When Winter Comes to Main Street Part 1

When Winter Comes to Main Street.

by Grant Martin Overton.

PREFACE

I have borrowed my t.i.tle from two remarkable novels.

_If Winter Comes_, by A. S. M. Hutchinson, was published in the autumn of 1921 by Messrs. Little, Brown & Company of Boston.

_Main Street_, by Sinclair Lewis, was published in the autumn of 1920 by Messrs. Harcourt, Brace & Company of New York.

I have not before me the precise figures of the amazing sales of these two books--each pa.s.sed 350,000--but I make my bow to their authors and to their publishers and to the American public. I bow to the authors for the quality of their work and to the publishers and the public for their recognition of that quality.

These two substantial successes confirm my belief that the American public in hundreds of thousands relishes good reading. Without that belief, this book would not have been prepared; but I have prepared it with some confidence that those who relish good reading will be interested in the chapters that follow.

As a former book reviewer and literary editor, as an author and, now, as one vitally concerned in book publis.h.i.+ng, my interest in books has been fundamentally unchanging--a wish to see more books read and better books to read.

From one standpoint, _When Winter Comes to Main Street_ is frankly an advertis.e.m.e.nt; it deals with Doran books and authors. This is a fact of some relevance, however, if, as I believe, the reader shall find well-spent the time given to these pages.

Grant Overton.

19 July 1922.

WHEN WINTER COMES TO MAIN STREET

CHAPTER I

THE COURAGE OF HUGH WALPOLE

=i=

Says his American contemporary, Joseph Hergesheimer, in an appreciation of Hugh Walpole: "Mr. Walpole's courage in the face of the widest scepticism is nowhere more daring than in _The Golden Scarecrow_." Mr. Walpole's courage, I shall always hold, is nowhere more apparent than in the choice of his birthplace. He was born in the Antipodes. Yes! In that magical, unp.r.o.nounceable realm one reads about and intends to look up in the dictionary.... The precise Antipodean spot was Auckland, New Zealand, and the year was 1884.

The Right Reverend George Henry Somerset Walpole, D.D., Bishop of Edinburgh since 1910, had been sent in 1882 to Auckland as Inc.u.mbent of St. Mary's Pro-Cathedral, and the same ecclesiastical fates which took charge of Hugh Seymour Walpole's birthplace provided that, at the age of five, the immature novelist should be transferred to New York. Dr. Walpole spent the next seven years in imparting to students of the General Theological Seminary, New York, their knowledge of Dogmatic Theology. Hugh Seymour Walpole spent the seven years in attaining the age of twelve.

Then, in 1896, the family returned to England. Perhaps a tendency to travel had by this time become implanted in Hugh, for now, in his late thirties, he is one of the most peripatetic of writers. He is here, he is there. You write to him in London and receive a reply from Cornwall or the Continent. And, regularly, he comes over to America. Of all the English novelists who have visited this country he is easily the most popular personally on this side. His visit this autumn (1922) will undoubtedly multiply earlier welcomes.

Interest in Walpole the man and Walpole the novelist shows an increasing tendency to become identical. It is all very well to say that the man is one thing, his books are quite another; but suppose the man cannot be separated from his books? The Walpole that loved Cornwall as a lad can't be dissevered from the "Hugh Seymour" of _The Golden Scarecrow_; without his Red Cross service in Russia during the Great War, Walpole could not have written _The Dark Forest_; and I think the new novel he offers us this autumn must owe a good deal to direct reminiscence of such a cathedral town as Durham, to which the family returned when Hugh was twelve.

[Ill.u.s.tration: HUGH WALPOLE]

_The Cathedral_, as the new book is called, rests the whole of its effect upon just such an edifice as young Hugh was familiar with. The Cathedral of the story stands in Polchester, in the west of England, in the county of Glebes.h.i.+re--that mythical yet actual county of Walpole's other novels.

Like such tales as _The Green Mirror_ and _The d.u.c.h.ess of Wrexe_, the aim is threefold--to give a history of a certain group of people and, at the same time, (2) to be a comment on English life, and, beyond that, (3) to offer a philosophy of life itself.

The innermost of the three circles of interest created in this powerful novel--like concentric rings formed by dropping stones in water--concerns the life of Archdeacon Brandon. When the story opens he is ruling Polchester, all its life, religious and civic and social, with an iron rod. A good man, kindly and virtuous and simple, power has been too much for him. In the first chapter a parallel is made between Brandon and a great mediaeval ecclesiastic of the Cathedral, the Black Bishop, who came to think of himself as G.o.d and who was killed by his enemies. All through the book this parallel is followed.

A certain Canon Ronder arrives to take up a post in the Cathedral. The main thread of the novel now emerges as the history of the rivalry of these two men, one simple and elemental, the other calculating, selfish and sure. Ronder sees at once that Brandon is in his way and at once begins his work to overthrow the Archdeacon, not because he dislikes him at all (he _likes_ him), but because he wants his place; too, because Brandon represents the Victorian church, while Ronder is on the side of the modernists.

Brandon is threatened through his son Stephen and through his wife. His source of strength,--a source of which he is unaware--lies in his daughter, Joan, a charming girl just growing up. The first part of the novel ends with everything that is to follow implicit in what has been told; the story centres in Brandon but more sharply in the Cathedral, which is depicted as a living organism with all its great history behind it working quickly, ceaselessly, for its own purposes. Every part of the Cathedral life is brought in to effect this, the Bishop, the Dean, the Canons--down to the Verger's smallest child. All the town life also is brought in, from the Cathedral on the hill to the mysterious little riverside inn. Behind the town is seen the Glebes.h.i.+re country, behind that, England; behind England, the world, all moving toward set purposes.

The four parts of the novel markedly resemble, in structure, acts of a play; in particular, the striking third part, entirely concerned with the events of a week and full of flas.h.i.+ng pictures, such as the scene of the Town Ball. But the culmination of this part, indeed, the climax of the whole book, comes in the scene of the Fair, with its atmosphere of carnival, its delirium of outdoor mood, and its tremendous encounter between Brandon and his wife. The novel closes upon a moment both fugitive and eternal--Brandon watching across the fields the Cathedral, lovely and powerful, in the evening distance. The Cathedral, lovely and powerful, forever victorious, served by the generations of men....

=ii=

Courage, for Hugh, must have made its demand to be exercised early. We have the "Hugh Seymour" of _The Golden Scarecrow_ who "was sent from Ceylon, where his parents lived, to be educated in England. His relations having for the most part settled in foreign countries, he spent his holidays as a minute and pale-faced 'paying guest' in various houses where other children were of more importance than he, or where children as a race were of no importance at all." It would be a mistake to confer on such a fictional pa.s.sage a strict autobiographical importance; but I think it significant that the novel with which Walpole first won an American following, _Fort.i.tude_, should derive from a theme as simple and as strong as that of a cla.s.sic symphony--from those words with which it opens: "'T isn't life that matters! 'T is the courage you bring to it." From that moment on, the novel follows the struggle of Peter Westcott, in boyhood and young manhood, with antagonists, inner and outer. At the end we have him partly defeated, wholly triumphant, still fighting, still pledged to fight.

Not to confuse fiction with fact: Hugh Walpole was educated at Kings School, Canterbury, and at Emmanuel College, Cambridge. When he left the university he drifted into newspaper work in London. He also had a brief experience as master in a boys' school (the experiential-imaginative source of _The G.o.ds and Mr. Perrin_, that superb novel of underpaid teachers in a second-rate boarding school). The war brought Red Cross work in Russia and also a mission to Petrograd to promote pro-Ally sentiment.

For these services Walpole was decorated with the Georgian Medal.

What is Hugh Walpole like personally? Arnold Bennett, in an article which appeared in the Book News Monthly and which was reprinted in a booklet, says: "About the time of the publication of _The G.o.ds and Mr. Perrin_, I made the acquaintance of Mr. Walpole and found a man of youthful appearance, rather dark, with a s.p.a.cious forehead, a very highly sensitised nervous organisation, and that rea.s.suring matter-of-factness of demeanour which one usually does find in an expert. He was then busy at his task of seeing life in London. He seems to give about one-third of the year to the tasting of all the heterogeneous sensations which London can provide for the connoisseur and two-thirds to the exercise of his vocation in some withdrawn spot in Cornwall that n.o.body save a postman or so, and Mr. Walpole, has ever beheld. During one month it is impossible to 'go out' in London without meeting Mr. Walpole--and then for a long period he is a mere legend of dinner tables. He returns to the dinner tables with a novel complete."

In the same magazine, in an article reprinted in the same booklet, Mrs.

Belloc Lowndes, that excellent weaver of mystery stories and sister of Hilaire Belloc, said: "Before all things Hugh Walpole is an optimist, with a great love for and a great belief in human nature. His outlook is essentially sane, essentially normal. He has had his reverses and difficulties, living in lodgings in remote Chelsea, depending entirely upon his own efforts. Tall and strongly built, clean-shaven, with a wide, high forehead and kindly sympathetic expression, the author of _Fort.i.tude_ has a refres.h.i.+ng boyishness and zest for enjoyment which are pleasant to his close friends. London, the home of his adoption, Cornwall, the home of his youth, have each an equal spell for him and he divides his year roughly into two parts: the tiny fis.h.i.+ng town of Polperro, Cornwall, and the pleasure of friends.h.i.+ps in London. 'What a wonderful day!' he was heard to say, his voice sounding m.u.f.fled through the thickest variety of a pea-soup fog. 'It wouldn't really be London without an occasional day like this! I'm off to tramp the city.' It is one of Hugh Walpole's superst.i.tions that he should always begin his novels on Christmas Eve. He has always done so, and he believes it brings him luck. Often it means the exercise of no small measure of self-control, for the story has matured in his mind and he is aching to commence it. But he vigorously adheres to his custom, and by the time he begins to write his book lies before him like a map. 'I could tell it you now, practically in the very words in which I shall write it,' he has said. Nevertheless, he takes infinite trouble with the work as it progresses. A great reader, Hugh Walpole reads with method.

Tracts of history, periods of fiction and poetry, are studied seriously; and he has a really exhaustive heritage of modern poetry and fiction."

Perhaps since Mrs. Lowndes wrote those words, Mr. Walpole has departed from his Christmas Eve custom. At any rate, I notice on the last page in his very long novel _The Captives_ (the work by which, I think, he sets most store of all his books so far published) the dates:

POLPERRO, JAN. 1916, POLPERRO, MAY 1920.

=iii=

The demand for the exercise of that courage of which we have spoken can be seen from these further details, supplied by Arnold Bennett:

"At the age of twenty, as an undergraduate of Cambridge, Walpole wrote two novels. One of these, a very long book, the author had the imprudence to destroy. The other was _The Wooden Horse_, his first printed novel. It is not to be presumed that _The Wooden Horse_ was published at once. For years it waited in ma.n.u.script until Walpole had become a master in a certain provincial school in England. There he showed the novel to a fellow-master, who, having kept the novel for a period, spoke thus: 'I have tried to read your novel, Walpole, but I can't. Whatever else you may be fitted for, you aren't fitted to be a novelist.' Mr. Walpole was grieved. Perhaps he was unaware, then, that a similar experience had happened to Joseph Conrad. I am unable to judge the schoolmaster's fitness to be a critic, because I have not read _The Wooden Horse_. Walpole once promised to send me a copy so that I might come to some conclusion as to the schoolmaster, but he did not send it.

Soon after this deplorable incident, Walpole met Charles Marriott, a novelist of a remarkable distinction. Mr. Marriott did not agree with the schoolmaster as to _The Wooden Horse_. The result of the conflict of opinion between Mr. Marriott and the schoolmaster was that Mr. Walpole left the school abruptly--perhaps without the approval of his family, but certainly with a sum of 30 which he had saved. His destination was London.

"In Chelsea he took a room at four s.h.i.+llings a week. He was twenty-three and (in theory) a professional author at last. Through the favouring influence of Mr. Marriott he obtained a temporary job on the London Standard as a critic of fiction. It lasted three weeks. Then he got a regular situation on the same paper, a situation which I think he kept for several years. _The Wooden Horse_ was published by a historic firm.

Statistics are interesting and valuable--_The Wooden Horse_ sold seven hundred copies. The author's profits therefrom were less than the cost of typewriting the novel. History is constantly repeating itself.

"Mr. Walpole was quite incurable, and he kept on writing novels. _Marad.i.c.k at Forty_ was the next one. It sold eleven hundred copies, but with no greater net monetary profit to the author than the first one. He made, however, a more s.h.i.+ning profit of glory. _Marad.i.c.k at Forty_--as the phrase runs--'attracted attention.' I myself, though in a foreign country, heard of it, and registered the name of Hugh Walpole as one whose progress must be watched."

=iv=

Not so long ago there was published in England, in a series of pocket-sized books called the _Kings Treasuries of Literature_ (under the general editors.h.i.+p of Sir A. T. Quiller-Couch), a small volume called _A Hugh Walpole Anthology_. This consisted of selections from Mr. Walpole's novels up to and including _The Captives_. The selection was made by Mr.

Walpole himself.

I think that the six divisions into which the selections fell are interesting as giving, in a few words, a prospectus of Walpole's work. The t.i.tles of the sections were "Some Children," "Men and Women," "Some Incidents," "London," "Country Places," and "Russia." The excerpts under the heading "Some Children" are all from _Jeremy_ and _The Golden Scarecrow_. The "Men and Women" are Mr. Perrin and Mrs. Comber, from _The G.o.ds and Mr. Perrin_; Mr. Trenchard and Aunt Aggie, from _The Green Mirror_; and Mr. Crashaw, from _The Captives_. The "Incidents" are chosen with an equal felicity--we have the theft of an umbrella from _The G.o.ds and Mr. Perrin_ and, out of the same book, the whole pa.s.sage in which Mr.

Perrin sees double. There is also a scene from _Fort.i.tude_, "After Defeat."

After two episodes from _The Green Mirror_, this portion of the anthology is closed with the tragic pa.s.sage from _The Captives_ in which Maggie finds her uncle.

Among the London places pictured by Mr. Walpole in his novels and in this pleasant anthology are Fleet Street, Chelsea, Portland Place, The Strand, and Marble Arch. The selections under the heading "Country Places" are bits about a cove, the sea, dusk, a fire and homecoming. The pa.s.sages that relate to Russia are taken, of course, from _The Dark Forest_ and _The Secret City_.