My Several Worlds

by Pearl S. Buck

  The hall where we meet is a place of dignity and beauty. While the simple ceremonies are performed, I gaze from the great window on the opposite side of the room, upon a city hillside, inhabited not by living human beings, but by the dead. It is a graveyard, well kept and permanent, the resting place, I suppose, of comfortable persons who in their lifetimes were also well kept and permanent until death carried them on. A great tree spreads its aged branches across the window, and in the winter, on such a day as this, the graves stand severely plain. When spring comes the tree puts out small green leaves, not hiding the dead but interposing a delicate quivering screen. In summer the graves are all but hidden.

  Most of us are old who sit in the seats whereon are the names of the dead. I am, I believe, next to the youngest member, and I am not young. I put my vote the other day for several younger than I, so that new life may come in and early enough to enjoy the company of the learned. For there is no doubt that the Academy is the company of the learned. I keep a respectful silence most of the time, for the learning of these learned men is not profoundly my own. They are the musicians, the painters, the writers, the architects of the United States. I am still studying the subjects which they have made theirs long since and in which they are eminent, while I can never be but an amateur. I comfort myself with the thought that there are also many things I know which they do not.

  For example, although they discuss so beautifully the symbolism of Mallarmé, do they know the symbolism of the famous essayists, or the hidden novelists, of China? These are never discussed. And for another example, among The Hundred Books, those classics which Western scholars have chosen to represent the sources of human civilization, there was not one Asian book, although in Asia great civilizations flourished long before our day and still exist in revitalized strength. “Why,” I asked an American scholar, “are there no books from Asia in The Great One Hundred?”

  “Because,” he said quite honestly but without the least sign of guilt, “nobody knows anything about them!”

  Nobody? Only millions of people! Ah, well—

  Meanwhile I like very much to be in this company of the learned, deservedly or not. They are truly learned men and therefore without conceit and bombast. They are simple in manner, kind and mildly humorous, and they are careful not to wound one another. This is because they are civilized as learning alone can civilize the human being. I like to hear them speak even of unfamiliar subjects, for their voices are pleasant and their language often quite beautiful. Whatever their appearance, they have the gentle look of scholars, not dead but living in a pure and vital atmosphere. They jest now and then about the graves outside the window, for they are aware of their destination, but none is afraid. They are part of a stream, a river, that, broadening, carries mankind toward a vast eternal sea. Each knows his worth and yet his humble place. In this atmosphere I feel at home, for it is the atmosphere of scholars in every country and, I daresay, in every age.

  Today it is winter, the tree will be bare against the grey sky and the tombstones will stand stark. But the next time we meet it will be spring.

  When I look back over the twenty years that I have now lived in my own country, I realize that I still do not see my people plain. The years are rich with living, but life does not flow here in a river as it did in China. I see it as a series of incidents and events and experiences, each separate, sometimes complete, but always separate. The parts do not yet make a whole. And I am quite aware of the historical fact that our national life broke in two pieces in 1914, when the First World War began, so that what we were before we never can be again. There is no normalcy for us, no point of return. We can only go on, whatever the risks of the future.

  Take the subject of women, for example. American women always absorb my interest, I watch them everywhere I go, I ponder upon them, I observe the way they talk and think and behave. Years ago I wrote a little book called Of Men and Women. So changeful is the American scene that while the book remains true in principle—that is, as it pertains to the relationship between men and women in the United States—yet women have changed very much since I wrote it. The present generation of young women, the daughters of the mothers about whom I wrote, are not “gunpowder women” as I called their mothers then. They are almost Victorian in their desire to marry, to be supported by their husbands, to have children, to do nothing outside the home. In spite of the fact that these young women are compelled to do a great deal outside the home, they seldom enjoy it, and they want now above all else, it seems, to be given an excuse, a moral reason, why they should give up outside interests. They want big families to provide the reason, they proclaim boldly that they take jobs only because they must. In this generation a girl is not ashamed to say that she wants to marry, and she appraises every man she meets, married or not, as a possible husband for herself.

  Perhaps men do not accept marriage as necessary to a man’s estate as once they did. Military life, it is said, does a damage to normal life for a man. It not only increases the number of homosexuals, but it persuades men to consider life without marriage as good enough. In military life men find their companionship with men, and sex becomes a physical rather than an emotional experience. Once in so often a man needs a woman physically, and when that time comes he can go out and find her easily enough and often without paying money for it. Why, then, the emotionally dwarfed man inquires, should he burden himself with the responsibilities of wife and children? The number of men who find civilian life unsatisfactory and return to the shelter of the armed forces has never been made public but it is worth study, and women ought to be the students. If they crave home and family as they now seem to do, they had better find out how to fulfill their longings.

  The pursuit of men by women is not healthy. It is a portent of totalitarianism. In prewar Germany homosexuality was rife as it usually is in militaristic societies, and women, knowing or not knowing, felt that they were not desirable in the old ways and they became abject and fawning before men. I do not like to see American girls in this generation give up their own individualities in order to attract men, for if men can be attracted by such behavior, then it is alarming. And it is alarming that girls stake so much on marriage so that if they do not marry they consider themselves failures, even though marriage should be the proper goal of men and women alike, an inevitable and desirable state, if society is in balance.

  There will come a time, I daresay, when a sensible means will be developed for men and women to marry and as a matter of course, so that any one who wishes to marry will have a dignified and sane opportunity to meet persons suitable for marriage, and when, if individuals need help for the final arrangements of betrothal and wedding, it can be provided. In China this was done by the parents of both boy and girl. Who, the Chinese used to say to me, can know son or daughter better than his own parents, and who therefore is more suited to find a proper mate? Americans, unless family life becomes much broader and more stabilized than it is at present, will scarcely accept the parental control of marital fate, but it may be that our increasing trust in scientists will lead us to put our faith in those who may specialize in matching mates. Adoption agencies make great ado about matching adoptable children to the color, creed, environment, temperaments, the race, and the likes and dislikes of adoptive parents, thereby incidentally forcing many good people to remain childless because their individual peculiarities are not reproduced in children available for adoption, any more than they would probably be if they gave birth to a child. I have known parents with red hair and freckled complexions who gave birth to a black-haired, black-eyed child, and no one took the child away from them. Indeed I once knew a Canadian storekeeper in China who was brunette, and so was his wife, and in honorable matrimony they had six children, two black-haired and black-eyed, two red-haired and green-eyed and two yellow-haired and blue-eyed, with complexions to match the three varieties. Yet they were allowed to keep all these children, the ones that matched them and the ones that did not. But social w
orkers are trained to be careful of their colors and their creeds, and I daresay that as time goes on we shall develop social work still further and then we shall find ourselves in the hands of matchmakers in marriage as well as in adoption. Men and women being born in about the same assortment, however, some shuffling will doubtless result in everybody finding the right person, scientifically at least, to marry.

  Meanwhile I feel sorry for the women today who want to marry and cannot. Their mothers were the gunpowder women of yesterday, bursting out of their kitchens, and here are their daughters trying to get in again. I sat one evening in our living room and listened to a fine young woman, a little too tall and a little too old for the average marriage market—the girls grow up so quickly nowadays that a child of twelve or thirteen is already beginning to be competition to the woman of eighteen and twenty, and she in turn to the chances of the woman of thirty and this one was thirty-five. She talked and I listened, and she told me of the plan upon which she and two of her friends were working. They had made a list of the marriageable men they knew, and had divided the men between them in terms, first of preference, and then of possibility. A certain number they gave up as impossible. One was too attached to his mother, another was a confirmed bachelor, the result of being more handsome than needful for a man, another was stingy, another had tantrums, and so on. A year later I received a wedding announcement from her. She had married number four, the last of her list of preferences. I could have wept for her. But I hope, oh, I do hope, that she has lovely children!

  Green Hills Farm

  Yes, I remember the American years in scenes, unconnected. For example, when the war stopped, we were at New Bedford, in a hotel with all our children for the night, and expecting to get to the island of Martha’s Vineyard in the morning. And that very night the news came that the war was over and everybody in the town went crazy and took a holiday, and even the steamer’s crew was drunk next day. But we had to leave the hotel because our rooms were engaged by other people and so we were quite without a shelter over our heads, while men and women went mad and got drunk and fell into fights, all because of joy. At last we were able to persuade a fisherman in Woods Hole to take us across the Sound in his motorboat and so we arrived, starved and tired and dazed with all we had seen and heard.

  And I remember the day I spent with the children on a set in Hollywood. It was my only visit there, and I went because my novel Dragon Seed was being made into a picture with Katharine Hepburn in the leading role and I was secretly distressed because she wore a man’s Chinese jacket instead of a woman’s, and when I inquired of someone in command why this was allowed, I was told that she liked the lines of the man’s jacket better than the woman’s. Just as she would not cut off her bangs, although anyone who knew China would know that a farmer’s wife would not wear bangs. They are plucked out the night before her wedding, as a sign that she is no longer to be a virgin. And the bridge they had on the set was all wrong. It was the sort of bridge they used in South China but not in Nanking. And, worst of all, the terraces should never have been on the mountains. The rounded hills outside Los Angeles are very much like the hills outside Nanking, but for Dragon Seed they were terraced with bulldozers, whereas there is no terracing on the Nanking hills, and what confounded me most was that some of the terraces ran perpendicularly like great ditches up and down, impossible to imagine except in Hollywood, for terracing prevents erosion and the ditch provides it. When I inquired why the ditches, I was told that they made a contrast to the terraces running horizontally, and this only confounded me further.

  Yet why dwell upon such matters now? Pictures improve, I daresay, and later in that same day the people on the set had their chance to laugh at me, too, when they produced the water buffalo which had been an important character in the filming of The Good Earth and now had become a sort of pet. I suppose they thought I would fall affectionately upon the beast’s neck but I did not. I remembered that water buffaloes in China have a deep prejudice against white persons and will always attack if they can. It was as much as I could do to put my hand on this one’s horn for a photograph. We eyed each other with mutual distrust, I because he was a water buffalo, and he eyed me because he smelled my fear, and was stirred by ancestral antagonisms. Meanwhile the Americans watching us laughed heartily and I let them laugh. And this brief and single visit to Hollywood brings to my memory the strange story of the filming of The Good Earth. I have always disliked mystery stories in which the villain is an Oriental of unknown and sinister character, just as in my childhood I used to dislike the crude Chinese plays where the villain was always a Western man with blue eyes, a big nose and red hair, yet—well, here is the story, and in time it properly begins in that last winter which I spent in the old city of Nanking.

  When the stage version of The Good Earth, prepared in 1932 by Owen Davis, was sold by the Theater Guild to Metro-Goldwyn-Mayer, I wished very much that the chief characters in the motion picture could be played by Chinese actors, for the stage play had convinced me that it was impossible for Americans to portray the parts of Chinese with any reality. Nazimova, who took the part of O-lan, was a brilliant exception, but she had some background in Eastern Europe which gave her an almost Asian grace of movement and pose. I was told, however, that our American audiences demand American stars and so I yielded the point, as indeed I had to, for I had no control over the matter.

  As soon as I reached Shanghai, the representative there of Metro-Goldwyn-Mayer came to see me in a state of despair. He had been sent to take preliminary photographs of scenes and people and he had found himself frustrated at every attempt. Finally his studio was burned down by unknown persons and he was giving up and returning to the United States. There are “forces,” he said, who did not want the picture made at all.

  “Forces?” I inquired, unbelieving.

  He nodded and went away without explaining. Later, I heard that he had committed suicide before reaching the United States, although not, I believe, from artistic frustration but from some private and domestic tragedy of his own.

  I discovered, as the months passed, that the “forces” were familiar enough, for they were simply the prickly inverted patriotism of some members in the new government who did not want an authentic film made of Chinese villages and peasants lest it might provide unflattering views of China to foreign audiences abroad. I had a certain amount of sympathy with this, and so I declined at once any association with the making of the film, for friendly relations were more important to me than its success. Nevertheless, during the winter I heard a great deal about the making of that film, and I read of it, too, in Chinese newspapers. For a company was sent from Metro-Goldwyn-Mayer complete with cameras and technical equipment, and the story of their travail was relayed to me regularly by my friend the American Consul, who was compelled in the course of duty to be the mediator between the American motion picture group and the Chinese authorities, who objected at every step, and even after mediation, unwillingly acceded to, insisted upon dressing up the villages before pictures were allowed. Every woman, I heard, had to appear in clean clothes, and wear a flower in her hair, the rugged streets had to be cleaned and the houses decorated. The authorities even tried to substitute a modern American tractor, a machine that few Chinese had ever seen, for the redoubtable water buffalo who was an essential character in my story. If I heard the American side of the troubles from the Consul, I had the other side from editorials in the Chinese papers, which ran something like this:

  “We fear that in spite of our government’s every precaution, there will be some child in this film with an unwashed face or some farmer’s wife with a dirty apron.”

  My sympathies were with both sides by now, and I kept a prudent silence and followed my usual pursuits. It was only after the motion picture was finished and shown and I was living in the United States that I heard of the incredible ill luck that dogged its making. One misfortune followed another until the tale became a legend. It was told to me by a member of
the company, and proceeded from minor accidents too numerous to mention to the major disaster of discovering, when the company left China to come home, that most of the film material brought back from China in tin containers had somewhere along the way been destroyed by acid, so that of the entire length of a long film, as it was eventually shown, only about twelve minutes was composed of the original photography taken in China. Even the famous locust scene was made in one of the Western American states, where an opportune locust scourge supplied the necessary local color. The final tragedy was of course the death by sudden illness of the brilliant director, Irving Thalberg, leaving the picture uncompleted.

  His successor confessed to his own secret fears one evening when the picture was finished, or so I was told, and at the moment he happened to be standing by a chimney piece in his house, or in some other, and as he spoke an immense and heavy-framed portrait fell from above the mantelpiece, narrowly missing his head.

  My own memories of the film are not so sinister. I did not go to the opening although I was in New York at the time, for I dreaded the fanfare and publicity. I waited for a few days and then my husband and I went quietly to the theater and took seats in the gallery. It is an amazing experience to see the characters one has created come alive on the screen, and I was much moved by the effort that had been made, especially by the incredibly perfect performance of Luise Rainer as O-lan. She not only looked like a Chinese woman but she moved like one and every detail of action, even to the washing of a rice bowl, was correct. When I asked her how she had accomplished this, she told me that she had chosen from among the many Chinese employed on the set for the crowd scenes a young woman whom she thought most like O-lan. She had then followed this woman everywhere, watching her until she felt identified with her. When later the film was shown in China, as well as in other Asian countries, where incidentally it was a great success, Chinese friends wrote to me of their surprise and appreciation of Luise Rainer, marvelling, as I had, at the miracle of her understanding.