Стивен Ликок
Behind the Beyond, and Other Contributions to Human Knowledge
THE RETROACTIVE EXISTENCE OF MR. JUGGINS
The Retroactive Existence of Mr. Juggins
I FIRST met Juggins,—really to notice him,—years and years ago as a boy out camping. Somebody was trying to nail up a board on a tree for a shelf and Juggins interfered to help him.
"Stop a minute," he said, "you need to saw the end of that board off before you put it up." Then Juggins looked round for a saw, and when he got it he had hardly made more than a stroke or two with it before he stopped. "This saw," he said, "needs to be filed up a bit." So he went and hunted up a file to sharpen the saw, but found that before he could use the file he needed to put a proper handle on it, and to make a handle he went to look for a sapling in the bush, but to cut the sapling he found that he needed to sharpen up the axe. To do this, of course, he had to fix the grindstone so as to make it run properly. This involved making wooden legs for the grindstone. To do this decently Juggins decided to make a carpenter's bench. This was quite impossible without a better set of tools. Juggins went to the village to get the tools required, and, of course, he never came back.
He was re-discovered—weeks later—in the city, getting prices on wholesale tool machinery.
After that first episode I got to know Juggins very well. For some time we were students at college together. But Juggins somehow never got far with his studies. He always began with great enthusiasm and then something happened. For a time he studied French with tremendous eagerness. But he soon found that for a real knowledge of French you need first to get a thorough grasp of Old French and Provençal. But it proved impossible to do anything with these without an absolutely complete command of Latin. This Juggins discovered could only be obtained, in any thorough way, through Sanskrit, which of course lies at the base of it. So Juggins devoted himself to Sanskrit until he realised that for a proper understanding of Sanskrit one needs to study the ancient Iranian, the root-language underneath. This language however is lost.
So Juggins had to begin over again. He did, it is true, make some progress in natural science. He studied physics and rushed rapidly backwards from forces to molecules, and from molecules to atoms, and from atoms to electrons, and then his whole studies exploded backward into the infinities of space, still searching a first cause.
Juggins, of course, never took a degree, so he made no practical use of his education. But it didn't matter. He was very well off and was able to go straight into business with a capital of about a hundred thousand dollars. He put it at first into a gas plant, but found that he lost money at that because of the high price of the coal needed to make gas. So he sold out for ninety thousand dollars and went into coal mining. This was unsuccessful because of the awful cost of mining machinery. So Juggins sold his share in the mine for eighty thousand dollars and went in for manufacturing mining machinery. At this he would have undoubtedly made money but for the enormous cost of gas needed as motive-power for the plant. Juggins sold out of the manufacture for seventy thousand, and after that he went whirling in a circle, like skating backwards, through the different branches of allied industry.
He lost a certain amount of money each year, especially in good years when trade was brisk. In dull times when everything was unsalable he did fairly well.
Juggins' domestic life was very quiet.
Of course he never married. He did, it is true, fall in love several times; but each time it ended without result. I remember well his first love story for I was very intimate with him at the time. He had fallen in love with the girl in question utterly and immediately. It was literally love at first sight. There was no doubt of his intentions. As soon as he had met her he was quite frank about it. "I intend," he said, "to ask her to be my wife."
"When?" I asked; "right away?"
"No," he said, "I want first to fit myself to be worthy of her."
So he went into moral training to fit himself. He taught in a Sunday school for six weeks, till he realised that a man has no business in Divine work of that sort without first preparing himself by serious study of the history of Palestine. And he felt that a man was a cad to force his society on a girl while he is still only half acquainted with the history of the Israelites. So Juggins stayed away. It was nearly two years before he was fit to propose. By the time he was fit, the girl had already married a brainless thing in patent leather boots who didn't even know who Moses was.
Of course Juggins fell in love again. People always do. And at any rate by this time he was in a state of moral fitness that made it imperative.
So he fell in love—deeply in love this time—with a charming girl, commonly known as the eldest Miss Thorneycroft. She was only called eldest because she had five younger sisters; and she was very poor and awfully clever and trimmed all her own hats. Any man, if he's worth the name, falls in love with that sort of thing at first sight. So, of course, Juggins would have proposed to her; only when he went to the house he met her next sister: and of course she was younger still; and, I suppose, poorer: and made not only her own hats but her own blouses. So Juggins fell in love with her. But one night when he went to call, the door was opened by the sister younger still, who not only made her own blouses and trimmed her own hats, but even made her own tailor-made suits. After that Juggins backed up from sister to sister till he went through the whole family, and in the end got none of them.
Perhaps it was just as well that Juggins never married. It would have made things very difficult because, of course, he got poorer all the time. You see after he sold out his last share in his last business he bought with it a diminishing life annuity, so planned that he always got rather less next year than this year, and still less the year after. Thus, if he lived long enough, he would starve to death.
Meantime he has become a quaint-looking elderly man, with coats a little too short and trousers a little above his boots—like a boy. His face too is like that of a boy, with wrinkles.
And his talk now has grown to be always reminiscent. He is perpetually telling long stories of amusing times that he has had with different people that he names.
He says for example—
"I remember a rather queer thing that happened to me in a train one day–"
And if you say—"When was that Juggins?"—he looks at you in a vague way as if calculating and says,—"in 1875, or 1876, I think, as near as I recall it—"
I notice, too, that his reminiscences are going further and further back. He used to base his stories on his recollections as a young man, now they are further back.
The other day he told me a story about himself and two people that he called the Harper brothers,—Ned and Joe. Ned, he said was a tremendously powerful fellow.
I asked how old Ned was and Juggins said that he was three. He added that there was another brother not so old, but a very clever fellow about,—here Juggins paused and calculated—about eighteen months.
So then I realised where Juggins retroactive existence is carrying him to. He has passed back through childhood into infancy, and presently, just as his annuity runs to a point and vanishes, he will back up clear through the Curtain of Existence and die,—or be born, I don't know which to call it.
Meantime he remains to me as one of the most illuminating allegories I have met.
MAKING A MAGAZINE
(The Dream of a Contributor)
Making a Magazine
I DREAMT one night not long ago that I was the editor of a great illustrated magazine. I offer no apology for this: I have often dreamt even worse of myself than that.
In any case I didn't do it on purpose: very often, I admit, I try to dream that I am President Wilson, or Mr. Bryan, or the Ritz-Carlton Hotel, or a share of stock in the Standard Oil Co. for the sheer luxury and cheapness of it. But this was an accident. I had been sitting up late at night writing personal reminiscences of Abraham Lincoln. I was writing against time. The presidential election was drawing nearer every day and the market for reminiscences of Lincoln was extremely brisk, but, of course, might collapse any moment. Writers of my class have to consider this sort of thing. For instance, in the middle of Lent, I find that I can do fairly well with "Recent Lights on the Scriptures." Then, of course, when the hot weather comes, the market for Christmas poetry opens and there's a fairly good demand for voyages in the Polar Seas. Later on, in the quiet of the autumn I generally write some "Unpublished Letters from Goethe to Balzac," and that sort of thing.
But it's a wearing occupation, full of disappointments, and needing the very keenest business instinct to watch every turn of the market.
I am afraid that this is a digression. I only wanted to explain how a man's mind could be so harassed and overwrought as to make him dream that he was an editor.
I knew at once in my dream where and what I was. As soon as I saw the luxury of the surroundings,—the spacious room with its vaulted ceiling, lit with stained glass,—the beautiful mahogany table at which I sat writing with a ten-dollar fountain pen, the gift of the manufacturers,—on embossed stationery, the gift of the embossers,—on which I was setting down words at eight and a half cents a word and deliberately picking out short ones through sheer business acuteness;—as soon as I saw;—this I said to myself—
"I am an editor, and this is my editorial sanctum." Not that I have ever seen an editor or a sanctum. But I have sent so many manuscripts to so many editors and received them back with such unfailing promptness, that the scene before me was as familiar to my eye as if I had been wide awake.
As I thus mused, revelling in the charm of my surroundings and admiring the luxurious black alpaca coat and the dainty dickie which I wore, there was a knock at the door.
A beautiful creature entered. She evidently belonged to the premises, for she wore no hat and there were white cuffs upon her wrists. She has that indescribable beauty of effectiveness such as is given to hospital nurses.
This, I thought to myself, must be my private secretary.
"I hope I don't interrupt you, sir," said the girl.
"My dear child," I answered, speaking in that fatherly way in which an editor might well address a girl almost young enough to be his wife, "pray do not mention it. Sit down. You must be fatigued after your labours of the morning. Let me ring for a club sandwich."
"I came to say, sir," the secretary went on, "that there's a person downstairs waiting to see you."
My manner changed at once.
"Is he a gentleman or a contributor?" I asked.
"He doesn't look exactly like a gentleman."
"Very good," I said. "He's a contributor for sure. Tell him to wait. Ask the caretaker to lock him in the coal cellar, and kindly slip out and see if there's a policeman on the beat in case I need him."
"Very good, sir," said the secretary.
I waited for about an hour, wrote a few editorials advocating the rights of the people, smoked some Turkish cigarettes, drank a glass of sherry, and ate part of an anchovy sandwich.
Then I rang the bell. "Bring that man here," I said.
Presently they brought him in. He was a timid-looking man with an embarrassed manner and all the low cunning of an author stamped on his features. I could see a bundle of papers in his hand, and I knew that the scoundrel was carrying a manuscript.
"Now, sir," I said, "speak quickly. What's your business?"
"I've got here a manuscript," he began.
"What!" I shouted at him. "A manuscript! You'd dare, would you! Bringing manuscripts in here! What sort of a place do you think this is?"
"It's the manuscript of a story," he faltered.
"A story!" I shrieked. "What on earth do you think we'd want stories for! Do you think we've nothing better to do than to print your idiotic ravings? Have you any idea, you idiot, of the expense we're put to in setting up our fifty pages of illustrated advertising? Look here," I continued, seizing a bundle of proof illustrations that lay in front of me, "do you see this charming picture of an Asbestos Cooker, guaranteed fireless, odourless, and purposeless? Do you see this patent motor-car with pneumatic cushions, and the full-page description of its properties? Can you form any idea of the time and thought that we have to spend on these things, and yet you dare to come in here with your miserable stories. By heaven," I said, rising in my seat, "I've a notion to come over there and choke you: I'm entitled to do it by the law, and I think I will."
"Don't, don't," he pleaded. "I'll go away. I meant no harm. I'll take it with me."
"No you don't," I interrupted; "none of your sharp tricks with this magazine. You've submitted this manuscript to me, and it stays submitted. If I don't like it, I shall prosecute you, and, I trust, obtain full reparation from the courts."
To tell the truth, it had occurred to me that perhaps I might need after all to buy the miserable stuff. Even while I felt that my indignation at the low knavery of the fellow was justified, I knew that it might be necessary to control it. The present low state of public taste demands a certain amount of this kind of matter distributed among the advertising.
I rang the bell again.
"Please take this man away and shut him up again. Have them keep a good eye on him. He's an author."
"Very good, sir," said the secretary.
I called her back for one moment.
"Don't feed him anything," I said.
"No," said the girl.
The manuscript lay before me on the table. It looked bulky. It bore the title Dorothy Dacres, or, Only a Clergyman's Daughter.
I rang the bell again.
"Kindly ask the janitor to step this way."
He came in. I could see from the straight, honest look in his features that he was a man to be relied upon.
"Jones," I said, "can you read?"
"Yes, sir," he said, "some."
"Very good. I want you to take this manuscript and read it. Read it all through and then bring it back here."
The janitor took the manuscript and disappeared. I turned to my desk again and was soon absorbed in arranging a full-page display of plumbers' furnishings for the advertising. It had occurred to me that by arranging the picture matter in a neat device with verses from "Home Sweet Home" running through it in double-leaded old English type, I could set up a page that would be the delight of all business readers and make this number of the magazine a conspicuous success. My mind was so absorbed that I scarcely noticed that over an hour elapsed before the janitor returned.
"Well, Jones," I said as he entered, "have you read that manuscript?"
"Yes, sir."
"And you find it all right—punctuation good, spelling all correct?"
"Very good indeed, sir."
"And there is, I trust, nothing of what one would call a humorous nature in it? I want you to answer me quite frankly, Jones,—there is nothing in it that would raise a smile, or even a laugh, is there?"
"Oh, no, sir," said Jones, "nothing at all."
"And now tell me—for remember that the reputation of our magazine is at stake—does this story make a decided impression on you? Has it," and here I cast my eye casually at the latest announcement of a rival publication, "the kind of tour de force which at once excites you to the full qui vive and which contains a sustained brio that palpitates on every page? Answer carefully, Jones, because if it hasn't, I won't buy it."
"I think it has," he said.
"Very well," I answered; "now bring the author to me."
In the interval of waiting, I hastily ran my eye through the pages of the manuscript.
Presently they brought the author back again. He had assumed a look of depression.
"I have decided," I said, "to take your manuscript."
Joy broke upon his face. He came nearer to me as if to lick my hand.
"Stop a minute," I said. "I am willing to take your story, but there are certain things, certain small details which I want to change."
"Yes?" he said timidly.
"In the first place, I don't like your title. Dorothy Dacres, or, Only a Clergyman's Daughter is too quiet. I shall change it to read Dorothea Dashaway, or, The Quicksands of Society."
"But surely," began the contributor, beginning to wring his hands–
"Don't interrupt me," I said. "In the next place, the story is much too long." Here I reached for a large pair of tailor's scissors that lay on the table. "This story contains nine thousand words. We never care to use more than six thousand. I must therefore cut some of it off." I measured the story carefully with a pocket tape that lay in front of me, cut off three thousand words and handed them back to the author. "These words," I said, "you may keep. We make no claim on them at all. You are at liberty to make any use of them that you like."
"But please," he said, "you have cut off all the end of the story: the whole conclusion is gone. The readers can't possibly tell,–"
I smiled at him with something approaching kindness.
"My dear sir," I said, "they never get beyond three thousand words of the end of a magazine story. The end is of no consequence whatever. The beginning, I admit, may be, but the end! Come! Come! And in any case in our magazine we print the end of each story separately, distributed among the advertisements to break the type. But just at present we have plenty of these on hand. You see," I continued, for there was something in the man's manner that almost touched me, "all that is needed is that the last words printed must have a look of finality. That's all. Now, let me see," and I turned to the place where the story was cut, "what are the last words: here: 'Dorothea sank into a chair. There we must leave her!' Excellent! What better end could you want? She sank into a chair and you leave her. Nothing more natural."
The contributor seemed about to protest. But I stopped him.
"There is one other small thing," I said. "Our coming number is to be a Plumbers' and Motor Number. I must ask you to introduce a certain amount of plumbing into your story." I rapidly turned over the pages. "I see," I said, "that your story as written is laid largely in Spain in the summer. I shall ask you to alter this to Switzerland and make it winter time to allow for the breaking of steam-pipes. Such things as these, however, are mere details; we can easily arrange them."
I reached out my hand.
"And now," I said, "I must wish you a good afternoon."
The contributor seemed to pluck up courage.
"What about remuneration"—he faltered.
I waived the question gravely aside. "You will, of course, be duly paid at our usual rate. You receive a cheque two years after publication. It will cover all your necessary expenses, including ink, paper, string, sealing-wax and other incidentals, in addition to which we hope to be able to make you a compensation for your time on a reasonable basis per hour. Good-bye."
He left, and I could hear them throwing him downstairs.
Then I sat down, while my mind was on it, and wrote the advance notice of the story. It ran like this:
NEXT MONTH'S NUMBER OF THE MEGALOMANIA MAGAZINE WILL CONTAIN A THRILLING STORY, ENTITLED
"DOROTHEA DASHAWAY, OR, THE QUICKSANDS OF SOCIETY."
The author has lately leaped into immediate recognition as the greatest master of the short story in the American World. His style has a brio, a poise, a savoir faire, a je ne sais quoi, which stamps all his work with the cachet of literary superiority. The sum paid for the story of Dorothea Dashaway is said to be the largest ever paid for a single MS. Every page palpitates with interest, and at the conclusion of this remarkable narrative the reader lays down the page in utter bewilderment, to turn perhaps to the almost equally marvellous illustration of Messrs. Spiggott and Fawcett's Home Plumbing Device Exposition which adorns the same number of the great review.
I wrote this out, rang the bell, and was just beginning to say to the secretary—
"My dear child,—pray pardon my forgetfulness. You must be famished for lunch. Will you permit me–"
And then I woke up—at the wrong minute, as one always does.
