“Why shouldn’t you be bored,” yawned Tom. “Isn’t that the conventional frame of mind for the young man of your age and condition?”
“Yes,” said Amory speculatively, “but I’m more than bored; I am restless.”
“Love and war did for you.”
“Well,” Amory considered, “I’m not sure that the war itself had any great effect on either you or me—but it certainly ruined the old backgrounds, sort of killed individualism out of our generation.”
Tom looked up in surprise.
“Yes it did,” insisted Amory. “I’m not sure it didn’t kill it out of the whole world. Oh, Lord, what a pleasure it used to be to dream I might be a really great dictator or writer or religious or political leader—and now even a Leonardo da Vinci or Lorenzo de Medici couldn’t be a real old-fashioned bolt in the world. Life is too huge and complex. The world is so overgrown that it can’t lift its own fingers, and I was planning to be such an important finger—”
“I don’t agree with you,” Tom interrupted. “There never were men placed in such egotistic positions since—oh, since the French Revolution.”
Amory disagreed violently.
“You’re mistaking this period when every nut is an individualist for a period of individualism. Wilson has only been powerful when he has represented; he’s had to compromise over and over again. Just as soon as Trotsky and Lenin take a definite, consistent stand they’ll become merely two-minute figures like Kerensky. Even Foch hasn’t half the significance of Stonewall Jackson. War used to be the most individualistic pursuit of man, and yet the popular heroes of the war had neither authority nor responsibility: Guynemer and Sergeant York. How could a schoolboy make a hero of Pershing? A big man has no time really to do anything but just sit and be big.”
“Then you don’t think there will be any more permanent world heroes?”
“Yes—in history—not in life. Carlyle would have difficulty getting material for a new chapter on ‘The Hero as a Big Man.’”
“Go on. I’m a good listener to-day.”
“People try so hard to believe in leaders now, pitifully hard. But we no sooner get a popular reformer or politician or soldier or writer or philosopher—a Roosevelt, a Tolstoi, a Wood, a Shaw, a Nietzsche, than the cross-currents of criticism wash him away. My Lord, no man can stand prominence these days. It’s the surest path to obscurity. People get sick of hearing the same name over and over.”
“Then you blame it on the press?”
“Absolutely. Look at you; you’re on The New Democracy, considered the most brilliant weekly in the country, read by the men who do things and all that. What’s your business? Why, to be as clever, as interesting, and as brilliantly cynical as possible about every man, doctrine, book, or policy that is assigned you to deal with. The more strong lights, the more spiritual scandal you can throw on the matter, the more money they pay you, the more the people buy the issue. You, Tom d’Invilliers, a blighted Shelley, changing, shifting, clever, unscrupulous, represent the critical consciousness of the race—Oh, don’t protest, I know the stuff. I used to write book reviews in college; I considered it rare sport to refer to the latest honest, conscientious effort to propound a theory or a remedy as a ‘welcome addition to our light summer reading.’ Come on now, admit it.”
Tom laughed, and Amory continued triumphantly.
“We want to believe. Young students try to believe in older authors, constituents try to believe in their Congressmen, countries try to believe in their statesmen, but they can’t. Too many voices, too much scattered, illogical, ill-considered criticism. It’s worse in the case of newspapers. Any rich, unprogressive old party with that particularly grasping, acquisitive form of mentality known as financial genius can own a paper that is the intellectual meat and drink of thousands of tired, hurried men, men too involved in the business of modern living to swallow anything but predigested food. For two cents the voter buys his politics, prejudices, and philosophy. A year later there is a new political ring or a change in the paper’s ownership, consequence: more confusion, more contradiction, a sudden inrush of new ideas, their tempering, their distillation, the reaction against them—”
He paused only to get his breath.
“And that is why I have sworn not to put pen to paper until my ideas either clarify or depart entirely; I have quite enough sins on my soul without putting dangerous, shallow epigrams into people’s heads; I might cause a poor, inoffensive capitalist to have a vulgar liaison with a bomb, or get some innocent little Bolshevik tangled up with a machine-gun bullet—”
Tom was growing restless under this lampooning of his connection with The New Democracy.
“What’s all this got to do with your being bored?”
Amory considered that it had much to do with it.
“How’ll I fit in?” he demanded. “What am I for? To propagate the race? According to the American novels we are led to believe that the ‘healthy American boy’ from nineteen to twenty-five is an entirely sexless animal. As a matter of fact, the healthier he is the less that’s true. The only alternative to letting it get you is some violent interest. Well, the war is over; I believe too much in the responsibilities of authorship to write just now; and business, well, business speaks for itself. It has no connection with anything in the world that I’ve ever been interested in, except a slim, utilitarian connection with economics. What I’d see of it, lost in a clerkship, for the next and best ten years of my life would have the intellectual content of an industrial movie.”
“Try fiction,” suggested Tom.
“Trouble is I get distracted when I start to write stories—get afraid I’m doing it instead of living—get thinking maybe life is waiting for me in the Japanese gardens at the Ritz or at Atlantic City or on the lower East Side.
“Anyway,” he continued, “I haven’t the vital urge. I wanted to be a regular human being but the girl couldn’t see it that way.”
“You’ll find another.”
“God! Banish the thought. Why don’t you tell me that ‘if the girl had been worth having she’d have waited for you’? No, sir, the girl really worth having won’t wait for anybody. If I thought there’d be another I’d lose my remaining faith in human nature. Maybe I’ll play—but Rosalind was the only girl in the wide world that could have held me.”
“Well,” yawned Tom, “I’ve played confidant a good hour by the clock. Still, I’m glad to see you’re beginning to have violent views again on something.”
“I am,” agreed Amory reluctantly. “Yet when I see a happy family it makes me sick at my stomach—”
“Happy families try to make people feel that way,” said Tom cynically.
TOM THE CENSOR
There were days when Amory listened. These were when Tom, wreathed in smoke, indulged in the slaughter of American literature. Words failed him.
“Fifty thousand dollars a year,” he would cry. “My God! Look at them, look at them—Edna Ferber, Gouverneur Morris, Fanny Hurst, Mary Roberts Rinehart—not producing among ’em one story or novel that will last ten years. This man Cobb—I don’t tink he’s either clever or amusing—and what’s more, I don’t think very many people do, except the editors. He’s just groggy with advertising. And—oh Harold Bell Wright oh Zane Grey—”
“They try.”
“No, they don’t even try. Some of them can write, but they won’t sit down and do one honest novel. Most of them can’t write, I’ll admit. I believe Rupert Hughes tries to give a real, comprehensive picture of American life, but his style and perspective are barbarous. Ernest Poole and Dorothy Canfield try but they’re hindered by their absolute lack of any sense of humor; but at least they crowd their work instead of spreading it thin. Every author ought to write every book as if he were going to be beheaded the day he finished it.”
“Is that double entente?”
“Don’t slow me up! Now there’s a few of ’em that seem to have some cultural background, some intelligence and a good deal of literary felicity but they just simply won’t write honestly; they’d all claim there was no public for good stuff. Then why the devil is it that Wells, Conrad, Galsworthy, Shaw, Bennett, and the rest depend on America for over half their sales?”
“How does little Tommy like the poets?”
Tom was overcome. He dropped his arms until they swung loosely beside the chair and emitted faint grunts.
“I’m writing a satire on ’em now, calling it ‘Boston Bards and Hearst Reviewers.’”
“Let’s hear it,” said Amory eagerly.
“I’ve only got the last few lines done.”
“That’s very modern. Let’s hear ’em, if they’re funny.”
Tom produced a folded paper from his pocket and read aloud, pausing at intervals so that Amory could see that it was free verse:
“So
Walter Arensberg,
Alfred Kreymborg,
Carl Sandburg,
Louis Untermeyer,
Eunice Tietjens,
Clara Shanafelt,
James Oppenheim,
Maxwell Bodenheim,
Richard Glaenzer,
Scharmel Iris,
Conrad Aiken,
I place your names here
So that you may live
If only as names,
Sinuous, mauve-colored names,
In the Juvenalia
Of my collected editions.”
Amory roared.
“You win the iron pansy. I’ll buy you a meal on the arrogance of the last two lines.”
Amory did not entirely agree with Tom’s sweeping damnation of American novelists and poets. He enjoyed both Vachel Lindsay and Booth Tarkington, and admired the conscientious, if slender, artistry of Edgar Lee Masters.
“What I hate is this idiotic drivel about ‘I am God—I am man—I ride the winds—I look through the smoke—I am the life sense.’”
“It’s ghastly!”
“And I wish American novelists
