Main Street
flashes of green ice blown clear, chains of drifts ribbed like the
sea-beach--the moonlight was overwhelming. It stormed on the snow, it
turned the woods ashore into crystals of fire. The night was tropical
and voluptuous. In that drugged magic there was no difference between
heavy heat and insinuating cold.
Carol was dream-strayed. The turbulent voices, even Guy Pollock being
connotative beside her, were nothing. She repeated:
Deep on the convent-roof the snows
Are sparkling to the moon.
The words and the light blurred into one vast indefinite happiness, and
she believed that some great thing was coming to her. She withdrew from
the clamor into a worship of incomprehensible gods. The night expanded,
she was conscious of the universe, and all mysteries stooped down to
her.
She was jarred out of her ecstasy as the bob-sled bumped up the steep
road to the bluff where stood the cottages.
They dismounted at Jack Elder's shack. The interior walls of unpainted
boards, which had been grateful in August, were forbidding in the chill.
In fur coats and mufflers tied over caps they were a strange company,
bears and walruses talking. Jack Elder lighted the shavings waiting in
the belly of a cast-iron stove which was like an enlarged bean-pot.
They piled their wraps high on a rocker, and cheered the rocker as it
solemnly tipped over backward.
Mrs. Elder and Mrs. Sam Clark made coffee in an enormous blackened tin
pot; Vida Sherwin and Mrs. McGanum unpacked doughnuts and gingerbread;
Mrs. Dave Dyer warmed up “hot dogs”--frankfurters in rolls; Dr. Terry
Gould, after announcing, “Ladies and gents, prepare to be shocked; shock
line forms on the right,” produced a bottle of bourbon whisky.
The others danced, muttering “Ouch!” as their frosted feet struck the
pine planks. Carol had lost her dream. Harry Haydock lifted her by the
waist and swung her. She laughed. The gravity of the people who stood
apart and talked made her the more impatient for frolic.
Kennicott, Sam Clark, Jackson Elder, young Dr. McGanum, and James
Madison Howland, teetering on their toes near the stove, conversed
with the sedate pomposity of the commercialist. In details the men were
unlike, yet they said the same things in the same hearty monotonous
voices. You had to look at them to see which was speaking.
“Well, we made pretty good time coming up,” from one--any one.
“Yump, we hit it up after we struck the good going on the lake.”
“Seems kind of slow though, after driving an auto.”
“Yump, it does, at that. Say, how'd you make out with that Sphinx tire
you got?”
“Seems to hold out fine. Still, I don't know's I like it any better than
the Roadeater Cord.”
“Yump, nothing better than a Roadeater. Especially the cord. The cord's
lots better than the fabric.”
“Yump, you said something----Roadeater's a good tire.”
“Say, how'd you come out with Pete Garsheim on his payments?”
“He's paying up pretty good. That's a nice piece of land he's got.”
“Yump, that's a dandy farm.”
“Yump, Pete's got a good place there.”
They glided from these serious topics into the jocose insults which are
the wit of Main Street. Sam Clark was particularly apt at them. “What's
this wild-eyed sale of summer caps you think you're trying to pull
off?” he clamored at Harry Haydock. “Did you steal 'em, or are you just
overcharging us, as usual? . . . Oh say, speaking about caps, d'I ever
tell you the good one I've got on Will? The doc thinks he's a pretty
good driver, fact, he thinks he's almost got human intelligence, but one
time he had his machine out in the rain, and the poor fish, he hadn't
put on chains, and thinks I----”
Carol had heard the story rather often. She fled back to the dancers,
and at Dave Dyer's masterstroke of dropping an icicle down Mrs.
McGanum's back she applauded hysterically.
They sat on the floor, devouring the food. The men giggled amiably as
they passed the whisky bottle, and laughed, “There's a real sport!” when
Juanita Haydock took a sip. Carol tried to follow; she believed that she
desired to be drunk and riotous; but the whisky choked her and as she
saw Kennicott frown she handed the bottle on repentantly. Somewhat too
late she remembered that she had given up domesticity and repentance.
“Let's play charades!” said Raymie Wutherspoon.
“Oh yes, do let us,” said Ella Stowbody.
“That's the caper,” sanctioned Harry Haydock.
They interpreted the word “making” as May and King. The crown was a red
flannel mitten cocked on Sam Clark's broad pink bald head. They forgot
they were respectable. They made-believe. Carol was stimulated to cry:
“Let's form a dramatic club and give a play! Shall we? It's been so much
fun tonight!”
They looked affable.
“Sure,” observed Sam Clark loyally.
“Oh, do let us! I think it would be lovely to present 'Romeo and
Juliet'!” yearned Ella Stowbody.
“Be a whale of a lot of fun,” Dr. Terry Gould granted.
“But if we did,” Carol cautioned, “it would be awfully silly to have
amateur theatricals. We ought to paint our own scenery and everything,
and really do something fine. There'd be a lot of hard work. Would
you--would we all be punctual at rehearsals, do you suppose?”
“You bet!” “Sure.” “That's the idea.” “Fellow ought to be prompt at
rehearsals,” they all agreed.
“Then let's meet next week and form the Gopher Prairie Dramatic
Association!” Carol sang.
She drove home loving these friends who raced through moonlit snow,
had Bohemian parties, and were about to create beauty in the theater.
Everything was solved. She would be an authentic part of the town,
yet escape the coma of the Village Virus. . . . She would be free of
Kennicott again, without hurting him, without his knowing.
She had triumphed.
The moon was small and high now, and unheeding.
II
Though they had all been certain that they longed for the privilege of
attending committee meetings and rehearsals, the dramatic association as
definitely formed consisted only of Kennicott, Carol, Guy Pollock,
Vida Sherwin, Ella Stowbody, the Harry Haydocks, the Dave Dyers, Raymie
Wutherspoon, Dr. Terry Gould, and four new candidates: flirtatious Rita
Simons, Dr. and Mrs. Harvey Dillon and Myrtle Cass, an uncomely but
intense girl of nineteen. Of these fifteen only seven came to the first
meeting. The rest telephoned their unparalleled regrets and engagements
and illnesses, and announced that they would be present at all other
meetings through eternity.
Carol was made president and director.
She had added the Dillons. Despite Kennicott's apprehension the dentist
and his wife had not been taken up by the Westlakes but had remained
as definitely outside really smart society as Willis Woodford, who was
teller, bookkeeper, and janitor in Stowbody's bank. Carol had noted Mrs.
Dillon dragging past the house during a bridge of the Jolly Seventeen,
looking in with pathetic lips at the splendor of the accepted. She
impulsively invited the Dillons to the dramatic association meeting, and
when Kennicott was brusque to them she was unusually cordial, and felt
virtuous.
That self-approval balanced her disappointment at the smallness of the
meeting, and her embarrassment during Raymie Wutherspoon's repetitions
of “The stage needs uplifting,” and “I believe that there are great
lessons in some plays.”
Ella Stowbody, who was a professional, having studied elocution in
Milwaukee, disapproved of Carol's enthusiasm for recent plays. Miss
Stowbody expressed the fundamental principle of the American drama: the
only way to be artistic is to present Shakespeare. As no one listened to
her she sat back and looked like Lady Macbeth.
III
The Little Theaters, which were to give piquancy to American drama three
or four years later, were only in embryo. But of this fast coming revolt
Carol had premonitions. She knew from some lost magazine article that
in Dublin were innovators called The Irish Players. She knew confusedly
that a man named Gordon Craig had painted scenery--or had he written
plays? She felt that in the turbulence of the drama she was discovering
a history more important than the commonplace chronicles which dealt
with senators and their pompous puerilities. She had a sensation of
familiarity; a dream of sitting in a Brussels cafe and going afterward
to a tiny gay theater under a cathedral wall.
The advertisement in the Minneapolis paper leaped from the page to her
eyes:
The Cosmos School of Music, Oratory, and
Dramatic Art announces a program of four
one-act plays by Schnitzler, Shaw, Yeats,
and Lord Dunsany.
She had to be there! She begged Kennicott to “run down to the Cities”
with her.
“Well, I don't know. Be fun to take in a show, but why the deuce do you
want to see those darn foreign plays, given by a lot of amateurs? Why
don't you wait for a regular play, later on? There's going to be some
corkers coming: 'Lottie of Two-Gun Rancho,' and 'Cops and Crooks'--real
Broadway stuff, with the New York casts. What's this junk you want
to see? Hm. 'How He Lied to Her Husband.' That doesn't listen so bad.
Sounds racy. And, uh, well, I could go to the motor show, I suppose. I'd
like to see this new Hup roadster. Well----”
She never knew which attraction made him decide.
She had four days of delightful worry--over the hole in her one good
silk petticoat, the loss of a string of beads from her chiffon and brown
velvet frock, the catsup stain on her best georgette crepe blouse. She
wailed, “I haven't a single solitary thing that's fit to be seen in,”
and enjoyed herself very much indeed.
Kennicott went about casually letting people know that he was “going to
run down to the Cities and see some shows.”
As the train plodded through the gray prairie, on a windless day with
the smoke from the engine clinging to the fields in giant cotton-rolls,
in a low and writhing wall which shut off the snowy fields, she did not
look out of the window. She closed her eyes and hummed, and did not know
that she was humming.
She was the young poet attacking fame and Paris.
In the Minneapolis station the crowd of lumberjacks, farmers, and
Swedish families with innumerous children and grandparents and paper
parcels, their foggy crowding and their clamor confused her. She felt
rustic in this once familiar city, after a year and a half of
Gopher Prairie. She was certain that Kennicott was taking the wrong
trolley-car. By dusk, the liquor warehouses, Hebraic clothing-shops,
and lodging-houses on lower Hennepin Avenue were smoky, hideous,
ill-tempered. She was battered by the noise and shuttling of the
rush-hour traffic. When a clerk in an overcoat too closely fitted at the
waist stared at her, she moved nearer to Kennicott's arm. The clerk was
flippant and urban. He was a superior person, used to this tumult. Was
he laughing at her?
For a moment she wanted the secure quiet of Gopher Prairie.
In the hotel-lobby she was self-conscious. She was not used to hotels;
she remembered with jealousy how often Juanita Haydock talked of the
famous hotels in Chicago. She could not face the traveling salesmen,
baronial in large leather chairs. She wanted people to believe that her
husband and she were accustomed to luxury and chill elegance; she was
faintly angry at him for the vulgar way in which, after signing the
register “Dr. W. P. Kennicott & wife,” he bellowed at the clerk, “Got a
nice room with bath for us, old man?” She gazed about haughtily, but as
she discovered that no one was interested in her she felt foolish, and
ashamed of her irritation.
She asserted, “This silly lobby is too florid,” and simultaneously she
admired it: the onyx columns with gilt capitals, the crown-embroidered
velvet curtains at the restaurant door, the silk-roped alcove where