mary MacLane but I don’t look entirely like it.

She lives a lonely life and so do I, differing in sort and circumstance.

I am middle-class and American of Canadian reminiscence, and early-thirty.

Josephina is Finn and lower-class with a ‘foreign’ look, and she is forty-five and looks sixty and is twelve years out of Finland.

I am tallish and slim and weigh nine wavering stone.

The Finn woman is short and solid and weighs all of a hundred and seventy pounds.

I am slender of flank and ankle, narrow through the loins and bony at the shoulders.

The Finn woman is thick everywhere, broad of girth and deep of chest like a Percheron stallion.

I am darkish with dusky gray eyes.

Josephina is dirty-blond with pale narrow blue eyes like a china doll’s.

My sex feels to me like a mysterious sweetness.

Josephina’s sex looks porcinely obvious and uninteresting like her large dubious breasts.

I am inwardly full of strong-flavored emotions.

The one positive outward feeling Josephina manifests is a dull but comprehensive hatred, peculiar to her nationality and station, for everything Swedish.

The Finn woman has a husband now and had a different one formerly.

I have none and never had.

Josephina is elemental primeval woman.

So am I but terrifically qualified by complexity, incongruity.

I have white smooth firm beautiful hands.

Josephina’s hands are particularly ugly and have a menacing look.

I have quick intelligence.

Josephina is markedly stupid.

I live in a quiet clean bungalow.

Josephina lives in an unusually filthy unrestful little house.

I own two dresses whose personnel alters at intervals.

Josephina owns one unchanging dress, septic, maculate and repellent.

I have a sense of humor vivid and intriguing to myself.

Josephina has no more sense of humor than a flatiron.

I bathe foamily icily each morning.

Josephina would seem never to have had a bath. She cleans windows and floors and rugs for thirty-five cents an hour. She would regard it as a fantastic waste of time and soap to clean herself for nothing.

I own in a still flawed life one phase which is an endless treasure of beauty and power and charm and light: my love for John Keats.

The Finn woman owns about the same thing in a life which may be more still and flawed than mine: her love for strong drink.

There begins a curious line of similitude between us.

I feel oddly joyous and light of heart on a solitary veranda corner with the John-Keats poetry book open in my lap.

And Josephina has been found many a time by Butte policemen sitting alone joyous and very drunk, in dark alleys with empty pint bottles strewn all about her.

In my un-Keats hours I am mostly mournful. And Josephina sober has all the melancholy of her race with an added gloom, as if the acetylene had run out of all her lamps. That my melancholy is more lustrous than hers I lay to her native dullness as against my native braininess, and to alcohol’s having rotting effects on human mental tissues: whilst John Keats to those who drink his poetry is a starry savior.

I like to think there’s the same ambrosial food in the Demon Rum for Josephina as in the Grecian Urn for me.

There seems no other pleasure in life for her.

The limit of her literary pursuit is the reading of a four-page Finnish newspaper full of obituaries.

The opalescent enchantments of her inner being mean nothing to her: she wouldn’t know her entity from her duodenum.

Her body can bring her no delight: there’s no lightness to it, no tang, no feminine charm, no consciousness to make her love it as the Dianas love theirs.

A sunset above the western peaks is less than a setting sun to her.

Her food is merely her fodder.

Love and Romance pass her by. She and the husband vie with each other for solitary possession of their little nasty house. And her personality is not conducive to lovers.

She has nor chick nor child to mother.

Her idea of a life beyond this vale is crude and uncomfortable. She went two Sundays to the Finnish church and had a surprising lusty doctrine of eternal fire rammed down her throat: she took the Finn minister’s word for it and quitted the fold, preferring to live this life unhampered by flaming anticipation. All her material treasure she works for with mops and scrubbing-brushes at thirty-five cents an hour.

Other roads being thus blocked it is sing-ho for King Alcohol in pint bottles.

Josephina is what is called a white liner. Which means that she has drunk so long, so much, so regularly that whiskey, rum, gin and brandy have no or negligible effects upon her. To achieve her intoxicating aim she must drink pure alcohol.

By the same token I eschew many a tame poet: I must have John Keats.

What the poetry of John Keats does to me I know.

What the distilled waters of her choice do to Josephina it pleases me to imagine while I watch her clean my walls and floor and windows.

She works strongly, steadily, quietly till I pronounce the room clean. Then she stops, carries the pails and other things downstairs to the kitchen, removes a big brass pin from the rear of her dingy skirt which had held it back and doubled over her darkling petticoat, re-dons an antique rain-coat and bad hat, ties her clinking silver into the corner of a decadent handkerchief, bids me good-evening with a grave blond Finn bow and goes out into the dusk. She takes her way through alleys and short-cuts to the side door of a ‘Finlander’ gin-palace in the Finn quarter of the town. And there she lays out her day’s wage in the pint bottles of her delight. As many pint bottles as her few dollars will buy, so many she buys. She ventures her all in the name of passionate thirst taking no thought of the morrow. She then seeks out some alley with a dark door-step and there she does her drinking. It would not do to go home with her alcoholic wealth because the husband might be there who, like the alphabetic vintner, would ‘drink all himself.’ So she drinks away in pint-bottle-ish peace, sitting alone in the gloom of the alleyway door-step, in her limp rain-coat and bad hat and her stolid Finn self-sufficience.

Because I like Josephina it charms me to think of the happiness that must be hers as she sits emptying pint bottles into herself and the white strong fire-water begins to work.

Before having her drinks she is unelated and uninformed like a corpse coldly electrified by a storage battery. As she drinks and drinks on she remains outwardly unchanged as the way is with her race--but within! The changes that come to pass in the heavy person of Josephina as the white flames wash down her walls!

Into her dull veins pours a hot stream like melted seething copper and it heats her knees till she knows she has knees and that they are white and very beautiful: and it heats her legs and her back and her breasts till they glow with the double-glow of an Aphrodite’s in a reluctant Adonis’s arms: it heats her eyes and temples and throat till she feels herself a radiant girl: it heats the crown of her head till she feels something like a brain there: it heats her heart and stomach till she’s filled with a gay gust for life: it heats her imagination till she even imagines herself in love with her hard Finn husband since he is not by to beat her and so dispel the fancy: it heats a sense of humor into her till she laughs suddenly and heartily at some fugitive funniness that had lain long frozen in her memory: it heats a hundred little human carburetors in her which send a wreathe of vapors up into her drab being to flush it with misty golds and thin blues and rosy crimsons till her dormant involuntary soul awakes--a thing of old mellowed beauty, it may be--and is wafted on warm pretty vapory wings far from alleys, far from mops and scrubbing-brushes, far from thirty-five cents an hour, far from doorsteps--to fair sweet Isles of the Blest!

Nearing the last of her pint bottles she reels sideways on the doorstep: her bad hat cants forward: she sprawls about. The policeman on that beat to whom in that aspect she is a figure long familiar strolls toward her late in the night and looks at her with a lackluster eye. But Josephina is physically unaware of all this world. Her last pint bottle is gamely emptied, her inner sun’s chromosphere burns like mad--but her body, unable to cope with the virile delectations new-risen within it, limply gives way.

A quaint picture, interesting to dwell on: her thick bathless body laid low in the darkened alley, with the empty pint bottles scattered on the paving-stones beside it--but her astral shape, lit by the subtle fires of alcohol, lifted high, high to remote elysiums. The policeman calls the ‘wagon’ and Josephina is taken up by several ungentle hands and tossed into it like a sack of coal. They take her to the city jail and lock her in a cell. The next morning she stands jaded and morbidly intoxicated before a police judge who glances at her uninterestedly for the several-hundredth time and says five days.

The five days can not be pleasant days but Josephina owns a robust sporting spirit. She gives not so much as the shrug of a shoulder either at going into jail or coming out of it. A black eye from her husband, a broken arm from a drunken fall, a filthy sojourn in jail: all one to her. She accepts them as she accepts all of her life, with an immense psychic calm. But she takes strongly to drink to translate herself out of it. And let her drink.

I know how she feels for I take to John Keats. I don’t myself care much for strong drink. I drink a little of it at irregular intervals, but, by and large, I drink without éclat. In this mountain altitude whiskey makes me sick, champagne makes me dizzy and gin is a pungent punishment. One morning after reading of Josephina’s white-line distinction in a police-court column I tasted some alcohol, but it had a varnish flavor and had strangling effects on my throat. It made me marvel at Josephina’s prowess. I like absinthe in its bitter strength mostly because to sit sipping it feels restfully forbidden. Port wine is a brackish medicine, I hate the stickiness of cordials, and a cocktail I like chiefly to contemplate. So much for me and strong drink.

Josephina on the other hand does not care for John Keats. I sounded her on poetry in some of its human aspects: there was nobody at home. Her own enlightened north country has some poets of borealic iron and brain-brawn and beauty: to Josephina’s wooden intellect their books are eternally closed.

But the Demon Rum looses a heated flood of poetry upon her, which I can but vision and not feel.

I am incapable of strong drink even as Josephina is incapable of John Keats.

We are quits there.

I look on myself as the more fortunate.--John Keats!

A woman so drunk as to fall and reel about is always an exquisitely shameful thing. And when I think of how she’s tossed into the wagon--to mention but one item--

But it’s a matter of the human equation. Doubtless it is all relative. The Finn woman is not aware of how she is knocked about, and if she were she would not regard it with any of my imagination. So what matter?

A likeable and admirable person is Josephina. A so strong fine businesslike worker, a so thoroughbred sport, a so splendid drunkard, and asking no odds of God or man. In her stolid Finn fashion she likes me as she has proven, and I like her though she makes me feel inferior.

--if Josephina could and would write her inner isolated world of thoughts--the saga of her one horrid gown! There would be a book. All blacks and carmines--all stolidly sober and brilliantly drunk--all dingily bathless: deeply savagely quietly human.

It would be a book savoring not of white alcohol but of the salty unshed Tears, the dry artistic Griefs of Josephina.


Beneficent bedlam

I have been so long Sane it would be gay and sweet and resting to go Mad.

I would I could go Mad.

To a Mad-woman a Door is not a Door, probably: a Cat is not a Cat, belike: and To-morrow is not To-morrow at all--it may be week-before-last, it may be next year, it may be an exquisite jest. One can not tell what it is.

It is the thing one escapes by going Mad: Monotony.

It’s all beneficent bedlam.