New Grub Street Part 43

'So early. There goes three o'clock.'

The next day they talked much of this new project. As there was sunshine Amy accompanied her husband for his walk in the afternoon; it was long since they had been out together. An open carriage that pa.s.sed, followed by two young girls on horseback, gave a familiar direction to Reardon's thoughts.

'If one were as rich as those people! They pa.s.s so close to us; they see us, and we see them; but the distance between is infinity. They don't belong to the same world as we poor wretches. They see everything in a different light; they have powers which would seem supernatural if we were suddenly endowed with them.'

'Of course,' a.s.sented his companion with a sigh.

'Just fancy, if one got up in the morning with the thought that no reasonable desire that occurred to one throughout the day need remain ungratified! And that it would be the same, any day and every day, to the end of one's life! Look at those houses; every detail, within and without, luxurious. To have such a home as that!'

'And they are empty creatures who live there.'

'They do live, Amy, at all events. Whatever may be their faculties, they all have free scope. I have often stood staring at houses like these until I couldn't believe that the people owning them were mere human beings like myself. The power of money is so hard to realise; one who has never had it marvels at the completeness with which it transforms every detail of life. Compare what we call our home with that of rich people; it moves one to scornful laughter. I have no sympathy with the stoical point of view; between wealth and poverty is just the difference between the whole man and the maimed. If my lower limbs are paralysed I may still be able to think, but then there is such a thing in life as walking. As a poor devil I may live n.o.bly; but one happens to be made with faculties of enjoyment, and those have to fall into atrophy. To be sure, most rich people don't understand their happiness; if they did, they would move and talk like G.o.ds--which indeed they are.'

Amy's brow was shadowed. A wise man, in Reardon's position, would not have chosen this subject to dilate upon.

'The difference,' he went on, 'between the man with money and the man without is simply this: the one thinks, "How shall I use my life?" and the other, "How shall I keep myself alive?" A physiologist ought to be able to discover some curious distinction between the brain of a person who has never given a thought to the means of subsistence, and that of one who has never known a day free from such cares. There must be some special cerebral development representing the mental anguish kept up by poverty.'

'I should say,' put in Amy, 'that it affects every function of the brain. It isn't a special point of suffering, but a misery that colours every thought.'

'True. Can I think of a single subject in all the sphere of my experience without the consciousness that I see it through the medium of poverty? I have no enjoyment which isn't tainted by that thought, and I can suffer no pain which it doesn't increase. The curse of poverty is to the modern world just what that of slavery was to the ancient. Rich and dest.i.tute stand to each other as free man and bond. You remember the line of Homer I have often quoted about the demoralising effect of enslavement; poverty degrades in the same way.'

'It has had its effect upon me--I know that too well,' said Amy, with bitter frankness.

Reardon glanced at her, and wished to make some reply, but he could not say what was in his thoughts.

He worked on at his story. Before he had reached the end of it, 'Margaret Home' was published, and one day arrived a parcel containing the six copies to which an author is traditionally ent.i.tled. Reardon was not so old in authorship that he could open the packet without a slight flutter of his pulse. The book was tastefully got up; Amy exclaimed with pleasure as she caught sight of the cover and lettering:

'It may succeed, Edwin. It doesn't look like a book that fails, does it?'

She laughed at her own childishness. But Reardon had opened one of the volumes, and was glancing over the beginning of a chapter.

'Good G.o.d!' he cried. 'What h.e.l.lish torment it was to write that page!

I did it one morning when the fog was so thick that I had to light the lamp. It brings cold sweat to my forehead to read the words. And to think that people will skim over it without a suspicion of what it cost the writer!--What execrable style! A potboy could write better narrative.'

'Who are to have copies?'

'No one, if I could help it. But I suppose your mother will expect one?'

'And--Milvain?'

'I suppose so,' he replied indifferently. 'But not unless he asks for it. Poor old Biffen, of course; though it'll make him despise me. Then one for ourselves. That leaves two--to light the fire with. We have been rather short of fire-paper since we couldn't afford our daily newspaper.'

'Will you let me give one to Mrs Carter?'

'As you please.'

He took one set and added it to the row of his productions which stood on a topmost shelf Amy laid her hand upon his shoulder and contemplated the effect of this addition.

'The works of Edwin Reardon,' she said, with a smile.

'The work, at all events--rather a different thing, unfortunately. Amy, if only I were back at the time when I wrote "On Neutral Ground," and yet had you with me! How full my mind was in those days! Then I had only to look, and I saw something; now I strain my eyes, but can make out nothing more than nebulous grotesques. I used to sit down knowing so well what I had to say; now I strive to invent, and never come at anything. Suppose you pick up a needle with warm, supple fingers; try to do it when your hand is stiff and numb with cold; there's the difference between my manner of work in those days and what it is now.'

'But you are going to get back your health. You will write better than ever.'

'We shall see. Of course there was a great deal of miserable struggle even then, but I remember it as insignificant compared with the hours of contented work. I seldom did anything in the mornings except think and prepare; towards evening I felt myself getting ready, and at last I sat down with the first lines buzzing in my head. And I used to read a great deal at the same time. Whilst I was writing "On Neutral Ground" I went solidly through the "Divina Commedia," a canto each day. Very often I wrote till after midnight, but occasionally I got my quantum finished much earlier, and then I used to treat myself to a ramble about the streets. I can recall exactly the places where some of my best ideas came to me. You remember the scene in Prendergast's lodgings? That flashed on me late one night as I was turning out of Leicester Square into the slum that leads to Clare Market; ah, how well I remember! And I went home to my garret in a state of delightful fever, and scribbled notes furiously before going to bed.'

'Don't trouble; it'll all come back to you.'

'But in those days I hadn't to think of money. I could look forward and see provision for my needs. I never asked myself what I should get for the book; I a.s.sure you, that never came into my head--never. The work was done for its own sake. No hurry to finish it; if I felt that I wasn't up to the mark, I just waited till the better mood returned. "On Neutral Ground" took me seven months; now I have to write three volumes in nine weeks, with the lash stinging on my back if I miss a day.'

He brooded for a little.

'I suppose there must be some rich man somewhere who has read one or two of my books with a certain interest. If only I could encounter him and tell him plainly what a cursed state I am in, perhaps he would help me to some means of earning a couple of pounds a week. One has heard of such things.'

'In the old days.'

'Yes. I doubt if it ever happens now. Coleridge wouldn't so easily meet with his Gillman nowadays. Well, I am not a Coleridge, and I don't ask to be lodged under any man's roof; but if I could earn money enough to leave me good long evenings unspoilt by fear of the workhouse--'

Amy turned away, and presently went to look after her little boy.

A few days after this they had a visit from Milvain. He came about ten o'clock in the evening.

'I'm not going to stay,' he announced. 'But where's my copy of "Margaret Home"? I am to have one, I suppose?'

'I have no particular desire that you should read it,' returned Reardon.

'But I HAVE read it, my dear fellow. Got it from the library on the day of publication; I had a suspicion that you wouldn't send me a copy. But I must possess your opera omnia.'

'Here it is. Hide it away somewhere.--You may as well sit down for a few minutes.'

'I confess I should like to talk about the book, if you don't mind.

It isn't so utterly and d.a.m.nably bad as you make out, you know. The misfortune was that you had to make three volumes of it. If I had leave to cut it down to one, it would do you credit.

The motive is good enough.'

'Yes. Just good enough to show how badly it's managed.'

Milvain began to expatiate on that well-worn topic, the evils of the three-volume system.

'A triple-headed monster, sucking the blood of English novelists.

One might design an allegorical cartoon for a comic literary paper.

By-the-bye, why doesn't such a thing exist?--a weekly paper treating of things and people literary in a facetious spirit. It would be caviare to the general, but might be supported, I should think. The editor would probably be a.s.sa.s.sinated, though.'

'For anyone in my position,' said Reardon, 'how is it possible to abandon the three volumes? It is a question of payment. An author of moderate repute may live on a yearly three-volume novel--I mean the man who is obliged to sell his book out and out, and who gets from one to two hundred pounds for it. But he would have to produce four one-volume novels to obtain the same income; and I doubt whether he could get so many published within the twelve months. And here comes in the benefit of the libraries; from the commercial point of view the libraries are indispensable. Do you suppose the public would support the present number of novelists if each book had to be purchased? A sudden change to that system would throw three-fourths of the novelists out of work.'

'But there's no reason why the libraries shouldn't circulate novels in one volume.'

'Profits would be less, I suppose. People would take the minimum subscription.'