by Various
"Hullo," said I to myself, "that's funny. I wonder if Jimmy Powers got even; and if so, why he is working so amicably and so near Roaring Dick."
At noon the men came ashore for dinner. I paid a quarter into the cook's private exchequer and so was fed. After the meal I approached my acquaintance of the year before.
"Hello, Powers," I greeted him, "I suppose you don't remember me?"
"Sure," he responded heartily. "Ain't you a little early this year?"
"No," I disclaimed, "this is a better sight than a birling match."
I offered him a cigar, which he immediately substituted for his corn-cob pipe. We sat at the root of a tree.
"It'll be a great sight when that jam pulls," said I.
"You bet," he replied, "but she's a teaser. Even old Tim Shearer would have a picnic to make out just where the key-logs are. We've started her three times, but she's plugged tight every trip. Likely to pull almost any time."
We discussed various topics. Finally I ventured:
"I see your old friend Darrell is rear boss."
"Yes," said Jimmy Powers, dryly.
"By the way, did you fellows ever square up on that birling match?"
"No," said Jimmy Powers; then after an instant, "Not yet."
I glanced at him to recognise the square set to the jaw that had impressed me so formidably the year before. And again his face relaxed almost quizzically as he caught sight of mine.
"Bub," said he, getting to his feet, "those little marks are on my foot yet. And just you tie into one idea: Dickey Darrell's got it coming." His face darkened with a swift anger. "God damn his soul!" he said, deliberately. It was no mere profanity. It was an imprecation, and in its very deliberation I glimpsed the flare of an undying hate.
About three o'clock that afternoon Jimmy's prediction was fulfilled. Without the slightest warning the jam "pulled." Usually certain premonitory cracks, certain sinkings down, groanings forward, grumblings, shruggings, and sullen, reluctant shiftings of the logs give opportunity for the men to assure their safety. This jam, after inexplicably hanging fire for a week, as inexplicably started like a sprinter almost into its full gait. The first few tiers toppled smash into the current, raising a waterspout like that made by a dynamite explosion; the mass behind plunged forward blindly, rising and falling as the integral logs were up-ended, turned over, thrust to one side, or forced bodily into the air by the mighty power playing jack-straws with them.
The rivermen, though caught unaware, reached either bank. They held their peavies across their bodies as balancing-poles, and zig-zagged ashore with a calmness and lack of haste that were in reality only an indication of the keenness with which they fore-estimated each chance. Long experience with the ways of saw-logs brought them out. They knew the correlation of these many forces just as the expert billiard-player knows instinctively the various angles of incident and reflection between his cue-ball and its mark. Consequently they avoided the centres of eruption, paused on the spots steadied for the moment, dodged moving logs, trod those not yet under way, and so arrived on solid ground. The jam itself started with every indication of meaning business, gained momentum for a hundred feet, and then plugged to a standstill. The "break" was abortive.
Now we all had leisure to notice two things. First, the movement had not been of the whole jam, as we had at first supposed, but only of a block or section of it twenty rods or so in extent. Thus between the part that had moved and the greater bulk that had not stirred lay a hundred feet of open water in which floated a number of loose logs. The second fact was, that Dickey Darrell had fallen into that open stretch of water and was in the act of swimming toward one of the floating logs. That much we were given just time to appreciate thoroughly. Then the other section of the jam rumbled and began to break. Roaring Dick was caught between two gigantic millstones moving to crush him out of sight.
An active figure darted down the tail of the first section, out over the floating logs, seized Darrell by the coat-collar, and so burdened began desperately to scale the very face of the breaking jam.
Never was a more magnificent rescue. The logs were rolling, falling, diving against the laden man. He climbed as over a treadmill, a treadmill whose speed was constantly increasing. And when he finally gained the top, it was as the gap closed splintering beneath him and the man he had saved.
It is not in the woodsman to be demonstrative at any time, but here was work demanding attention. Without a pause for breath or congratulation they turned to the necessity of the moment. The jam, the whole jam, was moving at last. Jimmy Powers ran ashore for his peavie. Roaring Dick, like a demon incarnate, threw himself into the work. Forty men attacked the jam at a dozen places, encouraging the movement, twisting aside the timbers that threatened to lock anew, directing pigmy-like the titanic forces into the channel of their efficiency. Roaring like wild cattle the logs swept by, at first slowly, then with the railroad rush of the curbed freshet. Men were everywhere, taking chances, like cowboys before the stampeded herd. And so, out of sight around the lower bend swept the front of the jam in a swirl of glory, the rivermen riding the great boom back of the creature they subdued, until at last, with the slackening current, the logs floated by free, cannoning with hollow sound one against the other. A half-dozen watchers, leaning statuesquely on the shafts of their peavies, watched the ordered ranks pass by.
One by one the spectators departed. At last only myself and the brown-faced young man remained. He sat on a stump, staring with sightless eyes into vacancy. I did not disturb his thoughts.
The sun dipped. A cool breeze of evening sucked up the river. Over near the cook-camp a big fire commenced to crackle by the drying frames. At dusk the rivermen straggled in from the down-river trail.
The brown-faced young man arose and went to meet them. I saw him return in close conversation with Jimmy Powers. Before they reached us he had turned away with a gesture of farewell.
Jimmy Powers stood looking after him long after his form had disappeared, and indeed even after the sound of his wheels had died toward town. As I approached, the riverman turned to me a face from which the reckless, contained self-reliance of the woods-worker had faded. It was wide-eyed with an almost awe-stricken wonder and adoration.
"Do you know who that is?" he asked me in a hushed voice. "That's Thorpe, Harry Thorpe. And do you know what he said to me just now, me? He told me he wanted me to work in Camp One next winter, Thorpe's One. And he told me I was the first man he ever hired straight into One."
His breath caught with something like a sob.
I had heard of the man and of his methods. I knew he had made it a practice of recruiting for his prize camp only from the employees of his other camps, that, as Jimmy said, he never "hired straight into One." I had heard, too, of his reputation among his own and other woodsmen. But this was the first time I had ever come into personal contact with his influence. It impressed me the more in that I had come to know Jimmy Powers and his kind.
"You deserve it, every bit," said I. "I'm not going to call you a hero, because that would make you tired. What you did this afternoon showed nerve. It was a brave act. But it was a better act because you rescued your enemy, because you forgot everything but your common humanity when danger----"
I broke off. Jimmy was again looking at me with his ironically quizzical grin.
"Bub," said he, "if you're going to hang any stars of Bethlehem on my Christmas tree, just call a halt right here. I didn't rescue that scalawag because I had any Christian sentiments, nary bit. I was just naturally savin' him for the birling match next Fourther July."
Contents
THE SAVING GRACE
By Stewart Edward White
Once upon a time there was an editor of a magazine who had certain ideas concerning short stories. This is not wonderful, for editors have such ideas; and when they find a short story which corresponds, they accept it with joy and pay good sums for it. This particular editor believed that a short story should be realistic.
"Let us have things as they are!" he was accustomed to cry to his best friend, or the printer's devil, or the office cat, whichever happened to be the handiest. "Life is great enough to say things for itself, without having to be helped out by the mawkish sentimentality of an idiot! Permit us to see actual people, living actual lives, in actual houses, and I should hope we have common-sense enough to draw our own morals!" He usually made these chaotic exclamations after reading through several pages of very neat manuscript in which the sentences were long and involved, and in which were employed polysyllabic adjectives of a poetic connotation. This editor liked short, crisp sentences. He wanted his adjectives served hot. He despised poetic connotation. Being only an editor, his name was Brown. If he had been a writer, he would have had three names, beginning with successive letters of the alphabet.
Now, one day, it happened that there appeared before this editor, Brown, a young man bearing a roll of manuscript. How he had gotten by the office boy Brown could not conceive, and rolled manuscript usually gave him spasms. The youth, however, presented a letter of introduction from Brown's best friend. He said he had a story to submit, and he said it with a certain appearance of breathlessness at the end of the sentence, which showed Brown that it was his first story. Brown frowned inwardly, and smiled outwardly. He begged the youth to take a seat. As all the seats were filled with unopened papers and unbound books, the youth said he preferred to stand.
Brown asked the youth questions, in a perfunctory manner, not because he cared to know anything about him, but because he liked the man who had written the letter. The youth's name proved to be Severne, and he was the most serious-minded youth who had ever stepped from college into writing. He spoke of ideals. Brown concluded that the youth's story probably dealt with the time of the Chaldæan astronomers, and contained a deep symbolical truth, couched in language of the school of Bulwer Lytton or Marie Corelli. So, after the youth had gone, he seized the roll of manuscript, for the purpose of glancing through it. If he had imagined the story of any merit, he would not have been in such haste; but as his best friend had introduced the writer, he thought he would like to get a disagreeable task over at once.
He glanced the story through. Then he read it carefully. Then he slammed it down hard on his desk--to the vast confusion of some hundreds of loose memoranda, which didn't matter much, anyway--and uttered a big, bad word. The sentences in the story were short and crisp. The adjectives were served very hot indeed. There was not a single bit of poetic connotation. It described life as it really was.
Brown, the editor, published the story, and paid a good price for it. Severne, the author, wrote more stories, and sold them to Brown. The two men got to be very good friends, and Severne heard exactly how Brown liked short stories and why, and how his, Severne's, stories were just that kind.
All this would have been quite an ideal condition of affairs, and an object-lesson to a harsh world and other editors, were it not that Severne was serious-minded. He had absolutely no sense of humour. Perspectives there were none for him, and due proportions did not exist. He took life hard. He looked upon himself gravely as a serious proposition, like the Nebular Hypothesis or Phonetic Reform. The immediate consequence was that, having achieved his success through realism, he placed realism on a pedestal and worshipped it as the only true (literary) god. Severne became a realist of realists. He ran it into the ground. He would not describe a single incident that he had not viewed from start to finish with his own eyes. He did not have much to do with feelings direct, but such as were necessary to his story he insisted on experiencing in his own person; otherwise the story remained unwritten. And as for emotions--such as anger, or religion, or fear--he would attempt none whose savour he had not tasted for himself. Unkind and envious rivals--not realists--insisted that once Severne had deliberately gotten very drunk on Bowery whiskey in order that he might describe the sensations of one of his minor characters in such a condition. Certain it is, he soon gained the reputation among the unintelligent of being a crazy individual, who paid people remarkably well to do strange and meaningless things for him. He was always experimenting on himself and others.
This was ridiculous enough, but it would hardly have affected anyone but crusty old cranks who delight in talking about "young fools," were it not for the fact that Severne was in love. And that brings us to the point of our story.
Of course he was in love in a most serious-minded fashion. He did not get much fun out of it. He brooded most of the time over lovers' duties to each other and mankind. He had likewise an exalted conception of the sacred, holy, and lofty character of love itself. This is commendable, but handicaps a man seriously. Girls do not care for that kind of love as a steady thing. Far be it from me to insinuate that those quite angelic creatures ever actually want to be kissed; but if, by any purely accidental chance, circumstances bring it about that, without their consent or suspicion, a brute of a man might surprise them awfully--well, said brute does not gain much by not springing the surprise. Being adored on a pedestal is nice--in public. So you must see that Severne's status in ordinary circumstances would be precarious. Conceive his fearful despair at finding his heart irrevocably committed to a young lady as serious-minded as himself, equally lacking in humour, and devoted mind and soul to the romantic or idealistic school of fiction! They often discussed the point seriously and heatedly. Each tried conscientiously to convert the other. As usual, the attempt, after a dozen protracted interviews, ended in the girl's losing her temper. This made Severne angry. Girls are so unreasonable!
"What do you suppose I care how your foolish imaginary people brush their teeth and button their suspenders and black their boots? I know how old man Smith opposite does, and that is more than enough for me!" she cried.
"The insight into human nature expresses itself thus," he argued, gloomily.
"Rubbish!" she rejoined. "The idea of a man's wasting the talents heaven has given him in describing as minutely and accurately as he can all the nasty, little, petty occurrences of everyday life! It is sordid!"
"The beautiful shines through the dreariness, as it does in the real life people live," he objected, stubbornly.
"The beautiful is in the imagination," she cried, with some heat; "and the imagination is God-given; it is the only direct manifestation of the divine on earth. Without imagination no writing can have life."
As this bordered on sentiment, abhorred of realism, Severne muttered something that sounded like "fiddlesticks." They discussed the relation of imagination to literature on this latter basis. At the conclusion of the discussion, Miss Melville, for that was her name, delivered the following ultimatum:
"Well, I tell you right now, Robert Severne, that I'll never marry a man who has not more soul in him than that. I am very much disappointed in you. I had thought you possessed of more nobility of character!"
"Don't say that, Lucy," he begged, in genuine alarm. Serious-minded youths never know enough not to believe what a girl says.
"I will say that, and I mean it! I never want to see you again!"
"Does that mean that our engagement is broken?" he stammered, not daring to believe his ears.
"I should think, sir, that a stronger hint would be unnecessary."
He bowed his head miserably. "Isn't there anything I can do, Lucy? I don't want to be sent off like this. I do love you!"
She considered. "Yes, there is," she said, after a moment. "You can write a romantic story and publish it in a magazine. Then, and not until then, will I forgive you."
She turned coldly, and began to examine a photograph on the mantelpiece. After an apparently interminable period, receiving no reply, she turned sharply.
"Well!" she demanded.
Now, in the interval, Severne had been engaged in building a hasty but interesting mental pose. He had recalled to mind numerous historical and fictitious instances in which the man has been tempted by the woman to depart from his heaven-born principles. In some of these instances, when the woman had
tempted successfully, the man had dwelt thenceforth in misery and died in torment, amid the execrations of mankind. In others, having resisted the siren, he had glowed with a high and exalted happiness, and finally had ascended to upper regions between applauding ranks of angels--which was not realism in the least. Art, said Severne to himself, is an enduring truth. Human passions are misleading. Self-sacrifice is noble. He resolved on the spot to become a martyr to his art.
"I will never do it!" he answered, and stalked majestically from the room.
Severne took his trouble henceforward in a becomingly serious-minded manner. For many years he was about to live shrouded in gloom--a gloom in whose twilight could be dimly discerned the shattered wreck of his life. After a long period, from the débris of said wreck, he would build the structure of a great literary work of art, which all mankind would look upon with awe, but which he, standing apart, would eye with indifference, all joy being stricken dead by his memories of the past. But that was in the future. Just now he was in the gloom business. So, being a wealthy youth, he decided to go far, far away. This was necessary in order that he might bury his grief.
He rather fancied battle-fields and carnage, but there were no wars. It would add to the picture if he could return bronzed and battle-scarred, but as that was impossible, he resolved to return bronzed, at any rate. So he bought a ticket to a small town in Wyoming. There he and his steamer-trunk boarded Thompson's stage, and journeyed to Placer Creek, where the two of them, he and the trunk, took up their quarters in a little board-ceiled room in the Prairie Dog Hotel.
The place was admirably adapted for glooming. It was a ramshackle affair of four streets and sixteen saloons. Some of the houses, and all of the saloons, had once been painted. In front were hitching-rails. To the hitching-rails, at all times of the day, were tied ponies patiently turning their tails to the Wyoming breezes. Wyoming breezes are always going somewhere at the rate of from thirty to sixty miles an hour. Beyond the town, in one direction, were some low mountains, well supplied with dark gorges, narrow canons, murmuring water-falls, dashing brooks, and precipitous descents. Beyond the town, in the other direction, lay a broad, rolling country, on which cattle and cowboys dwelt amid profanity and dust. Severne arose in a cold room, washed his face in hard water, and descended to breakfast. The breakfast could not have been better adapted to beginning a day of gloom. It started out with sticky oatmeal, and ended with clammy cakes, between which was much horror. After breakfast, he wandered in the dark gorges, narrow canons, et cetera, and contemplated with melancholy but approving interest his noble sacrifice and the wreck of his life. Thence he returned to town.