Youth and the Bright Medusa
Willa Sibert Cather
The Project Gutenberg eBook, Youth and the Bright Medusa, by Willa Cather
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net
Title: Youth and the Bright Medusa
Author: Willa Cather
Release Date: September 30, 2004 [eBook #13555]
Language: English
Character set encoding: ISO-646-US (US-ASCII)
START OF THE PROJECT GUTENBERG EBOOK YOUTH AND THE BRIGHT MEDUSA
E-text prepared by Juliet Sutherland, Project Gutenberg Beginners
Projects, Mary Meehan, and the Project Gutenberg Online Distributed
Proofreading Team
YOUTH AND THE BRIGHT MEDUSA
by
WILLA CATHER
1920
“We must not look at Goblin men,
We must not buy their fruits;
Who knows upon what soil they fed
Their hungry, thirsty roots?”
CONTENTS
COMING, APHRODITE!
THE DIAMOND MINE
A GOLD SLIPPER
SCANDAL
PAUL’S CASE
A WAGNER MATINEE
THE SCULPTOR’S FUNERAL
“A DEATH IN THE DESERT”
The author wishes to thank McClure’s Magazine, _The Century
Magazine_ and Harper’s Magazine for their courtesy in permitting
the re-publication of three stories in this collection.
The last four stories in the volume, Paul’s Case, A Wagner Matinee,
The Sculptor’s Funeral, ”A Death in the Desert,” are re-printed from
the author’s first book of stories, entitled “The Troll Garden,”
published in 1905.
Coming, Aphrodite!
I
Don Hedger had lived for four years on the top floor of an old house on
the south side of Washington Square, and nobody had ever disturbed him.
He occupied one big room with no outside exposure except on the north,
where he had built in a many-paned studio window that looked upon a court
and upon the roofs and walls of other buildings. His room was very
cheerless, since he never got a ray of direct sunlight; the south corners
were always in shadow. In one of the corners was a clothes closet, built
against the partition, in another a wide divan, serving as a seat by day
and a bed by night. In the front corner, the one farther from the window,
was a sink, and a table with two gas burners where he sometimes cooked
his food. There, too, in the perpetual dusk, was the dog’s bed, and often
a bone or two for his comfort.
The dog was a Boston bull terrier, and Hedger explained his surly
disposition by the fact that he had been bred to the point where it told
on his nerves. His name was Caesar III, and he had taken prizes at very
exclusive dog shows. When he and his master went out to prowl about
University Place or to promenade along West Street, Caesar III was
invariably fresh and shining. His pink skin showed through his mottled
coat, which glistened as if it had just been rubbed with olive oil, and
he wore a brass-studded collar, bought at the smartest saddler’s. Hedger,
as often as not, was hunched up in an old striped blanket coat, with a
shapeless felt hat pulled over his bushy hair, wearing black shoes that
had become grey, or brown ones that had become black, and he never put on
gloves unless the day was biting cold.
Early in May, Hedger learned that he was to have a new neighbour in the
rear apartment—two rooms, one large and one small, that faced the west.
His studio was shut off from the larger of these rooms by double doors,
which, though they were fairly tight, left him a good deal at the mercy
of the occupant. The rooms had been leased, long before he came there, by
a trained nurse who considered herself knowing in old furniture. She went
to auction sales and bought up mahogany and dirty brass and stored it
away here, where she meant to live when she retired from nursing.
Meanwhile, she sub-let her rooms, with their precious furniture, to young
people who came to New York to “write” or to “paint”—who proposed to
live by the sweat of the brow rather than of the hand, and who desired
artistic surroundings.
When Hedger first moved in, these rooms were occupied by a young man who
tried to write plays,—and who kept on trying until a week ago, when the
nurse had put him out for unpaid rent.
A few days after the playwright left, Hedger heard an ominous murmur of
voices through the bolted double doors: the lady-like intonation of the
nurse—doubtless exhibiting her treasures—and another voice, also a
woman’s, but very different; young, fresh, unguarded, confident. All the
same, it would be very annoying to have a woman in there. The only
bath-room on the floor was at the top of the stairs in the front hall,
and he would always be running into her as he came or went from his bath.
He would have to be more careful to see that Caesar didn’t leave bones
about the hall, too; and she might object when he cooked steak and onions
on his gas burner.
As soon as the talking ceased and the women left, he forgot them. He was
absorbed in a study of paradise fish at the Aquarium, staring out at
people through the glass and green water of their tank. It was a highly
gratifying idea; the incommunicability of one stratum of animal life with
another,—though Hedger pretended it was only an experiment in unusual
lighting. When he heard trunks knocking against the sides of the narrow
hall, then he realized that she was moving in at once. Toward noon,
groans and deep gasps and the creaking of ropes, made him aware that a
piano was arriving. After the tramp of the movers died away down the
stairs, somebody touched off a few scales and chords on the instrument,
and then there was peace. Presently he heard her lock her door and go
down the hall humming something; going out to lunch, probably. He stuck
his brushes in a can of turpentine and put on his hat, not stopping to
wash his hands. Caesar was smelling along the crack under the bolted
doors; his bony tail stuck out hard as a hickory withe, and the hair was
standing up about his elegant collar.
Hedger encouraged him. “Come along, Caesar. You’ll soon get used to a new
smell.”
In the hall stood an enormous trunk, behind the ladder that led to the
roof, just opposite Hedger’s door. The dog flew at it with a growl of
hurt amazement. They went down three flights of stairs and out into the
brilliant May afternoon.
Behind the Square, Hedger and his dog descended into a basement oyster
house where there were no tablecloths on the tables and no handles on the
coffee cups, and the floor was covered wi
th sawdust, and Caesar was
always welcome,—not that he needed any such precautionary flooring. All
the carpets of Persia would have been safe for him. Hedger ordered steak
and onions absentmindedly, not realizing why he had an apprehension that
this dish might be less readily at hand hereafter. While he ate, Caesar
sat beside his chair, gravely disturbing the sawdust with his tail.
After lunch Hedger strolled about the Square for the dog’s health and
watched the stages pull out;—that was almost the very last summer of the
old horse stages on Fifth Avenue. The fountain had but lately begun
operations for the season and was throwing up a mist of rainbow water
which now and then blew south and sprayed a bunch of Italian babies that
were being supported on the outer rim by older, very little older,
brothers and sisters. Plump robins were hopping about on the soil; the
grass was newly cut and blindingly green. Looking up the Avenue through
the Arch, one could see the young poplars with their bright, sticky
leaves, and the Brevoort glistening in its spring coat of paint, and
shining horses and carriages,—occasionally an automobile, misshapen and
sullen, like an ugly threat in a stream of things that were bright and
beautiful and alive.
While Caesar and his master were standing by the fountain, a girl
approached them, crossing the Square. Hedger noticed her because she wore
a lavender cloth suit and carried in her arms a big bunch of fresh
lilacs. He saw that she was young and handsome,—beautiful, in fact, with
a splendid figure and good action. She, too, paused by the fountain and
looked back through the Arch up the Avenue. She smiled rather
patronizingly as she looked, and at the same time seemed delighted. Her
slowly curving upper lip and half-closed eyes seemed to say: “You’re gay,
you’re exciting, you are quite the right sort of thing; but you’re none
too fine for me!”
In the moment she tarried, Caesar stealthily approached her and sniffed
at the hem of her lavender skirt, then, when she went south like an
arrow, he ran back to his master and lifted a face full of emotion and
alarm, his lower lip twitching under his sharp white teeth and his hazel
eyes pointed with a very definite discovery. He stood thus, motionless,
while Hedger watched the lavender girl go up the steps and through the
door of the house in which he lived.
“You’re right, my boy, it’s she! She might be worse looking, you know.”
When they mounted to the studio, the new lodger’s door, at the back of
the hall, was a little ajar, and Hedger caught the warm perfume of lilacs
just brought in out of the sun. He was used to the musty smell of the old
hall carpet. (The nurse-lessee had once knocked at his studio door and
complained that Caesar must be somewhat responsible for the particular
flavour of that mustiness, and Hedger had never spoken to her since.) He
was used to the old smell, and he preferred it to that of the lilacs, and
so did his companion, whose nose was so much more discriminating. Hedger
shut his door vehemently, and fell to work.
Most young men who dwell in obscure studios in New York have had a
beginning, come out of something, have somewhere a home town, a family, a
paternal roof. But Don Hedger had no such background. He was a foundling,
and had grown up in a school for homeless boys, where book-learning was a
negligible part of the curriculum. When he was sixteen, a Catholic priest
took him to Greensburg, Pennsylvania, to keep house for him. The priest
did something to fill in the large gaps in the boy’s education,—taught
him to like “Don Quixote” and “The Golden Legend,” and encouraged him to
mess with paints and crayons in his room up under the slope of the
mansard. When Don wanted to go to New York to study at the Art League,
the priest got him a night job as packer in one of the big department
stores. Since then, Hedger had taken care of himself; that was his only
responsibility. He was singularly unencumbered; had no family duties, no
social ties, no obligations toward any one but his landlord. Since he
travelled light, he had travelled rather far. He had got over a good deal
of the earth’s surface, in spite of the fact that he never in his life
had more than three hundred dollars ahead at any one time, and he had
already outlived a succession of convictions and revelations about his
art.
Though he was now but twenty-six years old, he had twice been on the
verge of becoming a marketable product; once through some studies of New
York streets he did for a magazine, and once through a collection of
pastels he brought home from New Mexico, which Remington, then at the
height of his popularity, happened to see, and generously tried to push.
But on both occasions Hedger decided that this was something he didn’t
wish to carry further,—simply the old thing over again and got
nowhere,—so he took enquiring dealers experiments in a “later manner,”
that made them put him out of the shop. When he ran short of money, he
could always get any amount of commercial work; he was an expert
draughtsman and worked with lightning speed. The rest of his time he
spent in groping his way from one kind of painting into another, or
travelling about without luggage, like a tramp, and he was chiefly
occupied with getting rid of ideas he had once thought very fine.
Hedger’s circumstances, since he had moved to Washington Square, were
affluent compared to anything he had ever known before. He was now able
to pay advance rent and turn the key on his studio when he went away for
four months at a stretch. It didn’t occur to him to wish to be richer
than this. To be sure, he did without a great many things other people
think necessary, but he didn’t miss them, because he had never had them.
He belonged to no clubs, visited no houses, had no studio friends, and he
ate his dinner alone in some decent little restaurant, even on Christmas
and New Year’s. For days together he talked to nobody but his dog and the
janitress and the lame oysterman.
After he shut the door and settled down to his paradise fish on that
first Tuesday in May, Hedger forgot all about his new neighbour. When the
light failed, he took Caesar out for a walk. On the way home he did his
marketing on West Houston Street, with a one-eyed Italian woman who
always cheated him. After he had cooked his beans and scallopini, and
drunk half a bottle of Chianti, he put his dishes in the sink and went up
on the roof to smoke. He was the only person in the house who ever went
to the roof, and he had a secret understanding with the janitress about
it. He was to have “the privilege of the roof,” as she said, if he opened
the heavy trapdoor on sunny days to air out the upper hall, and was
watchful to close it when rain threatened. Mrs. Foley was fat and dirty
and hated to climb stairs,—besides, the roof was reached by a
perpendicular iron ladder, definitely inaccessible to a woman of her
bulk, and the iron door at the top of it was too heavy for any but
practised with weights and dumb-bells, and in the shoulders he was as
strong as a gorilla.
So Hedger had the roof to himself. He and Caesar often slept up there on
hot nights, rolled in blankets he had brought home from Arizona. He
mounted with Caesar under his left arm. The dog had never learned to
climb a perpendicular ladder, and never did he feel so much his master’s
greatness and his own dependence upon him, as when he crept under his arm
for this perilous ascent. Up there was even gravel to scratch in, and a
dog could do whatever he liked, so long as he did not bark. It was a kind
of Heaven, which no one was strong enough to reach but his great,
paint-smelling master.
On this blue May night there was a slender, girlish looking young moon in
the west, playing with a whole company of silver stars. Now and then one
of them darted away from the group and shot off into the gauzy blue with
a soft little trail of light, like laughter. Hedger and his dog were
delighted when a star did this. They were quite lost in watching the
glittering game, when they were suddenly diverted by a sound,—not
from the stars, though it was music. It was not the Prologue to
Pagliacci, which rose ever and anon on hot evenings from an Italian
tenement on Thompson Street, with the gasps of the corpulent baritone who
got behind it; nor was it the hurdy-gurdy man, who often played at the
corner in the balmy twilight. No, this was a woman’s voice, singing the
tempestuous, over-lapping phrases of Signor Puccini, then comparatively
new in the world, but already so popular that even Hedger recognized his
unmistakable gusts of breath. He looked about over the roofs; all was
blue and still, with the well-built chimneys that were never used now
standing up dark and mournful. He moved softly toward the yellow
quadrangle where the gas from the hall shone up through the half-lifted
trapdoor. Oh yes! It came up through the hole like a strong draught, a
big, beautiful voice, and it sounded rather like a professional’s. A
piano had arrived in the morning, Hedger remembered. This might be a very
great nuisance. It would be pleasant enough to listen to, if you could
turn it on and off as you wished; but you couldn’t. Caesar, with the gas
Youth and the Bright Medusa Page 1