farther I got from Chicago the more depressing the landscape became. It was bad enough in our former home in Mitchell County, but my pity grew more intense as I passed from northwest Iowa into southern Dakota. The houses, bare as boxes, dropped on the treeless plains, the barbed-wire fences running at right angles, and the towns mere assemblages of flimsy wooden sheds with painted-pine battlement, produced on me the effect of an almost helpless and sterile poverty.
My dark mood was deepened into bitterness by my father's farm, where I found my mother imprisoned in a small cabin on the enormous sunburned, treeless plain, with no expectation of ever living anywhere else. Deserted by her sons and failing in health, she endured the discomforts of her life uncomplainingly—but my resentment of "things as they are" deepened during my talks with her neighbors who were all housed in the same unshaded cabins in equal poverty and loneliness. The fact that at twenty-seven I was without power to aid my mother in any substantial way added to my despairing mood.
My savings for the two years of my teaching in Boston were not sufficient to enable me to purchase my return ticket, and when my father offered me a stacker's wages in the harvest field I accepted and for two weeks or more proved my worth with the fork, which was still mightier—with me—than the pen.
However, I did not entirely neglect the pen. In spite of the dust and heat of the wheat ricks I dreamed of poems and stories. My mind teemed with subjects for fiction, and one Sunday morning I set to work on a story which had been suggested to me by a talk with my mother, and a few hours later I read to her (seated on the low sill of that treeless cottage) the first two thousand words of Mrs. Ripley's Trip, the first of the series of sketches which became Main Travelled Roads.
I did not succeed in finishing it, however, till after my return to Boston in September. During the fall and winter of '87 and the winter and spring of '88, I wrote the most of the stories in Main Travelled Roads, a novelette for the Century Magazine, and a play called "Under the Wheel." The actual work of the composition was carried on in the south attic room of Doctor Cross's house at 21 Seaverns Avenue, Jamaica Plain.
The mood of bitterness in which these books were written was renewed and augmented by a second visit to my parents in 1889, for during my stay my mother suffered a stroke of paralysis due to overwork and the dreadful heat of the summer. She grew better before the time came for me to return to my teaching in Boston, but I felt like a sneak as I took my way to the train leaving my mother and sister on that bleak and sun-baked plain.
"Old Paps Flaxen," "Jason Edwards," "A Spoil of Office," and most of the stories gathered into the second volume of Main Travelled Roads were written in the shadow of these defeats. If they seem unduly austere, let the reader remember the times in which they were composed. That they were true of the farms of that day no one can know better than I, for I was there—a farmer.
Life on the farms of Iowa and Wisconsin—even on the farms of Dakota—has gained in beauty and security, I will admit, but there are still wide stretches of territory in Kansas and Nebraska where the farmhouse is a lonely shelter. Groves and lawns, better roads, the rural free delivery, the telephone, and the motor car have done much to bring the farmer into a frame of mind where he is contented with his lot, but much remains to be done before the stream of young life from the country to the city can be checked.
The two volumes of Main Travelled Roads can now be taken to be what William Dean Howells called them, "historical fiction," for they form a record of the farmer's life as I lived it and studied it. In these two books is a record of the privations and hardships of the men and women who subdued the midland wilderness and prepared the way for the present golden age of agriculture.
H. G.
March 1, 1922.
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An interesting phase of fiction, at present, is the material prosperity of the short story, which seems to have followed its artistic excellence among us with uncommon obedience to a law that ought always to prevail. Until of late the publisher has been able to say to the author, dazzled and perhaps deceived by his magazine success with short stories, and fondly intending to make a book of them, "Yes. But collections of short stories don't sell. The public won't have them. I don't know why; but it won't."
This was never quite true of the short stories of Mr. Bret Harte, or of Miss Sarah Orne Jewett, or of Mr. T. B. Aldrich; but it was too true of the short stories of most other writers. For some reason, or for none, the very people who liked an author's short stories in the magazine could not bear them, or would not buy them, when he put several of them together in a volume. They then became obnoxious, or at least undesirable; somewhat as human beings, agreeable enough as long as they are singly domiciled in one's block, become a positive detriment to the neighborhood when gathered together in a boarding-house. A novel not half so good by the same author would formerly outsell his collection of short stories five times over. Perhaps it would still outsell the stories; we rather think it would; but not in that proportion. The hour of the short story in book form has struck, apparently, for with all our love and veneration for publishers, we have never regarded them as martyrs to literature, and we do not believe they would now be issuing so many volumes of short stories if these did not pay. Publishers, with all their virtues, are as distinctly made a little lower than the angels as any class of mortals we know. They are, in fact, a tentative and timid kind, never quite happy except in full view of the main chance; and just at this moment, this chance seems to wear the diversified physiognomy of the collected short stories. We do not know how it has happened; we should not at all undertake to say; but it is probably attributable to a number of causes. It may be the prodigious popularity of Mr. Kipling, which has broken down all prejudices against the form of his success. The vogue that Maupassant's tales in the original or in versions have enjoyed may have had something to do with it. Possibly the critical recognition of the American supremacy in this sort has helped. But however it has come about, it is certain that the result has come, and the publishers are fearlessly adventuring volumes of short stories on every hand; and not only short stories by authors of established repute, but by new writers, who would certainly not have found this way to the public some time ago.
The change by no means indicates that the pleasure in large fiction is dying out. This remains of as ample gorge as ever. But it does mean that a quite reasonless reluctance has given way, and that a young writer can now hope to come under the fire of criticism much sooner than before. This may not be altogether a blessing; it has its penalties inherent in the defective nature of criticism, or the critics; but undoubtedly it gives the young author definition and fixity in the reader's knowledge. It enables him to continue a short-story writer if he likes, or it prepares the public not to be surprised at him if he turns out a novelist.
These are advantages, and we must not be impatient of any writer who continues a short-story writer when he might freely become a novelist. Now that a writer can profitably do so, he may prefer to grow his fiction on the dwarf stock. He may plausibly contend that this was the original stock, and that the novella was a short story many ages before its name was appropriated by the standard variety, the duodecimo American, or the three-volume English; that Boccaccio was a world-wide celebrity five centuries before George Eliot was known to be a woman. To be sure, we might come back at him