Chapters from My Autobiography - страница 22

I remember the story-telling days vividly. They were a difficult and exacting audience – those little creatures.

Along one side of the library, in the Hartford home, the bookshelves joined the mantelpiece – in fact there were shelves on both sides of the mantelpiece. On these shelves, and on the mantelpiece, stood various ornaments. At one end of the procession was a framed oil-painting of a cat’s head, at the other end was a head of a beautiful young girl, life-size – called Emmeline, because she looked just about like that – an impressionist water-color. Between the one picture and the other there were twelve or fifteen of the bric-à-brac things already mentioned; also an oil-painting by Elihu Vedder, “The Young Medusa.” Every now and then the children required me to construct a romance – always impromptu – not a moment’s preparation permitted – and into that romance I had to get all that bric-à-brac and the three pictures. I had to start always with the cat and finish with Emmeline. I was never allowed the refreshment of a change, end-for-end. It was not permissible to introduce a bric-à-brac ornament into the story out of its place in the procession.

These bric-à-bracs were never allowed a peaceful day, a reposeful day, a restful Sabbath. In their lives there was no Sabbath, in their lives there was no peace; they knew no existence but a monotonous career of violence and bloodshed. In the course of time, the bric-à-brac and the pictures showed wear. It was because they had had so many and such tumultuous adventures in their romantic careers.

As romancer to the children I had a hard time, even from the beginning. If they brought me a picture, in a magazine, and required me to build a story to it, they would cover the rest of the page with their pudgy hands to keep me from stealing an idea from it. The stories had to come hot from the bat, always. They had to be absolutely original and fresh. Sometimes the children furnished me simply a character or two, or a dozen, and required me to start out at once on that slim basis and deliver those characters up to a vigorous and entertaining life of crime. If they heard of a new trade, or an unfamiliar animal, or anything like that, I was pretty sure to have to deal with those things in the next romance. Once Clara required me to build a sudden tale out of a plumber and a “bawgunstrictor,” and I had to do it. She didn’t know what a boa-constrictor was, until he developed in the tale – then she was better satisfied with it than ever.

From Susy’s Biography.