Youth and the Bright Medusa | Page 3

the sun. He was used to the musty smell of the
old hall carpet. (The nurse-lessee had once knocked at his studio door
and complained that Caesar must be somewhat responsible for the
particular flavour of that mustiness, and Hedger had never spoken to
her since.) He was used to the old smell, and he preferred it to that of
the lilacs, and so did his companion, whose nose was so much more
discriminating. Hedger shut his door vehemently, and fell to work.
Most young men who dwell in obscure studios in New York have had a
beginning, come out of something, have somewhere a home town, a
family, a paternal roof. But Don Hedger had no such background. He
was a foundling, and had grown up in a school for homeless boys,
where book-learning was a negligible part of the curriculum. When he
was sixteen, a Catholic priest took him to Greensburg, Pennsylvania, to

keep house for him. The priest did something to fill in the large gaps in
the boy's education,--taught him to like "Don Quixote" and "The
Golden Legend," and encouraged him to mess with paints and crayons
in his room up under the slope of the mansard. When Don wanted to go
to New York to study at the Art League, the priest got him a night job
as packer in one of the big department stores. Since then, Hedger had
taken care of himself; that was his only responsibility. He was
singularly unencumbered; had no family duties, no social ties, no
obligations toward any one but his landlord. Since he travelled light, he
had travelled rather far. He had got over a good deal of the earth's
surface, in spite of the fact that he never in his life had more than three
hundred dollars ahead at any one time, and he had already outlived a
succession of convictions and revelations about his art.
Though he was now but twenty-six years old, he had twice been on the
verge of becoming a marketable product; once through some studies of
New York streets he did for a magazine, and once through a collection
of pastels he brought home from New Mexico, which Remington, then
at the height of his popularity, happened to see, and generously tried to
push. But on both occasions Hedger decided that this was something he
didn't wish to carry further,--simply the old thing over again and got
nowhere,--so he took enquiring dealers experiments in a "later
manner," that made them put him out of the shop. When he ran short of
money, he could always get any amount of commercial work; he was
an expert draughtsman and worked with lightning speed. The rest of his
time he spent in groping his way from one kind of painting into another,
or travelling about without luggage, like a tramp, and he was chiefly
occupied with getting rid of ideas he had once thought very fine.
Hedger's circumstances, since he had moved to Washington Square,
were affluent compared to anything he had ever known before. He was
now able to pay advance rent and turn the key on his studio when he
went away for four months at a stretch. It didn't occur to him to wish to
be richer than this. To be sure, he did without a great many things other
people think necessary, but he didn't miss them, because he had never
had them. He belonged to no clubs, visited no houses, had no studio
friends, and he ate his dinner alone in some decent little restaurant,

even on Christmas and New Year's. For days together he talked to
nobody but his dog and the janitress and the lame oysterman.
After he shut the door and settled down to his paradise fish on that first
Tuesday in May, Hedger forgot all about his new neighbour. When the
light failed, he took Caesar out for a walk. On the way home he did his
marketing on West Houston Street, with a one-eyed Italian woman who
always cheated him. After he had cooked his beans and scallopini, and
drunk half a bottle of Chianti, he put his dishes in the sink and went up
on the roof to smoke. He was the only person in the house who ever
went to the roof, and he had a secret understanding with the janitress
about it. He was to have "the privilege of the roof," as she said, if he
opened the heavy trapdoor on sunny days to air out the upper hall, and
was watchful to close it when rain threatened. Mrs. Foley was fat and
dirty and hated to climb stairs,--besides, the roof was reached by a
perpendicular iron ladder, definitely inaccessible to a woman of her
bulk, and the iron door at the top of