A Rebellious Heroine | Page 5

income enabled him to live well enough to make a good appearance among, and share somewhat at their expense in the life of, others of far greater means; but it was too small to bring him many of the things which, while not absolutely necessities, could not well be termed luxuries, considering his tastes and his temperament. A little more was all he needed.
"If I could afford to write only when I feel like it," he said, "how happy I should be! But these orders--they make me a driver of men, and not their historian."
In fact, Harley was in that unfortunate, and at the same time happy, position where he had many orders for the product of his pen, and such financial necessities that he could not afford to decline one of them.
And it was this very situation which made his rebellious heroine of whom I have essayed to write so sore a trial to the struggling young author.
It was early in May, 1895, that Harley had received a note from Messrs. Herring, Beemer, & Chadwick, the publishers, asking for a story from his pen for their popular "Blue and Silver Series."
"The success of your Tiffin-Talk," they wrote, "has been such that we are prepared to offer you our highest terms for a short story of 30,000 words, or thereabouts, to be published in our 'Blue and Silver Series.' We should like to have it a love-story, if possible; but whatever it is, it must be characteristic, and ready for publication in November. We shall need to have the manuscript by September 1st at the latest. If you can let us have the first few chapters in August, we can send them at once to Mr. Chromely, whom it is our intention to have illustrate the story, provided he can be got to do it."
The letter closed with a few formalities of an unimportant and stereotyped nature, and Harley immediately called at the office of Messrs. Herring, Beemer, & Chadwick, where, after learning that their best terms were no more unsatisfactory than publishers' best terms generally are, he accepted the commission.
And then, returning to his apartment, he went into what Kelly called one of his trances.
"He goes into one of his trances," Kelly had said, "hoists himself up to his little elevation, and peeps into the private life of hoi polloi until he strikes something worth putting down and the result he calls literature."
"Yes, and the people buy it, and read it, and call for more," said the Professor.
"Possibly because they love notoriety," said Kelly, "and they think if they call for more often enough, he will finally peep in at their key-holes and write them up. If he ever puts me into one of his books I'll waylay him at night and amputate his writing-hand."
"He won't," said the Professor. "I asked him once why he didn't, and he said you'd never do in one of his books, because you don't belong to real life at all. He thinks you are some new experiment of an enterprising Providence, and he doesn't want to use you until he sees how you turn out."
"He could put me down as I go," suggested the Doctor.
"That's so," replied the other. "I told him so, but he said he had no desire to write a lot of burlesque sketches containing no coherent idea."
"Oh, he said that, did he?" observed the Doctor, with a smile. "Well--wait till Stuart Harley comes to me for a prescription. I'll get even with him. I'll give him a pill, and he'll disappear--for ten days."
Whether it was as Kelly said or not, that Harley went into a trance and poked his nose into the private life of the people he wrote about, it was a fact that while meditating upon the possible output of his pen our author was as deaf to his surroundings as though he had departed into another world, and it rarely happened that his mind emerged from that condition without bringing along with it something of value to him in his work.
So it was upon this May morning. For an hour or two Harley lay quiescent, apparently gazing out of his flat window over the uninspiring chimney-pots of the City of New York, at the equally uninspiring Long Island station on the far side of the East River. It was well for him that his eye was able to see, and yet not see: forgetfulness of those smoking chimney-pots, the red-zincked roofs, the flapping under-clothing of the poorer than he, hung out to dry on the tenement tops, was essential to the construction of such a story as Messrs. Herring, Beemer, & Chadwick had in mind; and Harley successfully forgot them, and, coming back to consciousness, brought with him the dramatis personae of his story--and, taken as