The Job (Annotated) E-Book

Sinclair Lewis

• Herausgeber: ePembaBooks
• Kategorie: Gesellschafts- und Liebesromane
• Sprache: Englisch
• Veröffentlichungsjahr: 2022

Beschreibung

• This edition includes the following editor's introduction: Sinclair Lewis, a controversial Nobel Laureate in Literature

First published in 1917, "The Job" is an early work by American novelist Sinclair Lewis that is considered one of the first key statements of working women's rights.
There is no doubt that Lewis, the first American to win the Nobel Prize for literature, and a writer lauded both for his craft and his principles, wrote “The Job” as a statement of female empowerment, and self-determination over societal expectation.
“The Job” was published before Sinclair Lewis achieved any significant fame and provides insights on working women as well as the unique nature (for the time) of having a woman as the lead character.

“The Job” focuses on the main character, Una Golden, and her desire to establish herself in a legitimate occupation while balancing the eventual need for marriage. The story takes place in the early 1900-1920s and takes Una from a small Pennsylvania town to New York. Forced to work due to family illness, Una shows a talent for the traditional male bastion of commercial real estate and, while valued by her company, she struggles to achieve the same status of her male coworkers.
On a parallel track, her quest for traditional romance and love is important but her unique role as a working woman, doing a man's job, makes it tough to find an appropriate suitor…

Leseprobe

Table of contents

Sinclair Lewis, a controversial Nobel Laureate in Literature

THE JOB

Part I: THE CITY

Chapter I

§ 1

§ 2

§ 3

Chapter II

§ 1

§ 2

§ 3

§ 4

Chapter III

§ 1

§ 2

§ 3

§ 4

§ 5

Chapter IV

§ 1

§ 2

§ 3

§ 4

§ 5

Chapter V

§ 1

§ 2

§ 3

§ 4

§ 5

Chapter VI

§ 1

§ 2

§ 3

§ 4

Chapter VII

§ 1

§ 2

§ 3

§ 4

§ 5

§ 6

§ 7

§ 8

Chapter VIII

§ 1

§ 2

§ 3

§ 4

§ 5

§ 6

§ 7

§ 8

Part II: THE OFFICE

Chapter IX

§ 1

§ 2

§ 3

§ 4

§ 5

§ 6

§ 7

Chapter X

§ 1

§ 2

§ 3

§ 4

§ 5

Chapter XI

§ 1

§ 2

Chapter XII

§ 1

§ 2

§ 3

§ 4

Chapter XIII

§ 1

§ 2

§ 3

§ 4

§ 5

§ 6

§ 7

Chapter XIV

§ 1

§ 2

§ 3

§ 4

Chapter XV

§ 1

§ 2

§ 3

Part III: MAN AND WOMAN

Chapter XVI

§ 1

§ 2

Chapter XVII

§ 1

§ 2

§ 3

§ 4

Chapter XVIII

§ 1

§ 2

Chapter XIX

§ 1

§ 2

Chapter XX

§ 1

§ 2

§ 3

§ 4

Chapter XXI

§ 1

§ 2

§ 3

Chapter XXII

§ 1

§ 2

§ 3

§ 4

§ 5

§ 6

Chapter XXIII

§ 1

§ 2

Sinclair Lewis, a controversial Nobel Laureate in Literature

At the beginning of the 20th century, the representation of American culture in literature was hardly awarded. The major exception is Sinclair Lewis, a noted writer of novels and plays, who was born in Sauk Center in 1885.

After his education at Yale University, Lewis begins working in the writing world, as a journalist and literary editor. At this time, he apprenticed with author Upton Sinclair. He became known locally through humorous appearances in regional newspapers. He worked in the editorial department of the Transatlantic Tales until he went to Panama to be part of the Canal works. Sinclair Lewis began writing socially engaged novels of exceptional quality such as " The Job" (1917), considered one of the first key statements of working women's rights. But fame came when Lewis published one of his masterpieces, "Free Air", in 1919, a year before "Main Street", Lewis' first successful publication that catapulted the author to stardom. However, it received a mixed response from critics, attributing the main negative commentary to the cruel interpretation of American life. It was precisely for this reason that he gained a small group of admirers, who applauded this accurate perspective of American culture. The themes of hypocrisy and addictions of American society were evident from this early work, as was the concept of freedom and democracy.

Satires of American culture It was not until 1922 that the name of Sinclair Lewis became popular around the world with his play “Babbitt.” Like his previous writing, this publication was the focus of much controversy due to the stereotypes it presented about the American male. The popularity of the work was so extreme that the word Babbitt became part of the American vocabulary to refer to this prototype. This inspired Lewis to continue his controversial satirical writing style. It is most evident with his novel “Elmer Gantry,” about a pastor who infiltrates the Protestant church. Controversy this time came from the church and its followers, who condemned the author's work. But this would not be the last time that this literary figure would upset an important group of people. In 1928, he published his work “The Man Who Knew Coolidge,” a critical analysis of the world of politics in the United States. In the following years, he continued to comment on American life. He introduces “Dodsworth,” a play about the life of the middle-class American woman, and “Work of Art,” which criticizes the country's hospitality traditions. He also idealizes a hypothetical America undergoing a fascist dictatorship and the consequences of it in his work “It Can't Happen Here.” For his later works, controversial themes abandon their presence in Lewis's writings. This author presents less aggressive works about the American bourgeoisie.

Criticism and recognition for his work Sinclair Lewis was the subject of much criticism throughout his career. Many claimed that it was not literary but journalistic talent that the author had, pointing out that he was not very creative due to his realistic and naturalistic style. Still, other literary critics point to the importance of his satirical work in depicting American society, a perspective still present in literature today. This led Lewis down a path filled with detractors but also many admirers. He was honoured with different types of recognition throughout his career. Undoubtedly, the most important of them is the Nobel Prize for Literature that he obtained in 1930. This made him the first American author to receive this award. The Swedish Academy applauded his ability to use humour to present serious and uncritical themes of the American community. The Pulitzer Prize was offered to him for his 1925 novel “Arrowsmith.” However, the author declined this recognition because of the award's conservative origins.

The Editor, P.C. 2022

THE JOB

Sinclair Lewis

To

My Wife

Who Has Made "the Job" Possible and Life Itself Quite Beautifully Improbable

Part I: THE CITY

Chapter I

§ 1

Captain Lew Golden would have saved any foreign observer a great deal of trouble in studying America. He was an almost perfect type of the petty small–town middle–class lawyer. He lived in Panama, Pennsylvania. He had never been "captain" of anything except the Crescent Volunteer Fire Company, but he owned the title because he collected rents, wrote insurance, and meddled with lawsuits.

He carried a quite visible mustache–comb and wore a collar, but no tie. On warm days he appeared on the street in his shirt–sleeves, and discussed the comparative temperatures of the past thirty years with Doctor Smith and the Mansion House 'bus–driver. He never used the word "beauty" except in reference to a setter dog—beauty of words or music, of faith or rebellion, did not exist for him. He rather fancied large, ambitious, banal, red–and–gold sunsets, but he merely glanced at them as he straggled home, and remarked that they were "nice." He believed that all Parisians, artists, millionaires, and socialists were immoral. His entire system of theology was comprised in the Bible, which he never read, and the Methodist Church, which he rarely attended; and he desired no system of economics beyond the current platform of the Republican party. He was aimlessly industrious, crotchety but kind, and almost quixotically honest.

He believed that "Panama, Pennsylvania, was good enough for anybody."

This last opinion was not shared by his wife, nor by his daughter Una.

Mrs. Golden was one of the women who aspire just enough to be vaguely discontented; not enough to make them toil at the acquisition of understanding and knowledge. She had floated into a comfortable semi–belief in a semi–Christian Science, and she read novels with a conviction that she would have been a romantic person "if she hadn't married Mr. Golden—not but what he's a fine man and very bright and all, but he hasn't got much imagination or any, well, romance!"

She wrote poetry about spring and neighborhood births, and Captain Golden admired it so actively that he read it aloud to callers. She attended all the meetings of the Panama Study Club, and desired to learn French, though she never went beyond borrowing a French grammar from the Episcopalian rector and learning one conjugation. But in the pioneer suffrage movement she took no part—she didn't "think it was quite ladylike." … She was a poor cook, and her house always smelled stuffy, but she liked to have flowers about. She was pretty of face, frail of body, genuinely gracious of manner. She really did like people, liked to give cookies to the neighborhood boys, and—if you weren't impatient with her slackness—you found her a wistful and touching figure in her slight youthfulness and in the ambition to be a romantic personage, a Marie Antoinette or a Mrs. Grover Cleveland, which ambition she still retained at fifty–five.

She was, in appearance, the ideal wife and mother—sympathetic, forgiving, bright–lipped as a May morning. She never demanded; she merely suggested her desires, and, if they were refused, let her lips droop in a manner which only a brute could withstand.

She plaintively admired her efficient daughter Una.

Una Golden was a "good little woman"—not pretty, not noisy, not particularly articulate, but instinctively on the inside of things; naturally able to size up people and affairs. She had common sense and unkindled passion. She was a matter–of–fact idealist, with a healthy woman's simple longing for love and life. At twenty–four Una had half a dozen times fancied herself in love. She had been embraced at a dance, and felt the stirring of a desire for surrender. But always a native shrewdness had kept her from agonizing over these affairs.

She was not—and will not be—a misunderstood genius, an undeveloped artist, an embryonic leader in feminism, nor an ugly duckling who would put on a Georgette hat and captivate the theatrical world. She was an untrained, ambitious, thoroughly commonplace, small–town girl. But she was a natural executive and she secretly controlled the Golden household; kept Captain Golden from eating with his knife, and her mother from becoming drugged with too much reading of poppy–flavored novels.

She wanted to learn, learn anything. But the Goldens were too respectable to permit her to have a job, and too poor to permit her to go to college. From the age of seventeen, when she had graduated from the high school—in white ribbons and heavy new boots and tight new organdy—to twenty–three, she had kept house and gone to gossip–parties and unmethodically read books from the town library—Walter Scott, Richard Le Gallienne, Harriet Beecher Stowe, Mrs. Humphry Ward, How to Know the Birds, My Year in the Holy Land, Home Needlework, Sartor Resartus, and Ships that Pass in the Night. Her residue of knowledge from reading them was a disbelief in Panama, Pennsylvania.

She was likely never to be anything more amazing than a mother and wife, who would entertain the Honiton Embroidery Circle twice a year.

Yet, potentially, Una Golden was as glowing as any princess of balladry. She was waiting for the fairy prince, though he seemed likely to be nothing more decorative than a salesman in a brown derby. She was fluid; indeterminate as a moving cloud.

Although Una Golden had neither piquant prettiness nor grave handsomeness, her soft littleness made people call her "Puss," and want to cuddle her as a child cuddles a kitten. If you noted Una at all, when you met her, you first noted her gentle face, her fine–textured hair of faded gold, and her rimless eye–glasses with a gold chain over her ear. These glasses made a business–like center to her face; you felt that without them she would have been too childish. Her mouth was as kind as her spirited eyes, but it drooped. Her body was so femininely soft that you regarded her as rather plump. But for all her curving hips, and the thick ankles which she considered "common," she was rather anemic. Her cheeks were round, not rosy, but clear and soft; her lips a pale pink. Her chin was plucky and undimpled; it was usually spotted with one or two unimportant eruptions, which she kept so well covered with powder that they were never noticeable. No one ever thought of them except Una herself, to whom they were tragic blemishes which she timorously examined in the mirror every time she went to wash her hands. She knew that they were the result of the indigestible Golden family meals; she tried to take comfort by noticing their prevalence among other girls; but they kept startling her anew; she would secretly touch them with a worried forefinger, and wonder whether men were able to see anything else in her face.

You remembered her best as she hurried through the street in her tan mackintosh with its yellow velveteen collar turned high up, and one of those modest round hats to which she was addicted. For then you were aware only of the pale–gold hair fluffing round her school–mistress eye–glasses, her gentle air of respectability, and her undistinguished littleness.

She trusted in the village ideal of virginal vacuousness as the type of beauty which most captivated men, though every year she was more shrewdly doubtful of the divine superiority of these men. That a woman's business in life was to remain respectable and to secure a man, and consequent security, was her unmeditated faith—till, in 1905, when Una was twenty–four years old, her father died.

§ 2

Captain Golden left to wife and daughter a good name, a number of debts, and eleven hundred dollars in lodge insurance. The funeral was scarcely over before neighbors—the furniture man, the grocer, the polite old homeopathic doctor—began to come in with bland sympathy and large bills. When the debts were all cleared away the Goldens had only six hundred dollars and no income beyond the good name. All right–minded persons agree that a good name is precious beyond rubies, but Una would have preferred less honor and more rubies.

She was so engaged in comforting her mother that she scarcely grieved for her father. She took charge of everything—money, house, bills.

Mrs. Golden had been overwhelmed by a realization that, however slack and shallow Captain Golden had been, he had adored her and encouraged her in her gentility, her pawing at culture. With an emerging sincerity, Mrs. Golden mourned him, now, missed his gossipy presence—and at the same time she was alive to the distinction it added to her slim gracefulness to wear black and look wan. She sobbed on Una's shoulder; she said that she was lonely; and Una sturdily comforted her and looked for work.

One of the most familiar human combinations in the world is that of unemployed daughter and widowed mother. A thousand times you have seen the jobless daughter devoting all of her curiosity, all of her youth, to a widowed mother of small pleasantries, a small income, and a shabby security. Thirty comes, and thirty–five. The daughter ages steadily. At forty she is as old as her unwithering mother. Sweet she is, and pathetically hopeful of being a pianist or a nurse; never quite reconciled to spinsterhood, though she often laughs about it; often, by her insistence that she is an "old maid," she makes the thought of her barren age embarrassing to others. The mother is sweet, too, and "wants to keep in touch with her daughter's interests," only, her daughter has no interests. Had the daughter revolted at eighteen, had she stubbornly insisted that mother either accompany her to parties or be content to stay alone, had she acquired "interests," she might have meant something in the new generation; but the time for revolt passes, however much the daughter may long to seem young among younger women. The mother is usually unconscious of her selfishness; she would be unspeakably horrified if some brutal soul told her that she was a vampire. Chance, chance and waste, rule them both, and the world passes by while the mother has her games of cards with daughter, and deems herself unselfish because now and then she lets daughter join a party (only to hasten back to mother), and even "wonders why daughter doesn't take an interest in girls her own age." That ugly couple on the porch of the apple–sauce and wash–pitcher boarding–house—the mother a mute, dwarfish punchinello, and the daughter a drab woman of forty with a mole, a wart, a silence. That charming mother of white hair and real lace with the well–groomed daughter. That comfortable mother at home and daughter in an office, but with no suitors, no ambition beyond the one at home. They are all examples of the mother–and–daughter phenomenon, that most touching, most destructive example of selfless unselfishness, which robs all the generations to come, because mother has never been trained to endure the long, long thoughts of solitude; because she sees nothing by herself, and within herself hears no diverting voice….

There were many such mothers and daughters in Panama. If they were wealthy, daughter collected rents and saw lawyers and belonged to a club and tried to keep youthful at parties. If middle–class, daughter taught school, almost invariably. If poor, mother did the washing and daughter collected it. So it was marked down for Una that she should be a teacher.

Not that she wanted to be a teacher! After graduating from high school, she had spent two miserable terms of teaching in the small white district school, four miles out on the Bethlehem Road. She hated the drive out and back, the airless room and the foul outbuildings, the shy, stupid, staring children, the jolly little arithmetical problems about wall–paper, piles of lumber, the amount of time that notoriously inefficient workmen will take to do "a certain piece of work." Una was honest enough to know that she was not an honest teacher, that she neither loved masses of other people's children nor had any ideals of developing the new generation. But she had to make money. Of course she would teach!

When she talked over affairs with her tearful mother, Mrs. Golden always ended by suggesting, "I wonder if perhaps you couldn't go back to school–teaching again. Everybody said you were so successful. And maybe I could get some needlework to do. I do want to help so much."

Mrs. Golden did, apparently, really want to help. But she never suggested anything besides teaching, and she went on recklessly investing in the nicest mourning. Meantime Una tried to find other work in Panama.

Seen from a balloon, Panama is merely a mole on the long hill–slopes. But to Una its few straggly streets were a whole cosmos. She knew somebody in every single house. She knew just where the succotash, the cake–boxes, the clothes–lines, were kept in each of the grocery–stores, and on market Saturdays she could wait on herself. She summed up the whole town and its possibilities; and she wondered what opportunities the world out beyond Panama had for her. She recalled two trips to Philadelphia and one to Harrisburg. She made out a list of openings with such methodical exactness as she devoted to keeping the dwindling lodge insurance from disappearing altogether. Hers was no poetic outreach like that of the young genius who wants to be off for Bohemia. It was a question of earning money in the least tedious way. Una was facing the feminist problem, without knowing what the word "feminist" meant.

This was her list of fair fields of fruitful labor:

She could—and probably would—teach in some hen–coop of pedagogy.

She could marry, but no one seemed to want her, except old Henry Carson, the widower, with catarrh and three children, who called on her and her mother once in two weeks, and would propose whenever she encouraged him to. This she knew scientifically. She had only to sit beside him on the sofa, let her hand drop down beside his. But she positively and ungratefully didn't want to marry Henry and listen to his hawking and his grumbling for the rest of her life. Sooner or later one of The Boys might propose. But in a small town it was all a gamble. There weren't so very many desirable young men—most of the energetic ones went off to Philadelphia and New York. True that Jennie McTevish had been married at thirty–one, when everybody had thought she was hopelessly an old maid. Yet here was Birdie Mayberry unmarried at thirty–four, no one could ever understand why, for she had been the prettiest and jolliest girl in town. Una crossed blessed matrimony off the list as a commercial prospect.

She could go off and study music, law, medicine, elocution, or any of that amazing hodge–podge of pursuits which are permitted to small–town women. But she really couldn't afford to do any of these; and, besides, she had no talent for music of a higher grade than Sousa and Victor Herbert; she was afraid of lawyers; blood made her sick; and her voice was too quiet for the noble art of elocution as practised by several satin–waisted, semi–artistic ladies who "gave readings" of Enoch Arden and Evangeline before the Panama Study Circle and the Panama Annual Chautauqua.

She could have a job selling dry–goods behind the counter in the Hub Store, but that meant loss of caste.

She could teach dancing—but she couldn't dance particularly well. And that was all that she could do.

She had tried to find work as office–woman for Dr. Mayberry, the dentist; in the office of the Panama Wood–Turning Company; in the post–office; as lofty enthroned cashier for the Hub Store; painting place–cards and making "fancy–work" for the Art Needlework Exchange.

The job behind the counter in the Hub Store was the only one offered her.

"If I were only a boy," sighed Una, "I could go to work in the hardware–store or on the railroad or anywhere, and not lose respectability. Oh, I hate being a woman."

§ 3

Una had been trying to persuade her father's old–time rival, Squire Updegraff, the real–estate and insurance man, that her experience with Captain Golden would make her a perfect treasure in the office. Squire Updegraff had leaped up at her entrance, and blared, "Well, well, and how is the little girl making it?" He had set out a chair for her and held her hand. But he knew that her only experience with her father's affairs had been an effort to balance Captain Golden's account–books, which were works of genius in so far as they were composed according to the inspirational method. So there was nothing very serious in their elaborate discussion of giving Una a job.

It was her last hope in Panama. She went disconsolately down the short street, between the two–story buildings and the rows of hitched lumber–wagons. Nellie Page, the town belle, tripping by in canvas sneakers and a large red hair–ribbon, shouted at her, and Charlie Martindale, of the First National Bank, nodded to her, but these exquisites were too young for her; they danced too well and laughed too easily. The person who stopped her for a long curbstone conference about the weather, while most of the town observed and gossiped, was the fateful Henry Carson. The village sun was unusually blank and hard on Henry's bald spot to–day. Heavens! she cried to herself, in almost hysterical protest, would she have to marry Henry?

Miss Mattie Pugh drove by, returning from district school. Miss Mattie had taught at Clark's Crossing for seventeen years, had grown meek and meager and hopeless. Heavens! thought Una, would she have to be shut into the fetid barn of a small school unless she married Henry?

"I won't be genteel! I'll work in The Hub or any place first!" Una declared. While she trudged home—a pleasant, inconspicuous, fluffy–haired young woman, undramatic as a field daisy—a cataract of protest poured through her. All the rest of her life she would have to meet that doddering old Mr. Mosely, who was unavoidably bearing down on her now, and be held by him in long, meaningless talks. And there was nothing amusing to do! She was so frightfully bored. She suddenly hated the town, hated every evening she would have to spend there, reading newspapers and playing cards with her mother, and dreading a call from Mr. Henry Carson.

She wanted—wanted some one to love, to talk with. Why had she discouraged the beautiful Charlie Martindale, the time he had tried to kiss her at a dance? Charlie was fatuous, but he was young, and she wanted, yes, yes! that was it, she wanted youth, she who was herself so young. And she would grow old here unless some one, one of these godlike young men, condescended to recognize her. Grow old among these streets like piles of lumber.

She charged into the small, white, ambling Golden house, with its peculiar smell of stale lamb gravy, and on the old broken couch—where her father had snored all through every bright Sunday afternoon—she sobbed feebly.

She raised her head to consider a noise overhead—the faint, domestic thunder of a sewing–machine shaking the walls with its rhythm. The machine stopped. She heard the noise of scissors dropped on the floor—the most stuffily domestic sound in the world. The airless house was crushing her. She sprang up—and then she sat down again. There was no place to which she could flee. Henry Carson and the district school were menacing her. And meantime she had to find out what her mother was sewing—whether she had again been wasting money in buying mourning.

"Poor, poor little mother, working away happy up there, and I've got to go and scold you," Una agonized. "Oh, I want to earn money, I want to earn real money for you."

She saw a quadrangle of white on the table, behind a book. She pounced on it. It was a letter from Mrs. Sessions, and Una scratched it open excitedly.

Mr. and Mrs. Albert Sessions, of Panama, had gone to New York. Mr. Sessions was in machinery. They liked New York. They lived in a flat and went to theaters. Mrs. Sessions was a pillowy soul whom Una trusted.

"Why don't you," wrote Mrs. Sessions, "if you don't find the kind of work you want in Panama, think about coming up to New York and taking stenography? There are lots of chances here for secretaries, etc."

Una carefully laid down the letter. She went over and straightened her mother's red wool slippers. She wanted to postpone for an exquisite throbbing moment the joy of announcing to herself that she had made a decision.

She would go to New York, become a stenographer, a secretary to a corporation president, a rich woman, free, responsible.

The fact of making this revolutionary decision so quickly gave her a feeling of power, of already being a business woman.

She galloped up–stairs to the room where her mother was driving the sewing–machine.

"Mumsie!" she cried, "we're going to New York! I'm going to learn to be a business woman, and the little mother will be all dressed in satin and silks, and dine on what–is–it and peaches and cream—the poem don't come out right, but, oh, my little mother, we're going out adventuring, we are!"

She plunged down beside her mother, burrowed her head in her mother's lap, kissed that hand whose skin was like thinnest wrinkly tissue–paper.

"Why, my little daughter, what is it? Has some one sent for us? Is it the letter from Emma Sessions? What did she say in it?"

"She suggested it, but we are going up independent."

"But can we afford to?…I would like the draymas and art–galleries and all!"

"We will afford to! We'll gamble, for once!"

Chapter II

§ 1

Una Golden had never realized how ugly and petty were the streets of Panama till that evening when she walked down for the mail, spurning the very dust on the sidewalks—and there was plenty to spurn. An old mansion of towers and scalloped shingles, broken–shuttered now and unpainted, with a row of brick stores marching up on its once leisurely lawn. The town–hall, a square wooden barn with a sagging upper porch, from which the mayor would presumably have made proclamations, had there ever been anything in Panama to proclaim about. Staring loafers in front of the Girard House. To Una there was no romance in the sick mansion, no kindly democracy in the village street, no bare freedom in the hills beyond. She was not much to blame; she was a creature of action to whom this constricted town had denied all action except sweeping.

She felt so strong now—she had expected a struggle in persuading her mother to go to New York, but acquiescence had been easy. Una had an exultant joy, a little youthful and cruel, in meeting old Henry Carson and telling him that she was going away, that she "didn't know for how long; maybe for always." So hopelessly did he stroke his lean brown neck, which was never quite clean–shaven, that she tried to be kind to him. She promised to write. But she felt, when she had left him, as though she had just been released from prison. To live with him, to give him the right to claw at her with those desiccated hands—she imagined it with a vividness which shocked her, all the while she was listening to his halting regrets.

A dry, dusty September wind whirled down the village street. It choked her.

There would be no dusty winds in New York, but only mellow breezes over marble palaces of efficient business. No Henry Carsons, but slim, alert business men, young of eye and light of tongue.

§ 2

Una Golden had expected to thrill to her first sight of the New York sky–line, crossing on the ferry in mid–afternoon, but it was so much like all the post–card views of it, so stolidly devoid of any surprises, that she merely remarked, "Oh yes, there it is, that's where I'll be," and turned to tuck her mother into a ferry seat and count the suit–cases and assure her that there was no danger of pickpockets. Though, as the ferry sidled along the land, passed an English liner, and came close enough to the shore so that she could see the people who actually lived in the state of blessedness called New York, Una suddenly hugged her mother and cried, "Oh, little mother, we're going to live here and do things together—everything."

The familiar faces of Mr. and Mrs. Albert Sessions were awaiting them at the end of the long cavernous walk from the ferry–boat, and New York immediately became a blur of cabs, cobblestones, bales of cotton, long vistas of very dirty streets, high buildings, surface cars, elevateds, shop windows that seemed dark and foreign, and everywhere such a rush of people as made her feel insecure, cling to the Sessionses, and try to ward off the dizziness of the swirl of new impressions. She was daunted for a moment, but she rejoiced in the conviction that she was going to like this madness of multiform energy.

The Sessionses lived in a flat on Amsterdam Avenue near Ninety–sixth Street. They all went up from Cortlandt Street in the Subway, which was still new and miraculous in 1905. For five minutes Una was terrified by the jam of people, the blind roar through tunneled darkness, the sense of being powerlessly hurled forward in a mass of ungovernable steel. But nothing particularly fatal happened; and she grew proud to be part of this black energy, and contentedly swung by a strap.

When they reached the Sessionses' flat and fell upon the gossip of Panama, Pennsylvania, Una was absent–minded—except when the Sessionses teased her about Henry Carson and Charlie Martindale. The rest of the time, curled up on a black–walnut couch which she had known for years in Panama, and which looked plaintively rustic here in New York, Una gave herself up to impressions of the city: the voices of many children down on Amsterdam Avenue, the shriek of a flat–wheeled surface car, the sturdy pound of trucks, horns of automobiles; the separate sounds scarcely distinguishable in a whirr which seemed visible as a thick, gray–yellow dust–cloud.

Her mother went to lie down; the Sessionses (after an elaborate explanation of why they did not keep a maid) began to get dinner, and Una stole out to see New York by herself.

It all seemed different, at once more real and not so jumbled together, now that she used her own eyes instead of the guidance of that knowing old city bird, Mr. Albert Sessions.

Amsterdam Avenue was, even in the dusk of early autumn, disappointing in its walls of yellow flat–buildings cluttered with fire–escapes, the first stories all devoted to the same sort of shops over and over again—delicatessens, laundries, barber–shops, saloons, groceries, lunch–rooms. She ventured down a side–street, toward a furnace–glow of sunset. West End Avenue was imposing to her in its solid brick and graystone houses, and pavements milky in the waning light. Then came a block of expensive apartments. She was finding the city of golden rewards. Frivolous curtains hung at windows; in a huge apartment–house hall she glimpsed a negro attendant in a green uniform with a monkey–cap and close–set rows of brass buttons; she had a hint of palms—or what looked like palms; of marble and mahogany and tiling, and a flash of people in evening dress. In her plain, "sensible" suit Una tramped past. She was unenvious, because she was going to have all these things soon.

Out of a rather stodgy vision of silk opera wraps and suitors who were like floor–walkers, she came suddenly out on Riverside Drive and the splendor of the city.

A dull city of straight–front unvaried streets is New York. But she aspires in her sky–scrapers; she dreams a garden dream of Georgian days in Gramercy Park; and on Riverside Drive she bares her exquisite breast and wantons in beauty. Here she is sophisticated, yet eager, comparable to Paris and Vienna; and here Una exulted.

Down a polished roadway that reflected every light rolled smart motors, with gay people in the sort of clothes she had studied in advertisements. The driveway was bordered with mist wreathing among the shrubs. Above Una shouldered the tremendous façades of gold–corniced apartment–houses. Across the imperial Hudson everything was enchanted by the long, smoky afterglow, against which the silhouettes of dome and tower and factory chimney stood out like an Orient city.

"Oh, I want all this—it's mine!…An apartment up there—a big, broad window–seat, and look out on all this. Oh, dear God," she was unconsciously praying to her vague Panama Wesley Methodist Church God, who gave you things if you were good, "I will work for all this…. And for the little mother, dear mother that's never had a chance."

In the step of the slightly stolid girl there was a new lightness, a new ecstasy in walking rapidly through the stirring New York air, as she turned back to the Sessionses' flat.

§ 3

Later, when the streets fell into order and became normal, Una could never quite identify the vaudeville theater to which the Sessionses took them that evening. The gold–and–ivory walls of the lobby seemed to rise immeasurably to a ceiling flashing with frescoes of light lovers in blue and fluffy white, mincing steps and ardent kisses and flaunting draperies. They climbed a tremendous arching stairway of marble, upon which her low shoes clattered with a pleasant sound. They passed niches hung with heavy curtains of plum–colored velvet, framing the sly peep of plaster fauns, and came out on a balcony stretching as wide as the sea at twilight, looking down on thousands of people in the orchestra below, up at a vast golden dome lighted by glowing spheres hung with diamonds, forward at a towering proscenic arch above which slim, nude goddesses in bas–relief floated in a languor which obsessed her, set free the bare brown laughing nymph that hides in every stiff Una in semi–mourning.

Nothing so diverting as that program has ever been witnessed. The funny men with their solemn mock–battles, their extravagance in dress, their galloping wit, made her laugh till she wanted them to stop. The singers were bell–voiced; the dancers graceful as clouds, and just touched with a beguiling naughtiness; and in the playlet there was a chill intensity that made her shudder when the husband accused the wife whom he suspected, oh, so absurdly, as Una indignantly assured herself.

The entertainment was pure magic, untouched by human clumsiness, rare and spellbound as a stilly afternoon in oak woods by a lake.

They went to a marvelous café, and Mr. Sessions astounded them by the urbanity with which he hurried captains and waiters and 'bus–boys, and ordered lobster and coffee, and pretended that he was going to be wicked and have wine and cigarettes.

Months afterward, when she was going to vaudeville by herself, Una tried to identify the theater of wizardry, but she never could. The Sessionses couldn't remember which theater it was; they thought it was the Pitt, but surely they must have been mistaken, for the Pitt was a shanty daubed with grotesque nudes, rambling and pretentious, with shockingly amateurish programs. And afterward, on the occasion or two when they went out to dinner with the Sessionses, it seemed to Una that Mr. Sessions was provincial in restaurants, too deprecatingly friendly with the waiters, too hesitating about choosing dinner.

§ 4

Whiteside and Schleusner's College of Commerce, where Una learned the art of business, occupied only five shabby rooms of crepuscular windows and perpetually dusty corners, and hard, glistening wall–paint, in a converted (but not sanctified) old dwelling–house on West Eighteenth Street. The faculty were six: Mr. Whiteside, an elaborate pomposity who smoothed his concrete brow as though he had a headache, and took obvious pride in being able to draw birds with Spencerian strokes. Mr. Schleusner, who was small and vulgar and déclassé and really knew something about business. A shabby man like a broken–down bookkeeper, silent and diligent and afraid. A towering man with a red face, who kept licking his lips with a small red triangle of tongue, and taught English—commercial college English—in a bombastic voice of finicky correctness, and always smelled of cigar smoke. An active young Jewish New–Yorker of wonderful black hair, elfin face, tilted hat, and smart clothes, who did something on the side in real estate. Finally, a thin widow, who was so busy and matter–of–fact that she was no more individualized than a street–car. Any one of them was considered competent to teach any "line," and among them they ground out instruction in shorthand, typewriting, book–keeping, English grammar, spelling, composition (with a special view to the construction of deceptive epistles), and commercial geography. Once or twice a week, language–masters from a linguistic mill down the street were had in to chatter the more vulgar phrases of French, German, and Spanish.

A cluttered, wheezy omnibus of a school, but in it Una rode to spacious and beautiful hours of learning. It was even more to her than is the art–school to the yearner who has always believed that she has a talent for painting; for the yearner has, even as a child, been able to draw and daub and revel in the results; while for Una this was the first time in her life when her labor seemed to count for something. Her school–teaching had been a mere time–filler. Now she was at once the responsible head of the house and a seer of the future.

Most of the girls in the school learned nothing but shorthand and typewriting, but to these Una added English grammar, spelling, and letter–composition. After breakfast at the little flat which she had taken with her mother, she fled to the school. She drove into her books, she delighted in the pleasure of her weary teachers when she snapped out a quick answer to questions, or typed a page correctly, or was able to remember the shorthand symbol for a difficult word like "psychologize."

Her belief in the sacredness of the game was boundless.

Chapter III

§ 1

Except for the young man in the bank, the new young man in the hardware–store, and the proprietors of the new Broadway Clothing Shop, Una had known most of the gallants in Panama, Pennsylvania, from knickerbocker days; she remembered their bony, boyish knees and their school–day whippings too well to be romantic about them. But in the commercial college she was suddenly associated with seventy entirely new and interesting males. So brief were the courses, so irregular the classifications, that there was no spirit of seniority to keep her out of things; and Una, with her fever of learning, her instinctive common sense about doing things in the easiest way, stood out among the girl students. The young men did not buzz about her as they did about the slim, diabolic, star–eyed girl from Brooklyn, in her tempting low–cut blouses, or the intense, curly–headed, boyish, brown Jew girl, or the ardent dancers and gigglers. But Una's self–sufficient eagerness gave a fervor to her blue eyes, and a tilt to her commonplace chin, which made her almost pretty, and the young men liked to consult her about things. She was really more prominent here, in a school of one hundred and seventy, than in her Panama high school with its enrolment of seventy.