Further Foolishness

NOTE.-This story originally contained two hundred and fifty thousand words. But by a marvellous feat of condensation it is reduced, without the slightest loss, to a hundred and six words.

(I)

Edward Endless lived during his youth
in Maine,
in New Hampshire,
in Vermont,
in Massachusetts,
in Rhode Island,
in Connecticut.

(II)

Then the lure of the city lured him. His fate took him to
New York, to Chicago, and to Philadelphia.

In Chicago he lived,
in a boarding-house on Lasalle Avenue,
then he boarded—
in a living-house on Michigan Avenue.

In New York he
had a room in an eating-house on Forty-first Street,
and then—
ate in a rooming-house on Forty-second Street.

In Philadelphia he
used to sleep on Chestnut Street,
and then—
slept on Maple Street.

During all this time women were calling to him. He knew
and came to be friends with—
Margaret Jones,
Elizabeth Smith,
Arabella Thompson,
Jane Williams,
Maud Taylor.

And he also got to know pretty well,
Louise Quelquechose,
Antoinette Alphabetic,
Estelle Etcetera.

And during this same time Art began to call him—
Pictures began to appeal to him.
Statues beckoned to him.
Music maddened him,
and any form of Recitation or Elocution drove
him beside himself.

(III)

Then, one day, he married Margaret Jones.
As soon as he had married her
He was disillusioned.
He now hated her.

Then he lived with Elizabeth Smith—
He had no sooner sat down with her than—
He hated her.

Half mad, he took his things over to Arabella Thompson's flat to live with her.

The moment she opened the door of the apartment, he loathed her.

He saw her as she was.

Driven sane with despair, he then—

(Our staff here cut the story off. There are hundreds and hundreds of pages after this. They show Edward Endless grappling in the fight for clean politics. The last hundred pages deal with religion. Edward finds it after a big fight. But no one reads these pages. There are no women in them. Our staff cut them out and merely show at the end—

Edward Purified—
Uplifted—
Transluted.

The whole story is perhaps the biggest thing ever done on this continent. Perhaps!)

II. Snoopopaths; or, Fifty Stories in One

This particular study in the follies of literature is not so much a story as a sort of essay. The average reader will therefore turn from it with a shudder. The condition of the average reader's mind is such that he can take in nothing but fiction. And it must be thin fiction at that—thin as gruel. Nothing else will "sit on his stomach."

Everything must come to the present-day reader in this form. If you wish to talk to him about religion, you must dress it up as a story and label it Beth-sheba, or The Curse of David; if you want to improve the reader's morals, you must write him a little thing in dialogue called Mrs. Potiphar Dines Out. If you wish to expostulate with him about drink, you must do so through a narrative called Red Rum—short enough and easy enough for him to read it, without overstraining his mind, while he drinks cocktails.

But whatever the story is about it has got to deal—in order to be read by the average reader—with A MAN and A WOMAN, I put these words in capitals to indicate that they have got to stick out of the story with the crudity of a drawing done by a child with a burnt stick. In other words, the story has got to be snoopopathic. This is a word derived from the Greek—"snoopo"—or if there never was a Greek verb snoopo, at least there ought to have been one—and it means just what it seems to mean. Nine out of ten short stories written in America are snoopopathic.

In snoopopathic literature, in order to get its full effect, the writer generally introduces his characters simply as "the man" and "the woman." He hates to admit that they have no names. He opens out with them something after this fashion: "The Man lifted his head. He looked about him at the gaily bedizzled crowd that besplotched the midnight cabaret with riotous patches of colour. He crushed his cigar against the brass of an Egyptian tray. 'Bah!' he murmured, 'Is it worth it?' Then he let his head sink again."

You notice it? He lifted his head all the way up and let it sink all the way down, and you still don't know who he is. For The Woman the beginning is done like this: "The Woman clenched her white hands till the diamonds that glittered upon her fingers were buried in the soft flesh. 'The shame of it,' she murmured. Then she took from the table the telegram that lay crumpled upon it and tore it into a hundred pieces. 'He dare not!' she muttered through her closed teeth. She looked about the hotel room with its garish furniture. 'He has no right to follow me here,' she gasped."

All of which the reader has to take in without knowing who the woman is, or which hotel she is staying at, or who dare not follow her or why. But the modern reader loves to get this sort of shadowy incomplete effect. If he were told straight out that the woman's name was Mrs. Edward Dangerfield of Brick City, Montana, and that she had left her husband three days ago and that the telegram told her that he had discovered her address and was following her, the reader would refuse to go on.

This method of introducing the characters is bad enough. But the new snoopopathic way of describing them is still worse. The Man is always detailed as if he were a horse. He is said to be "tall, well set up, with straight legs."

Great stress is always laid on his straight legs. No magazine story is acceptable now unless The Man's legs are absolutely straight. Why this is, I don't know. All my friends have straight legs—and yet I never hear them make it a subject of comment or boasting. I don't believe I have, at present, a single friend with crooked legs.

But this is not the only requirement. Not only must The Man's legs be straight but he must be "clean-limbed," whatever that is; and of course he must have a "well-tubbed look about him." How this look is acquired, and whether it can be got with an ordinary bath and water are things on which I have no opinion.