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The Sturdy Oak by Samuel Merwin

S >> Samuel Merwin >> The Sturdy Oak

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"Some straight talk, and quick talk, and the exercise of a little of the
art of pressure they say you men exercise," was the prompt reply. "I
telephoned Mr. Ledbetter of the _Sentinel_ advising him to hold the extra
Mr. Doolittle had threatened until he heard from Mr. Wesley Norton,
proprietor of the Norton Dry Goods Store. You know, Mr. Norton is the
_Sentinel_'s largest single advertiser and president of the Whitewater
Business Men's Club.

"Then a committee of us women called on Mr. Norton and told him that we'd
organize the women of the city and would carry on a boycott campaign
against his store--we didn't really put it quite as crudely as that--unless
he'd force the _Sentinel_ to stop Mr. Doolittle's lying extra and print
your statement.

"Mr. Norton gave in, and telephoned the _Sentinel_ that if it didn't do as
he said he'd cancel his advertising contract. Then, to make sure, we got
hold of Mr. Jaffry, called on Mr. Ledbetter, who called in the business
manager--and your Uncle Martin told them that unless they printed the
truth, and every bit of it, and printed it at once, he was going to put up
the money to start an opposition paper that _would print the truth_.
That explains the extra." "Well," ejaculated George, still staring, "you
certainly are a wonder as a campaign manager!"

"Oh, I only did my fraction. That Miss Eliot did as much as I--she's a
find--she's going to be one of Whitewater's really big women. And Betty
Sheridan, you can't guess how Betty's worked--and your wife, Mr. Remington,
she's turning out to be a marvel!

"But that's not all," Mrs. Herrington continued rapidly. "We bought ten
thousand copies of that extra for ourselves--your uncle paid for them--and
we're going to distribute them in every home in town. When the best element
in Whitewater read how the women were trampled down by Noonan's mob--well,
they'll know how to vote! Mr. Noonan will never guess how much he has
helped us."

"You seem to have left nothing for me to do," said George.

"You'll find out there'll be all you'll want," replied the brisk Mrs.
Herrington. "We're organizing meetings--one in every hall in the city, one
on almost every other street corner, and we're going to rush you from one
to the next--most of the night--and there'll be no letup for you tomorrow,
even if it is election day. Yes, you'll find there'll be plenty to do!"

The next twenty-four hours were the busiest that George Remington had ever
known in his twenty-six years.

But at nine o'clock the next evening it was over--the tumult and the
shouting and the congratulations--and all were gone save only Martin
Jaffry; and District-Attorney-Elect Remington sat in his hotel suite alone
in the bosom of his family.

He was still dazed by what had happened to him--at the part he had
unexpectedly played--dazed by the intense but well-ordered activity of
the women: their management of his whirlwind tour of the city; their
organization of parades with amazing swiftness; their rapid and complete
house-to-house canvass--the work of Mrs. Herrington, of Betty, of that
Miss Eliot, of hundreds of women--and especially of Genevieve. He marveled
especially at Genevieve because he had never thought of Genevieve as doing
such things. But she _had_ done them--he felt that somehow she was a
different Genevieve: he didn't know what the difference was--he was in too
much of a whirl for analysis--but he had an undefined sense of _aliveness_,
of a spirited, joyous initiative in her.

She and all the rest seemed so strange as to be unbelievable. And yet,
she--and all of it--true!...

From dramatic events and intangible qualities of the spirit, his
consciousness shifted to material things--his immediate surroundings.
Not till this blessed moment of relaxation did he become aware of the
discomforts of this suite--nor did Genevieve fully appreciate the
flamboyantly flowered maroon wall-paper and the jig-saw furniture.

"George,"' she sighed, "now that you're not needed down here, can't we go
home?"

"Home!" The word came out half snort, half growl--hardly the tone becoming
one whose triumph was so exultingly fresh. With a jar he had come back to a
present which he fully understood. "Damn home! I haven't any home!"

Genevieve stared. Uncle Martin snickered, for Uncle Martin had the gift of
understanding.

"You mean those flowers of womanhood whom chivalrous man----"

"Shut up," commanded George. He thought for a brief space; then his jaw
set. "Excuse me a moment."

Drawing hotel stationery toward him, he scribbled rapidly and then sealed
and addressed what he had written.

"Uncle Martin, your car's outside doing nothing; would you mind going on
ahead and giving this little note to Cousin Alys Brewster-Smith, and then
staying around and having a little supper with Genevieve and me? We'll be
out soon, but there are a few things I want to talk over with Genevieve
alone before we come."

Uncle Martin would oblige. But when he had gone, there seemed to be nothing
of pressing importance that George had to communicate to Genevieve. Nor
half an hour later, when he led his bride of four months up to their home,
had he delivered himself of anything which seemed to require privacy.

As they stepped up on the porch, softly lighted by a frosted bulb in its
ceiling, Cousin Emelene, her cat under her arm, came out of the front door
and hurried past them, without speech.

"Why, Cousin Emelene!" George called after her.

She paused and half turned.

"You--you--" she half choked upon expletives that would not come forth.
"The man will come for my trunks in the morning." Thrusting a handkerchief
to her face, she hurried away.

"George, what can have happened to her?" cried the amazed Genevieve.

But George was saved answering her just then. Another figure had emerged
from the front door--a rather largish figure, all in black--her left hand
clutching the right hand of a child, aged, possibly, five. And this figure
did not cower and hurry away. This figure halted, and glowered.

"George Remington," exclaimed Cousin Alys, "after your invitation--you--you
apostate to chivalry! That outrageous letter! But if I am leaving your
home, thank God I'm leaving it for a home of my own! Come on, Martin!"

With that she stalked away, dragging the sleepy Eleanor.

Not till then did George and Genevieve become aware that Uncle Martin
was before them, having until now been obscured by Mrs. Brewster-Smith's
outraged amplitude. His arms were loaded with coats, obviously feminine.

"Uncle Martin!" exclaimed George.

"George," gulped his uncle--"George--" And then he gained control of a
dazed sort of speech. "When I gave her that letter I didn't know it was
a letter of eviction. And the way she broke down before me--a woman, you
know--I--I--well, George, it's my home she's going to."

"You don't mean----"

"Yes, George, that's just what I mean. Though, of course, I'm taking her
back now to Mrs. Gallup's boarding-house until--until--good-night, George;
good-night, Genevieve." The little man went staggering down the walk
with his burden of wraps; and after a minute there came the sound of his
six-cylinder roadster buzzing away into the darkness.

"I didn't tell 'em they had to go tonight," said George doggedly. "But I
did remark that even if every woman had a right to a home, every woman
didn't have the right to make my home her home. Anyhow," his tone becoming
softer, "I've at last got a home of my own. Our own," he corrected.

He took her in his arms. "And, sweetheart--it's a better home than when we
first came to it, for now I've got more sense. Now it is a home in which
each of us has the right to think and be what we please."

* * * * *

At just about this same hour just about this same scene was being enacted
upon another front porch in Whitewater--there being the slight difference
that this second porch was not softly illuminated by any frosted globule of
incandescence. Up the three steps leading to this second porch Mr. Penfield
Evans had that moment escorted Miss Elizabeth Sheridan.

"Good-night, Penny," she said.

He caught her by her two shoulders.

"See here, Betty--the last twenty-four hours have been mighty busy
hours--too busy even to talk about ourselves. But now--see here, you're not
going to get away with any rough work like that. Come across, now. Will
you?"

"Will I what?"

"Say, how long do you think you're a paid-up subscriber to this little
daily speech of mine?... Well, if I've got to hand you another copy, here
goes. You promised me, on your word of honor, if George swung around for
suffrage, you'd swing around for me. Well, George has come around. Not that
I had much to do with it--but he surely did come around! Now, the point
is, Miss Betty Sheridan, are you a woman of your promise--are you going to
marry me?"

"Well, if you try to put it that way, demanding your pound of flesh----"
"One hundred and twenty pounds," corrected Penny.

"I'll say that, of course, I don't love you, but I guess a promise is a
promise--and--and--" And suddenly a pair of strong young arms were flung
about the neck of Mr. Penfield Evans. "Oh, I'm so happy, Penny dear!"

"Betty!"

After that there was a long silence ... silence broken only by that softly
sibilant detonation which belongs most properly to the month of June,
but confines itself to no season ... to a long, long silence born of and
blessed by the gods ... until one Percival Sheridan, coming stealthily home
from a late debauch at Humphrey's drug store, and mounting the steps in
the tennis sneakers which were his invariable wear on dry and non-state
occasions, bumped into the invisible and unhearing couple.

"Say, there--" gasped the startled youth, backing away.

Betty gave an affrighted cry--it was a long swift journey down from where
she had just been. Her right hand, reaching drowningly out, fell upon a
familiar shoulder.

"It's Pudge!" she cried. "Pudge"--shaking him--"snooping around, listening
and trying to spy----"

"You stop that--it ain't so!" protested the outraged Pudge, his utterance
throttled down somewhat by the chocolate cream in his mouth.

"Spying on people! And, besides, you've been stuffing yourself with candy
again! You're ruining your stomach with that sticky sweet stuff--you're
headed straight for a candy-fiend's grave. Now, you go upstairs and to
bed!"

She jerked him toward the door, opened it, and as he was thrust through
the door Pudge felt something, something warm, press impulsively against a
cheek. Not until the door had closed upon him did he realize what Betty had
done to him. He stood dazed for a moment--unbalanced between impulses. Then
the sturdy maleness of fourteen rewon its dominance.

"Guess I know what they was doing, all right--aw, wouldn't it make you
sick!" And, in disgust which another chocolate cream alleviated hardly at
all, he mounted to his bed.

Outside there was again silence ... faintly disturbed only by that softly
sibilant, almost muted percussion which recalls inevitably the month of
June....

THE END






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Fidel and Che: a revolutionary friendship

After last week's fairly open theme, I thought I'd go with something a bit more structured this time. As I type this, I'm listening to Steeleye Span and thinking about the great ballad traditions of Britain and Ireland. What is a ballad? I suppose the most inclusive definition would be that it's a singable narrative poem: that covers a multitude but will do for the moment.

Ballads in English stretch back to the middle ages, with fine examples to be found among the Scottish border ballads and the English Robin Hood poems. These early ballads are among the best-known poems and stories in the language, and form part of the common heritage of English speakers everywhere. They gave rise to a tradition of ballad-making that endures down to the present day.

In fact, most poets since have tried their hand at the ballad at one time or another, and the result has been to deny any definition more specific than the one I ventured in my first paragraph. If you look around the internet, you'll come up with a wide selection of poems that are called ballads but have little in common formally. Stanza length varies from two to 10 or more lines, and all sorts of metrical and rhyming patterns are used. A good number will be singable in only the loosest possible sense, and at times the narrative tends to get lost in a mesh of more-or-less successful verbal embroidery.

So, what should a ballad be? Well, "proper" ballad stanzas are quatrains in which the first and third lines have four stresses and the second and third have three. The lines will rhyme A-B-C-B or A-B-A-B. It's as simple, and as difficult, as that. Here's an example, from Robert Burns's extremely singable Comin Thro' the Rye:

Gin a body meet a body
          Comin thro' the rye,
Gin a body kiss a body –
          Need a body cry.

Burns wrote a good number of ballads, and his lead was followed by many 19th-century poets. Two examples that I particularly like are Robert Browning's Confessions and Christina Rossetti's Up-Hill, but you can find ballads by just about any Romantic or Victorian poet if you look for them.

There is a long, strong tradition of ballads and ballad singers in Ireland, too. It is hardly surprising, then, that the great appropriator of tradition, WB Yeats, tried his hand at the form. At least four of his poems have the word "ballad" in the title; the pick of the bunch, for my money, is The Ballad of Father Gilligan, which may have benefited from having been written with a specific tune in mind.

Ballads continued to be written in the 20th century; perhaps the most unexpected exponents were Ezra Pound, with his Ballad of the Goodly Fere, and WH Auden. In fact, the ballad The Quarry is probably my favourite Auden poem.

And so, this week I invite a chorus of balladeering. You may choose to go the whole hog and write in ballad stanzas or you might prefer to take a more liberal view of the formal requirements. Either way, sing up and – as they say at all the best Irish sessions when calling for a bit of hush for the singer – one voice please.

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Obituary: Donald Westlake

The disputed Holocaust memoir, written by Herman Rosenblat, which was dropped from Penguin Group's publication schedule at the end of December is now set to appear as a work of fiction.

Rosenblat's memoir - which Oprah Winfrey called "the single greatest love story" she had heard in two decades in television - recounted how as a teenage boy in a Nazi concentration camp, he was kept alive by the food which was thrown to him by a young girl, Roma Radzicky. Penguin's US imprint Berkley Books had planned to publish the story, which sees Rosenblat reunited with Radzicky on a blind date years later, as Angel at the Fence: the True Story of a Love That Survived, next month.

But a Holocaust historian said it would have been impossible to approach the fence in the Schlieben concentration camp to throw food over it, concluding that this part of the story was made-up. Berkley initially defended the book, saying it was a work of memory, but then decided to cancel its planned publication, and demanded the return of the advance it had made to Rosenblat. A $25m film based on the book, to be called The Flower of the Fence, is still going ahead, with production due to start this year.

Publisher York House Press based in White Plains, New York, has entered into a tentative agreement with the film production company to publish a novel based on the film script early this spring. It said the book would be "grounded in fact", and would rise "to the proper levels of artistic value, ethical conduct and social responsibility".

A spokesperson for York House Press condemned the attacks which were made on the 80-year-old Rosenblat after the veracity of his story was questioned, describing them as a "savage" response to what was otherwise "a credible, heart-wrenching, and verifiable account" of his time in the concentration camp.

"No deliberate untruth is permissible, but beneath any fabrication is motivation and intent. We believe Mr. Rosenblat's motivations were very human, understandable and forgivable," the spokesperson said. "It is beyond our expertise to know how Holocaust survivors cope with their trauma. Do they deny, try to forget, rationalise or fantasise and promote fiction along with truth? Perhaps the coping mechanisms are as individual as the survivors themselves."

The president of the company producing the film, Harris Salomon from Atlantic Overseas Productions, said the book, "regardless of its shortcomings", would "challenge, educate and enlighten" readers about the horrors of the Holocaust. "The documented fact, acknowledged by his critics, is that Herman is a survivor of concentration camps," he said.

But Rosenblat's agent, Andrea Hurst, said that neither she nor Rosenblat were involved with this version of his story. "Usually book rights from films come out after the movie is released," she told guardian.co.uk. "I think the timing on this is very insensitive."

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