The Plutonian Fire

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"Suppose you try your band at a descriptive article," I suggested, "giving your impressions of New York as seen from the Brooklyn Bridge. The fresh point of view, the -- "

"Don't be a fool," said Pettit. "Let's go have some beer. On the whole I rather like the city." We discovered and enjoyed the only true Bohemia. Every day and night we repaired to one of those palaces of marble and glass and tilework, where goes on a tremendous and sounding epic of life. Valhalla itself could not be more glorious and sonorous. The classic marble on which we ate, the great, light-flooded, vitreous front, adorned with snow-white scrolls; the grand Wagnerian din of clanking cups and bowls the flashing staccato of brandishing cutlery, the piercing recitative of the white-aproned grub-maidens at the morgue-like banquet tables; the recurrent lied-motif of the cash-register -- it was a gigantic, triumphant welding of art and sound, a deafening, soul-uplifting pageant of heroic and emblematic life. And the beans were only ten cents. We wondered why our fellow-artists cared to dine at sad little tables in their so-called Bohemian restaurants; and we shuddered lest they should seek out our resorts and make them conspicuous with their presence. Pettit wrote many stories, which the editors returned to him. He wrote love stories, a thing I have always kept free from, holding the belief that the well-known and popular sentiment is not properly a matter for publication, but something to be privately handled by the alienists and florists. But the editors had told him that they wanted love stories, because they said the women read them.

Now, the editors are wrong about that, of course. Women do not read the love stories in the magazines. They read the poker-game stories and the recipes for cucumber lotion. The love stories are read by fat cigar drummers and little ten-year-old girls. I am not criticising the judgment of editors. They are mostly very fine men, but a man can be but one man, with individual opinions and tastes. I knew two associate editors of a magazine who were wonderfully alike in almost everything. And yet one of them was very fond of Flaubert, while the other preferred gin.

Pettit brought me his returned manuscripts, and we looked them over together to find out why they were not accepted. They seemed to me pretty fair stories, written in a good style, and ended, as they should, at the bottom of the last page.

They were well constructed and the events were marshalled in orderly and logical sequence. But I thought I detected a lack of living substance -- it was much as if I gazed at a symmetrical array of presentable clamshells from which the succulent and vital inhabitants had been removed. I intimated that the author might do well to get better acquainted with his theme.

"You sold a story last week," said Pettit, "about a gun fight in an Arizona mining town in which the hero drew his Colt's .45 and shot seven bandits as fast as they came in the door. Now, if a six-shooter could -- "

"Oh, well," said I, "that's different. Arizona is a long way from New York. I could have a man stabbed with a lariat or chased by a pair of chaparreras if I wanted to, and it wouldn't be noticed until the usual error-sharp from around McAdams Junction isolates the erratum and writes in to the papers about it. But you are up against another proposition. This thing they call love is as common around New York as it is in Sheboygan during the young onion season. It may be mixed here with a little commercialism -- they read Byron, but they look up Bradstreet's, too, while they're among the B's, and Brigham also if they have time -- but it's pretty much the same old internal disturbance everywhere. You can fool an editor with a fake picture of a cowboy mounting a pony with his left hand on the saddle horn, but you can't put him up a tree with a love story. So, you've got to fall in love and then write the real thing."