To-morrow
I LONG to do a Murder.
Despite my futile way-of-life and my rotting destroying half-acquiescence in it I have a furious positive Murder in me.
One near me in my daily life injures me and goes on injuring me in a way which is scourging and malicious and intensely petty. There is in it helpless humiliation for me—me self-loving, proud and determinedly unsuppliant—and it makes maddening Murder rise in me.
I don’t know why I do not do the Murder. I have nothing to lose by paying the law-penalty: nothing but my life, and my life is stripped bare—and was always barren by God’s decree—of all that makes a life sacred or lovely or precious. For long years and years, since child-days, I have been lost.
I don’t know why I do not do the Murder: except that I think of it and brood over it and turn it round and round smoulderingly in my Mind. From no choice. I have tried to push the feeling away as a common thing beneath me. It is beneath me, for I am not little but someway big. But my Mind will take its toll of all that confronts me.
The humiliation and the helplessness to combat being humiliated in me who keep a casual proudness toward people is like a secret hot sword thrust, and kept freshly thrust, in my flesh. It makes me wild to do the Murder. But it makes me brood over it till the red act is lost in red brooding.
There come also thinkings.
Murder, any Murder, is in its essence cowardly, a slinking meanness. And I am not cowardly and I am not mean. I am above malice and retaliation—all such impoverished impoverishing emotions. A shrug of my shoulders and they are satisfied. The impulse to hit back after a bitter wound is not of vengeance. It is instinct—a ‘first law.’ But Murder is self-accusingly cowardly and sneakingly human. I can’t get away from that. To take away a person’s life is like setting fire to his house—an officiously stooping act. It’s for me to live my life in aloof self-sufficience. No human malice should reach me in it. Then it’s not for me to reach out of it and stain my good fingers with unpleasant sticky blood. I am always in a prison of radiance and gloom.
But the mere habit of being a human being is breakingly insistent—no matter how many or how few frocks one owns. Neither of my two dresses is a protection against humiliation. A thin black serge dress gives me to myself a melancholy cold inert air: but beneath the smooth-fitting breast of it comes too often a throbbing frightful to feel, frightful to know, made of fierce petty anger and abasing hurt. I hide it and me in my room and twist my hands together and walk my floor, and a hurricane of helpless bitter trifling woe shakes and wrenches me. Then Murder enters me.
What humiliates me is an obvious common thing that to any human one would mean hurt and more hurt. Though I am determinedly brave I am sensitive.
I do not write itself because this is the book of me and not of people.
It is a slight, a poor and vivid cruelness. There is the tie of blood in it which in all ways—from a deep heritage—I respect: and it rubs an added stinging poison in the wound.
It is an injury I do not deserve. What I deserve I accept. What I do not deserve pressed on me to humiliate me makes Murder in me. Regardless of the other one—
—it would be simpler and finer for me to do that Murder than to keep it in me. So many times in a week the trembling smothering longing to do that Murder beats, beats in my thin breast. To be so owned by a thing so small:—it is grief and despair and fury and wild nervous intolerableness. It strains my flesh—it wrenches my pulse—it blinds my eyes—it fills my throat—
—it would be a simpler and finer thing to do any Murder than to feel, even once, the strangling damnedness rising, rising at my throat—
To-morrow
I TAKE it for granted God knows all about me.
If God should read this it would not be news to him.
But his knowledge of me is not immediate knowledge nor immediately interesting to him. He knows my Twos-and-Twos but he does not make Fours of them.
I am formed of loose Twos which wait for God to make them Fours.
I can not do it myself. When I’ve tried the added Twos come out threes, seventies, nines, twelves—all the mysterious numbers. Never Fours.
Long ago I decided not to try but to wait for God.
I juggle with temperamental and psychic Twos and experiment in hysteric additions.
But it’s no good my trying to make Fours.
If God does not take it up I shall be eternal Twos.
And I seem not greatly to care: whenever that comes home to me I merely light a carefree cigarette.
To-morrow
THE things I know are jumbled and tangled into an indescribable heap inside me.
The things I Don’t Know are separated and ranged of their own volition in long orderly rows in my conscious mentality.
The things I know glow with tints and gleams and will-o’-wisp lights and primal colors and waveringly with the blinding gold-purple lightnings of all-Time.
The things I Don’t Know glow—each one separately—with a small precise lantern-brightness of its own.
Also in my wide background are things I don’t know and am unaware of it: the mass of my luminous Ignorance—it shines with an earthy phosphorescence.
When I look at the things I know I get an undetailed perspective of me like a bird’s-eye view of London.
When I look at neat formal rows of things I Don’t Know I have a clear look, as if through an uncurtained window into a bare little room, at my quietest self sitting knitting or plaiting straw.
I reckon up and count up and check up lists of big and little things I Don’t Know—like this, rapidly:
I Don’t Know what ink is made of, nor how to fire a Maxim gun: I don’t know how to make a will: I don’t know how to cook a prairie-chicken, nor what to feed a pet weasel, nor who invented the snarling-iron, nor what it is.
I Don’t Know what food people eat in the Himalaya Mountains, nor how Lord Cornwallis felt when he surrendered: I don’t know the color of a chicken’s gizzard, nor of sand, nor of fish-scales, nor of mice: I don’t know whether an English cabinet minister needs strength of mind or strength of will, or both, or neither.
I Don’t Know how I hurt the true heart of my friend: I don’t know astronomy nor solid geometry: I don’t know what I think with: I don’t know what ooze leather is, nor who pitched for the Tigers in nineteen-nine.
I Don’t Know a good horse from a bad horse: I don’t know why a bat sleeps head downward, nor what wasps live on: I don’t know how to open oysters, nor how to milk a cow: I don’t know the Latin for ‘whiskey.’
I Don’t Know whether friendship is a selfish or an unselfish thing, nor who discovered the medlar apple: I don’t know what is a jab, fistically speaking, nor a punch, nor a hook, nor a wallop, nor the fighting weight of Packey McFarland: I don’t know whether a moth ‘marries’ or whether her eggs are impregnated like a fish’s: I don’t know why a clasp knife is called a jack knife, nor what to do for an aching foot.
I Don’t Know how glass is blown: I don’t know whether coal is vegetable or mineral: I don’t know the chemical composition of the sunset vapors, nor how to play euchre: I don’t know how many guns an armored cruiser carries, nor whether a gorilla meditates: I don’t know whether I hate or greatly admire Catherine and Marie de Medici: I don’t know a winch from a windlass.
I Don’t Know where is the cinnamon bear’s native haunt: I don’t know how flint is mined, nor if wire is made of steel: I don’t know who was the better man—William Wordsworth or the Duke of Wellington: I don’t know the advantages of tariff revision downward: I don’t know where ex-President Taft will go when he dies.
I Don’t Know whether I feel more comfortable with or without my stays: I don’t know the origin of the word ‘dogged’: I don’t know whether a ‘full house’ is better than ‘two pairs,’ nor whether a right merry heart to-day is better than a wrong contented mind to-morrow: I don’t know whether rabbit-pie is made of cats in Paris, nor how many sails has a sloop: I don’t know what makes a dead body rot.
I Don’t Know how to sharpen a carving knife, nor how to roll a cigarette: I don’t know the real English meaning of the French noun ‘élancement’: I don’t know whether my sex is a matter of my genital organs or of my mental inwards: I don’t know how to determine the contents of a circle in square inches, nor how to pronounce ‘zebra.’
I Don’t Know whether Edgar Allan Poe is big or little: I don’t know how many soldiers fell at Shiloh: I don’t know whether temperament or nature or circumstance makes one woman a happy kindhearted whore and another an unhappy cruel-hearted nun: I don’t know how to grow artichokes: I don’t know what brimstone is, nor how to play the accordion: I don’t know what quality in me forms my handwriting.
I Don’t Know what-like was my Soul in the Stone Age: I don’t know whether cheese is good or bad for my health: I don’t know what becomes of discarded hairpins, nor a tooth-brush’s ultimate destiny: I don’t know the ‘Fra Diavolo’ opera, nor whether anyone ever uses the word ‘thwack.’
I Don’t Know whether my heart breaks from within or without: I don’t know whether ‘good old Marie Lloyd’ of the London ‘halls’ has a brain like G. K. Chesterton or a dexterous individuality like a juggler: I don’t know whether I feel spiritual bliss in my knees or in my spirit: I don’t know why I breathe and go on breathing.
I Don’t Know what became of the ten lost tribes of Israel: I don’t know how to say how-do-you-do to a king: I don’t know the exact meaning of my terror and despair: I don’t know why I love—why I ever love—
I Don’t Know whether laws of chance govern a spinning roulette wheel and ivory ball or whether chance is beyond law: I don’t know what kind of missile a Krupp gun shoots: I don’t know how a ground-and-lofty tumbler turns a triple air-summersault: I don’t know whether I really am the way I look in the mirror: I don’t know whether the Russian language has Romanic roots: I don’t know what is the wild power in poetry.
I Don’t Know whether lust is a human coarseness or a human fineness: I don’t know why death holds a so sweet lure since it would take away my Body: I don’t know that I wouldn’t deny my Christ, if I had one, three times before a given cockcrow: I don’t know on the other hand that I would: I don’t know whether honor is a reality in human beings or a pose: I don’t know that I mayn’t be able to think with my Body when it is in its coffin.
I Don’t Know what makes each day a Day of dark Gold and life mournfully precious: I don’t know where is God: I don’t know how they make tea in Ireland: I don’t know how to pronounce the word ‘girl’: I don’t know how to make lace: I don’t know whether I hear a sound or feel it, nor why a spool of thread looks exactly like a Spool of Thread.
I Don’t Know—I Don’t Know—I Don’t Know, rapidly, to the end of the mystic common-place infinitudes.
—those give me a clear look, as if through an uncurtained window into a bare little room, at my quietest self sitting knitting or plaiting straw—
To-morrow
FLEETING times I wonder if it is my defect or others’ that no human family tie holds and warms me.
There is none. I think about it with wistfulness.
The only tie-of-blood feeling that clings to me is of my warming and keeping-alive. And it is very feeble. It grows more feeble.
It is a trivial matter as I look at it universally.
But as I look at it earthlily: there would be an abnormalness, a lostness in one when the mother who bore her got from it at best but a small cool dislike.
It makes me feel humanly lost.
‘Lost’ is the shuddering life-long lonely word that brushes against me some nights and noons.
To-morrow
EVERY day at half-past ten and half-past two I hear the high shrill sweet choric Voices of hundreds of children shaking the thin clear air.
A public school is but a block from here. The children rush out of it, a hilarious noisy crowd, for a few mid-morning and mid-afternoon minutes. So those minutes, from hearing their Voices day after day, and day after day, have become lyric to my inner-listening.
Their Voices stir me, rouse me, speak to me with old very joyous, very woful meanings.
The children fairly leap out of the school-building through doors and down fire-escape stairways. And their Voices are at once hurled skyward, clamorous and chaotic.
The Sound they make is a roundly common sound yet ‘winged.’ It is an untrammeled Sound, uncultivated, only a little civilized.
It is world-music.
In it is the note beyond culture, higher than civilization, and older. It is brave as voices of the shrilling winds and warmer, viriler. It is liltinger than bird-songs and lustier than roarings of mountain cataracts.
Music of the world!—
A little door inside me opens to those Voices.
My little door opens at the first shriek of the first child out of doors, and I hear not only the hundreds of vivid piercing Voices but more—their far-off echoes.
They are the Voices of children, children light-held in crude cold innocence. The eyes of the children are clear—their impulses and instincts rule their little lives. They are yet untouched by the tiredness and terror and shame and sorrow of being human beings.
So the Sound of their Voices sweeps out resistless and regardless as the sea or the sun which makes nothing of its own strength or weakness. And through my little spirit-door I hear them, the poignant common little sweet Voices, echoing, flying away, farther and farther: along the roads: over plains and hills: through valleys long worldly distances from here: through streets: through stone buildings and dingy courts: through big rich houses: through homes of comfort and homes of misery and homes of desolate smugness: into lifeless social foyers: into learned places: into law-courts and cabinet-rooms of nations: into graveyards and churches and down into dead-vaults: into theatres: into clinics: into shops: into factories: into dives and stews and brothels and at lustful doorsteps: into hotels and on sport-courses: into market-places and across battle-fields, round monuments and in towers and in forts and in prisons and in dungeons:—there along fly their Voices.
It is a brave, brave Sound, and an insistent: nothing stops it.
It is triumph.
The noise of the noisiest battle dies away in time. The pounding of ocean-surf on the rocks and of electric thunder in the clouds are lasting only with this earth. But brave wild Voices of children fly on and on, outlasting a million earths, silencing aeons of thunder, floating strongly back of the stars. The voices of men—wizards, monks, artisans, thieves—echo no farther than their talking conceits: even of poets except as they catch up into their sonance something to interpret a cool gay clamor of child-Voices. The voices of women—singing women, lovely women, angelic honest women—die with their bodies: even of mothers of the children except as they follow with their own echo, by dream and shadow, the thronging child-Voices as they go.
For the Sound of the child-Voices is more potent than wizards’—it is not cramped into thought-forms: more devotional than monks’ because super-conscious; more menacing than thieves’ because absolute. And it echoes, echoes, echoes in the market-place full-tongued, ringing, rising like the northern gale when all the other voices are long dead-silenced: and after.
Music of the world.
This moment I hear it for it is half-after two of a bright gold day. The air is emotional, nectareal, and mellow and yellow and hot-sparkling. The Voices pierce it like a storm of fine steel arrows. I at once set open my spirit-door and through it come the sweet shrill chorus and the marvel echo beginning and swelling and starting away. It wakes vision so that I see—quick, evil, terribly human, in the dazzlingest daytime colors—all those Places where the Voices go.
I go to a window and watch the children running about beneath the high tide of their Voices. And they and the school-building and the streets and stone walls show in duller colors than the Places where their Echo goes.
—small girls with clipped hair and bloused cotton frocks, taller girls throwing a basket-ball, thin-legged little girls playing hop-scotch, groups of varied sizes with rainbow ribbons in their hair, confused masses of knitted sweaters and fat white-stockinged legs and shiny leather belts and ankle-strapped shoes, and little young shoulders and knees and waistlines—restless and kaleidoscopic—
—and confused boy-groups—little fellows in suits misnamed Oliver-Twist, larger boys of serge-Norfolk persuasion, types of the generic knickerbocker at once motley and monotonous—all with the strong sturdy calves of their legs clad in a time-honored kind of black ribbed stockings, all with the same breed of ties and collars and short-cropped hair, all with the tacit air of confessing themselves the most serenely cruel of all animals—
A careless conscienceless happy mob.
It is the Sound of their Voices that invests them with the terrifying Power, the long world-sweeping Force as of spirit and matter merged, the human radioactivity not evil and not good, stronger than all evil and all good.
Those children I look at must cease to be children, and must lose their Voices and grow into monks and thieves and singing women—must turn into persons—‘Romans, countrymen and lovers.’
But will come after those another chorus: the same chorus: the same Voices.
The brief yellow mellow minutes have passed and the last shout has been silenced and the hundreds of children, Rainbow Hair-Ribbons and Black Ribbed Legs, are again gathered into the McKinley School.
And my little door is shut again: that door opens but for those Voices.
The Voices: their echo flying everywhere flies here into my still room: and it stirs me, rouses me, speaks to me with the old joyous woe.
Music of the world.
To-morrow
I BEAR the detailed infliction of being a person with a tired mixture of patience and indifference and scorn.
I say on Monday, Damn the ache in my left foot: on Tuesday, Damn that rattling window—I hate it: on Wednesday, Damn this yellow garter—it’s too tight: on Thursday, Damn my futile life: on Friday, Damn the solitude: on Saturday, Damn these thoughts: on Sunday, Damn my two dresses.
But I pronounce each day’s Damn in a half-perfunctory half-preoccupied tone, more from duty and fitness than from conviction. I intently mean each Damn, but the scornful indifferent patience which is my spirit-essence leavens each one. I swear at my life’s perversities with only a fatigued contempt due partly to bodily fragileness but mostly to a cold continently reckless mood which is clasped on me like a strong stupefied devil-fish. In this mood I should murmur the same gelded Damn if I found myself penniless and foodless in strange streets: if I became suddenly deaf: if my Body were being lashed with whips or raped by a Mexican bandit. I should murmur the same worn Damn if I were this moment on a gallows with the rope around my neck and life were dearly madly precious.
I mark that with my musing regrets. I remember in the strong young furies of eighteen each new day of my life was filled with passionate poetic blasphemy, protests and rebellions of youth. Those were not tired, not acquiescent, not indifferent to slings-and-arrows, but firey-blooded quick-pulsed breathless brave young Damns.
There is splendor in being brave in a fighting attitude, but in being brave through indifference there is no splendor.
But it is only toward calamity and adversity and worldly untowardness that I feel indifferent. Fighting blood is stirred in me if not against the hated things then for the loved things. I could fight and I could die, and love it, to save poet-lusters, poet-fineness, poet-beauty from the world’s flat griefs. In that, which I feel warm and real and sparkling in my blood, in some splendor for me.
—and also I could die for my country: and there is fighting hatred stirred in me against its foes—
But in poetry there is nothing that evokes a lusty curse against its vulgar adversaries. Poetry floats too high upon its dazzling wings. I get delicately drunk from watching it till I can see the wings’ Gold Shadow touch its foes and magically split them into dust-atoms.
So then the morale of my Damns remains perfunctory.
But they are apt and useful. They fit into the nervous rhythms of my life. They mark time in my spirit’s flawed action. I begin each day with a Damn of sorts. I end each day with a Damn of sorts. At midday sometimes it’s, ‘Damn the terrifying ignorance of people.’ In the dusk a deep-felt Damn of the blood. In the night another. And at my late eating time a negligible Damn.
A wonderful word, Damn. It means enough and not too much. It means everything in life, and roundly nothing.
Without Damn my day would lack tone. Damn richly justifies each pronouncement of itself in word-value, substance-value and musical resonance. It harms nobody and it helps me. It destroys nothing and it strengthens me. It damages my annoyances and mends me somewhat.
But—perfunctory, desultory, tiredly insolent, it would be thrilling to think the hot fire would sometime be back in my Damns. Better that than Youth’s faith in my dreams. Better that than the jeune-fille beauty in my hair. Better than even Youth’s ichor in my veins: Youth’s fire in my Damns—
But there is dearness in this mood, which is indifferent and scornful and slightingly patient, though it wants splendor. Let my Damns be always brave, always contemptuous of disaster to me, and they will be first-water value though their kind alter never-so.
To-morrow
THIS morning came a letter from a half-forgot friend in London. She is in vaudeville and has been booked for two months in the Music Halls. Her letter is of a tenor productive of a letter in turn. But I am somehow not free to write letters to friends while I’m living in my two plain dresses. So I wrote this letter to God instead:
19th November.
Dear God:
I know you won’t answer this letter. I’m not sure you will get it. But I have the feeling to write you a letter, though it should only blow down the whistling winds.
I haven’t a thing to ask of you: no prayer to make. I am not suppliant nor humble nor contrite. Nor would I justify myself as a person in your eyes. I scorn to try to justify myself. What I am I am. If I am a bad actor I take the results of it without plaint. I comment on it—why not?—since cats may look at kings and each person inherits four-and-twenty hours a day. But I am bewildered and distraught and sad.
The best you do for me, God, when I think of you—you personally—is to make me bewildered and distraught and sad.
But I’ve imagined I could put myself to you as a proposition to take or to leave as you like: on my terms since I do not know yours.
There are some verses—the Rubaiyat—in which you are upbraided as if you might be the dealer in some gambling game who had the long end of all the wagers and still so protected his money that he could not lose however the cards turned.—‘from his helpless creature be repaid pure Gold for what he lent him dross-allayed.’—‘thou who didst with pitfall and with gin beset the Road I was to wander in—.’
But to me that seems a cheap attitude toward you, God. I admit you are fair. If I thought you weren’t my mind would not vex itself with you at all. I can not make you out a crooked dealer nor one who lends out bad money and demands good money in repayment.
But you are reticent and cold-tempered and uninterested. So it seems. The necklace which you gave me so long ago, made of little curses, I wear always round my spirit-neck. It serves some purpose, perhaps, and it answers as a keepsake: so at least I may not forget you whether or not you forget me. I don’t ask any more of your attention nor anything more of you than I would be willing to give you in return. But I wish you would be willing to exchange attention with me. I am lonely. I am terrified. I am frightfully overshadowed by myself and my odd aloofness and my thronging solitary emotions and my menacing trivialities. I am always fearing not that I may be wicked or immoral or allied with evils—I don’t really care a tinker’s curse about that—but that I may be growing petty and trivial and weak. It is horrible, horrible to feel that I may be a weakling—you, God, may not know how horrible to me. It is like black annihilation for all eternity when my Soul longs frantically, desperately to live. I feel weakness to be the only immoralness—hateful and vile in whatever aspect. I want to be strong to endure and to live in noonday lights and to overcome my poorness. I want, though I’m far from it, to be brave and big. What I admire you for, though you’re so far off and strange and inexplicable, is that you are strong. You are Strength, you are Light, you are the Solution and the Absolute. You’d hardly know what weakness is if it did not so crop out in this human race you made. This human race is a faërily beautiful thing: star-flaming poets have sung in it: lovely youth has breathed upon it: happy wild hearts have informed it. But the odd keynote of it all is weakness. And I have felt me tuned overmuch by that keynote.
—but I won’t be weak, I won’t be, I won’t be, God! Whether you pay attention or not, whether I breathe only futileness, I will be strong, strong, strong in myself—strong if only in my falseness—strong and strong again—
This would be your chance with me if you cared to take it: because I own now just my plain two dresses. When I grow out of this quiet mood—(if ever I do: I begin to doubt it)—I shall have more dresses, and then I shall think about them, God, and the phases of life they’ll build up around me, and not about you. It’s not that pretty frocks would take my attention away from you if you once claimed it. Once you claimed my attention it would be yours forever. But pretty frocks would mean I am again walking in paved peopled roads. Being there without your attention I shall go where my garments may lead me forgetful of you. One’s life is of the flavor of one’s clothes: ‘the wine must taste of its own grapes.’
Now feels like a fitting time for you to be personal with me, to give me a sign that you know I’m here. I know I am blind and ignorant about that. You may know a time that shall be more fitting, a time when my still mood and two dresses are long gone and my life is made of fluff and lightness so your sign will crash into it like a black two-ton meteor. I only tell you how it seems. If you should come now and speak to me I should feel suddenly glad. To-day feels such a day-of-God. The sky is all wet silver and the air a thin cloud of gold. I sit writing you by my window, often looking out with my forehead resting against the cool pane. There is an ache in my forehead, in my insteps, in my backbone and in my spirit. By stopping in here a moment you would gladden me. If you could give me, or show me—where it perhaps had always been—one true thing to have always in my life I should cling to it and ask nothing of it but that it remain true. If you’d make me one far-off promise of a dawn to come after this tired darkness I would take your word for it and would walk toward your dawn in a straight road from which I should not ever turn aside. In me is a small torch glowing though set in chaos. By its light I should keep in the road leading to your dawn. I should keep in it at any sacrifice to my merely human self: any sacrifice, believe me.
It isn’t a bargain I would make with you. I don’t like the thought of a bargain with you. I would rather take the chance and lose honestly: not in everything but in this matter with you. You show me the road and I take it for the sole reason that it’s a true one. I should expect myself to pay the tolls—heavy ones since I’m innately a liar, a someway bad lot. I know, the same as I know one and one make two, that I’ve only to be square in the human business of living to get back a square deal, though I’ll get badly battered, with it. But it isn’t what I mean. Something inside me hungers for answeringness—a Gleam—to make me know the worldly squareness and the battering are worth while beyond themselves: but a detail in the game.
You mightn’t guess it but I am diffident about broaching this much that may sound like a plea, so I’ll say no more of it.
But before I close the letter I want to tell you that I’m not wanting in gratitude for the terrible beauty of this world. I feel with ecstasy the burning loveliness of the life you give the human race.
I want to tell you thank-you for some things in it. But all that they mean I can not tell in words.
Only yesterday a light at sundown lingered on the hill-tops and on the desert back of the School of Mines in tints of Olive and Copper and Ochre and Rose so delicate, so radiant, so dumbly forlorn that I closed my eyes against it all as I walked along the sand: its aliveness, its realness, its flawless golden dreadful peace tortured and twisted and too-keenly interpreted me.
And one summer day in Central Park in New York I saw a little Yellow-Yellow Butterfly fluttering above a small plot of brilliant Green-Green Grass in the afternoon sunshine. To you, God, used to the purpling splendor of untold worlds that mightn’t seem noteworthy. But to me—because I am half-sister to so many trivialities the Yellow-Yellow of those little wings and the sweet bright Green of the clipped velvet Grass beneath the sun suddenly fiercely entered in and beat-beat hard on my imagination. O the glare and the flare of that fairy prettiness! I shall never forget that picture though I should one day see those worlds. It made me think wildly of you, God, at the time—and ever since. It is there yet in Central Park, that particular plot of Grass, and if not that Yellow-Yellow Butterfly—happily, happily Yellow it was—then another!
And to-day and often other days I read this—
‘Heard melodies are sweet, but those unheard are sweeter’—
—magic words: potent hushed wizardry of beauty. It opens the doors of all the Inner Rooms and more blest, more precious, of the celestial brain of him who wrote it. In making the glimmering Purple of all your worlds, God, you have not surpassed the thing you made in the regal wistful glory of John Keats.
And two nights ago I went close to my glass and looked deep into my own dark gray eyes, and they were beautiful. Their color is the gray not of peace but of stormy sky and clouded sea. Their expression is alien and melancholy and they are never without circlings of fatigue or stress. And when I meet their glance they mostly accuse and condemn and confound me. But two nights ago they grew wide and deep and breathless-looking at realizing me human and alive. And presently I saw, back of their gray iris—my Soul: like a naked girl: like a willow in the wind: like a drowning star at daybreak: an inherent inexpressible grace—my Soul of many ages.
And this moment another little memory, God, of a tropic marsh a little way back from the sea on the island in the bay at St. Augustine, as it looked in the wane of one sun-flooded February day. In the marsh were tall waving feathery salt-marsh grasses, and little pools of murky water. And there were snail-shells and ancient barnacles and smooth beach pebbles. And bordering the pools were reeds and flags and tiny wax-petaled death-white lilies. By a mound of wet moss was a slim wild blue heron standing on one leg and staring about and preening its blue feathers. And over all the scene was a Pink-Pink Flush. The curving quivering tops of the long grass were Pink with it. The pools were dull Pink mirrors. The barnacles, the pebbles, the death-white lilies were as if a thin bloody veil had been flung down on them. Pink touched the heron’s wings, its beak, its head, its glittering beady eyes and spindly leg. The sinking sun shot a Pink broadside of dream-dust all over the marsh: it lingered and hung and floated. Almost I could have reached out my two hands and gathered a bouquet of Pink Flush. The stillness, which was intense, was Pink stillness. O but it was pleasant, pleasant, pleasant, God—it wrapped me in a scarf of Pink sweetness: it filled my throat with Pink honey: it laid on me a gentle eager quiet covetous Pink spell.
Nobody knows how you do it, God. But it is all—Sunset Tint, Yellow-Yellow Moth, Conscious Soul, Poet-Flame—maddening and precious and terrifying and transfiguring to me who live among it. I cherish it as a lonely one may who loves it with passion and is never happy in it. And for it all I thank you, God.
I wrote the Letter on my long-unused monogram note-paper to please my whim, and put it in the envelope and addressed it to God, care of the Whistling Winds. He may receive it—what do I know?—only he knows, and is reticent.
I only know he’ll not answer it.
To-morrow
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.
To-morrow
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!
To-morrow
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.