Chapter 4

The deliberate embrace of literature as a career involves very real dangers. I mean dangers to the spirit over and above those of the right-hand trouser pocket. For, let it be honestly stated, the business of writing is solidly founded on a monstrous and perilous egotism. Himself, his temperament, his powers of observation and comment, his emotions and sensibilities and ambitions and idiocies--these are the only monopoly the writer has. This is his only capital, and with glorious and shameless confidence he proposes to market it. Let him make the best of it. Continually stooping over the muddy flux of his racing mind, searching a momentary flash of clearness in which he can find mirrored some delicate beauty or truth, he tosses between the alternatives of self-grandeur and self-disgust. It is a painful matter, this endless self-scrutiny. We are all familiar with the addled ego of literature--the writer whom constant self-communion has made vulgar, acid, querulous, and vain. And yet it is remarkable that of so many who meddle with the combustible passions of their own minds so few are blown up. The discipline of living is a fine cooling-jacket for the engine.

It is essential for our apprentice to remember that, though he begin with the vilest hack-work--writing scoffing paragraphs, or advertising pamphlets, or freelance snippets for the papers--that even in hack-work quality shows itself to those competent to judge; and he need not always subdue his gold to the lead in which he works. Moreover, conscience and instinct are surprisingly true and sane. If he follows the suggestions of his own inward, he will generally be right. Moreover again, no one can help him as much as he can help himself. There is no job in the writing world that he cannot have if he really wants it. Writing about something he intimately knows is a sound principle. Hugh Walpole, that greatly gifted novelist, taught school after leaving Cambridge, and very sensibly began by writing about school-teaching. If you care to see how well he did it, read "The Gods and Mr. Perrin." I would propose this test to the would-be writer: Does he feel, honestly, that he could write as convincingly about his own tract of life (whatever it may be) as Walpole wrote about that boys' school? If so, he has a true vocation for literature.

The first and most necessary equipment of any writer, be he reporter, advertising copy-man, poet, or historian, is swift, lively, accurate observation. And since consciousness is a rapid, shallow river which we can only rarely dam up deep enough to go swimming and take our ease, it is his positive need (unless he is a genius who can afford to let drift away much of his only source of gold) to keep a note-book handy for the sieving and skimming of this running stream. Samuel Butler has good advice on this topic. Of ideas, he says, you must throw salt on their tails or they fly away and you never see their bright plumage again. Poems, stories, epigrams, all the happiest freaks of the mind, flit by on wings and at haphazard instants. They must be caught in air. In this respect one thinks American writers ought to have an advantage over English, for American trousers are made with hip-pockets, in which a small note-book may so comfortably caress the natural curvature of man.

Fancy is engendered in the eyes, said Shakespeare, and is with gazing fed. By fancy he meant (I suppose) love; but imagination is also so engendered. Close, constant, vivid, and compassionate gazing at the ways of mankind is the laboratory manual of literature. But for most of us we may gaze until our eyeballs twitch with weariness; unless we seize and hold the flying picture in some steadfast memorandum, the greater part of our experience dissolves away with time. If a man has thought sufficiently about the arduous and variously rewarded profession of literature to propose seriously to follow it for a living, he will already have said these things to himself, with more force and pungency. He may have satisfied himself that he has a necessary desire for "self-expression," which is a parlous state indeed, and the cause of much literary villainy. The truly great writer is more likely to write in the hope of expressing the hearts of others than his own. And there are other desires, too, most legitimate, that he may feel. An English humorist said recently in the preface to his book: "I wrote these stories to satisfy an inward craving--not for artistic expression, but for food and drink." But I cannot conscientiously advise any man to turn to writing merely as a means of earning his victual unless he should, by some cheerful casualty, stumble upon a trick of the You-know-me-Alfred sort, what one might call the Attabuoyant style. If all you want is a suggestion as to some honest way of growing rich, the doughnut industry is not yet overcrowded; and people will stand in line to pay twenty-two cents for a dab of ice-cream smeared with a trickle of syrup.

To the man who approaches writing with some decent tincture of idealism it is well to say that he proposes to use as a trade what is, at its best and happiest, an art and a recreation. He proposes to sell his mental reactions to the helpless public, and he proposes not only to enjoy himself by so doing, but to be handsomely recompensed withal. He cannot complain that in days when both honesty and delicacy of mind are none too common we ask him to bring to his task the humility of the tradesman, the joy of the sportsman, the conscience of the artist.

And if he does so, he will be in a condition to profit by these fine words of George Santayana, said of the poet, but applicable to workers in every branch of literature:

"He labours with his nameless burden of perception, and wastes himself in aimless impulses of emotion and reverie, until finally the method of some art offers a vent to his inspiration, or to such part of it as can survive the test of time and the discipline of expression.... Wealth of sensation and freedom of fancy, which make an extraordinary ferment in his ignorant heart, presently bubble over into some kind of utterance."

FULTON STREET, AND WALT WHITMAN

At the suggestion of Mr. Christopher Clarke, the Three Hours for Lunch Club made pilgrimage to the old seafaring tavern at No. 2 Fulton Street, and found it to be a heavenly place, with listing brass-shod black walnut stairs and the equally black and delightful waiter called Oliver, who (said Mr. Clarke) has been there since 1878.

But the club reports that the swordfish steak, of which it partook as per Mr. Clarke's suggestion, did not appeal so strongly to its taste. Swordfish steak, we feel, is probably a taste acquired by long and diligent application. At the first trial it seemed to the club a bit too reptilian in flavour. The club will go there again, and will hope to arrive in time to grab one of those tables by the windows, looking out over the docks and the United Fruit Company steamer which is so appropriately named the _Banan_; but it is the sense of the meeting that swordfish steak is not in its line.

The club retorts to Mr. Clarke by asking him if he knows the downtown chophouse where one may climb sawdusted stairs and sit in a corner beside a framed copy of the _New-York Daily Gazette_ of May 1, 1789, at a little table incised with the initials of former habitués, and hold up toward the light a glass of the clearest and most golden and amberlucent cider known to mankind, and before attacking a platter of cold ham and Boston beans, may feel that smiling sensation of a man about to make gradual and decent advances toward a ripe and ruddy appetite.

Fulton Street has always been renowned for its taverns. The Old Shakespeare Tavern used to be there, as is shown by the tablet at No. 136 commemorating the foundation of the Seventh Regiment. The club has always intended to make more careful exploration of Dutch Street, the little alley that runs off Fulton Street on the south side, not far from Broadway. There is an eating place on this byway, and the organization plans to patronize it, in order to have an excuse for giving itself the sub-title of the Dutch Street Club. The more famous eating houses along Fulton Street are known to all: the name of at least one of them has a genial Queen Anne sound. And only lately a very seemly coffee house was established not far from Fulton and Nassau. We must confess our pleasure in the fact that this place uses as its motto a footnote from The _Spectator_--"Whoever wished to find a gentleman commonly asked not where he resided, but which coffee house he frequented."

Among the many things to admire along Fulton Street (not the least of which are Dewey's puzzling perpetually fluent grape-juice bottle, and the shop where the trained ferrets are kept, for chasing out rats, mice, and cockroaches from your house, the sign says) we vote for that view of the old houses along the south side of the street, where it widens out toward the East River. This vista of tall, leaning chimneys seems to us one of the most agreeable things in New York, and we wonder whether any artist has ever drawn it. As our colleague Endymion suggested, it would make a fine subject for Walter Jack Duncan. In the eastern end of this strip of fine old masonry resides the seafaring tavern we spoke of above; formerly known as Sweet's, and a great place of resort (we are told) for Brooklynites in the palmy days before the Bridge was opened, when they used to stop there for supper before taking the Fulton Ferry across the perilous tideway.

The Fulton Ferry--dingy and deserted now--is full of fine memories. The old waiting room, with its ornate carved ceiling and fine, massive gas brackets, peoples itself, in one's imagination, with the lively and busy throngs of fifty and sixty years ago. "My life then (1850-60) was curiously identified with Fulton Ferry, already becoming the greatest in the world for general importance, volume, variety, rapidity, and picturesqueness." So said Walt Whitman. It is a curious experience to step aboard one of the boats in the drowsy heat of a summer afternoon and take the short voyage over to the Brooklyn slip, underneath one of the huge piers of the Bridge. A few heavy wagons and heat-oppressed horses are almost the only other passengers. Not far away from the ferry, on the Brooklyn side, are the three charmingly named streets--Cranberry, Orange, and Pineapple--which are also so lastingly associated with Walt Whitman's life. It strikes us as odd, incidentally, that Walt, who loved Brooklyn so much, should have written a phrase so capable of humorous interpretation as the following: "Human appearances and manners--endless humanity in all its phases--Brooklyn also." This you will find in Walt's Prose Works, which is (we suppose) one of the most neglected of American classics.

But Fulton Street, Manhattan--in spite of its two greatest triumphs: Evelyn Longman Batchelder's glorious figure of "Lightning," and the strictly legal "three grains of pepsin" which have been a comfort to so many stricken invalids--is a mere byway compared to Fulton Street, Brooklyn, whose long bustling channel may be followed right out into the Long Island pampas. At the corner of Fulton and Cranberry streets "Leaves of Grass" was set up and printed, Walt Whitman himself setting a good deal of the type. Ninety-eight Cranberry Street, we have always been told, was the address of Andrew and James Rome, the printers. The house at that corner is still numbered 98. The ground floor is occupied by a clothing store, a fruit stand, and a barber shop. The building looks as though it is probably the same one that Walt knew. Opposite it is a sign where the comparatively innocent legend BEN'S PURE LAGER has been deleted.

The pilgrim on Fulton Street will also want to have a look at the office of the Brooklyn _Eagle_, that famous paper which has numbered among its employees two such different journalists as Walt Whitman and Edward Bok. There are many interesting considerations to be drawn from the two volumes of Walt's writings for the _Eagle_, which were collected (under the odd title "The Gathering of the Forces") by Cleveland Rodgers and John Black. We have always been struck by the complacent naïveté of Walt's judgments on literature (written, perhaps, when he was in a hurry to go swimming down at the foot of Fulton Street). Such remarks as the following make us ponder a little sadly. Walt wrote:

We are no admirer of such characters as Doctor Johnson. He was a sour, malicious, egotistical man. He was a sycophant of power and rank, withal; his biographer narrates that he "always spoke with rough contempt of popular liberty." His head was educated to the point of _plus_, but for his heart, might still more unquestionably stand the sign _minus_. He insulted his equals ... and tyrannized over his inferiors. He fawned upon his superiors, and, of course, loved to be fawned upon himself.... Nor were the freaks of this man the mere "eccentricities of genius"; they were probably the faults of a vile, low nature. His soul was a bad one.

The only possible comment on all this is that it is absurd, and that evidently Walt knew very little about the great Doctor. One of the curious things about Walt--and there is no man living who admires him more than we do--is that he requires to be forgiven more generously than any other great writer. There is no one who has ever done more grotesquely unpardonable things than he--and yet, such is the virtue of his great, saline simplicity, one always pardons them. As a book reviewer, to judge from the specimens rescued from the _Eagle_ files by his latest editors, he was uniquely childish.

Noting the date of Walt's blast on Doctor Johnson (December 7, 1846), it is doubtful whether we can attribute the irresponsibility of his remarks to a desire to go swimming.

The editors of this collection venture the suggestion that the lighter pieces included show Walt as "not devoid of humour." We fear that Walt's waggishness was rather heavily shod. Here is a sample of his light-hearted paragraphing (the italics are his):--

Carelessly knocking a man's eye out with a broken axe, may be termed a _bad axe-i-dent_.

It was in Leon Bazalgette's "Walt Whitman" that we learned of Walt's only really humorous achievement; and even then the humour was unconscious. It seems that during the first days of his life as a journalist in New York, Walt essayed to compromise with Mannahatta by wearing a frock coat, a high hat, and a flower in his lapel. We regret greatly that no photo of Walt in this rig has been preserved, for we would like to have seen the gentle misery of his bearing.

McSORLEY'S

This afternoon we have been thinking how pleasant it would be to sit at one of those cool tables up at McSorley's and write our copy there. We have always been greatly allured by Dick Steele's habit of writing his Tatler at his favourite tavern. You remember his announcement, dated April 12, 1709:

All accounts of gallantry, pleasure, and entertainment, shall be under the article of White's Chocolate-house; poetry, under that of Will's Coffee-house; learning, under the title of The Grecian; foreign and domestic news, you will have from Saint James's Coffee-house; and what else I have to offer on any other subject shall be dated from my own apartment.

Sir Dick--would one speak of him as the first colyumist?--continued by making what is, we suppose, one of the earliest references in literature to the newspaper man's "expense account." But the expenses of the reporter two centuries ago seem rather modest. Steele said:

I once more desire my reader to consider that as I cannot keep an ingenious man to go daily to Will's under twopence each day, merely for his charges; to White's under sixpence; nor to The Grecian, without allowing him some plain Spanish, to be as able as others at the learned table; and that a good observer cannot speak with even Kidney[*] at Saint James's without clean linen: I say, these considerations will, I hope, make all persons willing to comply with my humble request of a penny-a-piece.

[* Evidently the bus boy.]

But what we started to say was that if, like Dick Steele, we were in the habit of dating our stuff from various inns around the town, our choice for a quiet place in which to compose items of "gallantry, pleasure, and entertainment" would be McSorley's--"The Old House at Home"--up on Seventh Street. We had feared that this famous old cabin of cheer might have gone west in the recent evaporation; but rambling round in the neighbourhood of the Cooper Union we saw its familiar doorway with a shock of glad surprise. After all, there is no reason why the old-established houses should not go on doing a good business on a Volstead basis. It has never been so much a question of what a man drinks as the atmosphere in which he drinks it. Atrocious cleanliness and glitter and raw naked marble make the soda fountains a disheartening place to the average male. He likes a dark, low-ceilinged, and not too obtrusively sanitary place to take his ease. At McSorley's is everything that the innocent fugitive from the world requires. The great amiable cats that purr in the back room. The old pictures and playbills on the walls. The ancient clocks that hoarsely twang the hours. We cannot imagine a happier place to sit down with a pad of paper and a well-sharpened pencil than at that table in the corner by the window. Or the table just under that really lovely little portrait of Robert Burns--would there be any more propitious place in New York at which to fashion verses? There would be no interruptions, such as make versifying almost impossible in a newspaper office. The friendly bartenders in their lilac-coloured shirts are wise and gracious men. They would not break in upon one's broodings. Every now and then, while the hot sun smote the awnings outside, there would be another china mug of that one-half-of-1-per-cent. ale, which seems to us very good. We repeat: we don't care so much what we drink as the surroundings among which we drink it. We are not, if you will permit the phrase, sot in our ways. We like the spirit of McSorley's, which is decent, dignified, and refined. No club has an etiquette more properly self-respecting.

One does not go to McSorley's without a glimpse at that curious old red pile Bible House. It happened this way: Our friend Endymion was back from his vacation and we were trying to celebrate it in modest fashion. We were telling him all the things that had happened since he went away--that Bob Holliday had had a fortieth birthday, and Frank Shay had published his bibliography of Walt Whitman, and all that sort of thing; and in our mutual excitement Endymion whisked too swiftly round a corner and caught his jacket on a sharp door-latch and tore it. Inquiring at Astor Place's biggest department store as to where we could get it mended, they told us to go to "Mr. Wright the weaver" on the sixth floor of Bible House, and we did so. On our way back, avoiding the ancient wire rope elevator (we know only one other lift so delightfully mid-Victorian, viz., one in Boston, that takes you upstairs to see Edwin Edgett, the gentle-hearted literary editor of the Boston _Transcript_), we walked down the stairs, peeping into doorways in great curiosity. The whole building breathed a dusky and serene quaintness that pricks the imagination. It is a bit like the shop in Edinburgh (on the corner of the Leith Walk and Antigua Street, if we remember) that R.L.S. described in "A Penny Plain and Twopence Coloured"--"it was dark and smelt of Bibles." We looked in at the entrance to the offices of the _Christian Herald_. The Bowling Green thought that what he saw was two young ladies in close and animated converse; but Endymion insisted that it was one young lady doing her hair in front of a large mirror. "Quite a pretty little picture," said Endymion. We argued about this as we went down the stairs. Finally we went back to make sure. Endymion was right. Even in the darkness of Bible House, we agreed, romance holds sway. And then we found a book shop on the ground floor of Bible House. One of our discoveries there was "Little Mr. Bouncer," by Cuthbert Bede--a companion volume to "Mr. Verdant Green."

But Dick Steele's idea of writing his column from different taverns round the city is rather gaining ground in our affections. There would be no more exciting way of spending a fortnight or so than in taking a walking tour through the forests of New York, camping for the night wherever we happened to find ourself at dark, Adam-and-Evesdropping as we went, and giving the nearest small boy fifty cents to take our copy down to the managing editor. Some of our enterprising clients, who are not habitual commuters and who live in a state of single cussedness, might try it some time.

The only thing we missed at McSorley's, we might add, was the old-time plate of onions. But then we were not there at lunch time, and the pungent fruit may have been hidden away in the famous tall ice box. Hutchins Hapgood once said, in an article about McSorley's in _Harper's Weekly_: "The wives of the men who frequent McSorley's always know where their husbands have been. There is no mistaking a McSorley onion." He was right. The McSorley onion--"rose among roots"--was _sui generis_. It had a reach and authenticity all its own.

We have said a good deal, now and then, about some of the taverns and chophouses we enjoy; but the one that tingles most strongly in our bosom is one that doesn't exist. That is the chophouse that might be put in the cellar of that glorious old round-towered building at 59 Ann Street.

As you go along Ann Street, you will come, between numbers 57 and 61, to an old passage-way running down to a curious courtyard, which is tenanted mostly by carpenters and iron-workers, and by a crowded store which seems to be a second-hand ship-chandlery, for old sea-boots, life preservers, fenders, ship's lanterns, and flags hang on the wall over the high stairway. In the cellars are smithies where you will see the bright glare of a forge and men with faces gleaming in tawny light pulling shining irons out of the fire. The whole place is too fascinating to be easily described. That round-tower house is just our idea of the right place for a quiet tavern or club, where one would go in at lunch time, walk over a sawdusted floor to a table bleached by many litres of slopovers, light a yard of clay, and call for a platter of beefsteak pie. The downtown region is greatly in need of the kind of place we have in mind, and if any one cares to start a chophouse in that heavenly courtyard, the Three Hours for Lunch Club pledges itself to attend regularly.

A PORTRAIT

"My idea of life," said my friend S----, "would be to have a nice lawn running down to the water, several deck-chairs, plenty of tobacco, and three or four of us to sit there all day long and listen to B---- talk."

I suppose that B----,--I wish I could name him, but it would be an indecency to do so, for part of his charm is his complete unconsciousness of the affection, and even adoration, of the little group of younger men who call themselves his "fans"--I suppose that B----'s talk is as nearly Johnsonian in virtue and pungency as any spoken wisdom now hearable in this country. To know him is, in the absolute truth of that enduring phrase, a liberal education. To his simplicity, his valorous militancy for truth, he joins the mind of a great scholar, the placable spirit of an eager child.