itself not with large, universal interests or principles, but with a yellow journalist grinding out yellow copy in such a wooden fashion that the Sunday "Eclipse" must have been even worse than most. In spite of the fact that Mr. Crane has written some of the most artistic short stories in the English language, I begin to wonder whether, blinded by his youth and audacity, two qualities which the American people love, we have not taken him too seriously. It is a grave matter for a man in good health and with a bank account to have written a book so coarse and dull and charmless as "Active Service." Compared with this "War was kind," indeed.
_Pittsburg Leader_, November 11, 1899
_Frank Norris_
A new and a great book has been written. The name of it is "McTeague, a Story of San Francisco," and the man who wrote it is Mr. Frank Norris. The great presses of the country go on year after year grinding out commonplace books, just as each generation goes on busily reproducing its own mediocrity. When in this enormous output of ink and paper, these thousands of volumes that are yearly rushed upon the shelves of the book stores, one appears which contains both power and promise, the reader may be pardoned some enthusiasm. Excellence always surprises: we are never quite prepared for it. In the case of "McTeague, a Story of San Francisco," it is even more surprising than usual. In the first place the title is not alluring, and not until you have read the book, can you know that there is an admirable consistency in the stiff, uncompromising commonplaceness of that title. In the second place the name of the author is as yet comparatively unfamiliar, and finally the book is dedicated to a member of the Harvard faculty, suggesting that whether it be a story of San Francisco or Dawson City, it must necessarily be vaporous, introspective and chiefly concerned with "literary" impressions. Mr. Norris is, indeed, a "Harvard man," but that he is a good many other kinds of a man is self-evident. His book is, in the language of Mr. Norman Hapgood, the work of "a large human being, with a firm stomach, who knows and loves the people."
In a novel of such high merit as this, the subject matter is the least important consideration. Every newspaper contains the essential material for another "Comedie Humaine." In this case "McTeague," the central figure, happens to be a dentist practicing in a little side street of San Francisco. The novel opens with this description of him:
"It was Sunday, and, according to his custom on that day, McTeague took his dinner at two in the afternoon at the car conductor's coffee joint on Polk street. He had a thick, gray soup, heavy, underdone meat, very hot, on a cold plate; two kinds of vegetables; and a sort of suet pudding, full of strong butter and sugar. Once in his office, or, as he called it on his sign-board, 'Dental Parlors,' he took off his coat and shoes, unbuttoned his vest, and, having crammed his little stove with coke, he lay back in his operating chair at the bay window, reading the paper, drinking steam beer, and smoking his huge porcelain pipe while his food digested; crop-full, stupid and warm."
McTeague had grown up in a mining camp in the mountains. He remembered the years he had spent there trundling heavy cars of ore in and out of the tunnel under the direction of his father. For thirteen days out of each fortnight his father was a steady, hard-working shift-boss of the mine. Every other Sunday he became an irresponsible animal, a beast, a brute, crazed with alcohol. His mother cooked for the miners. Her one ambition was that her son should enter a profession. He was apprenticed to a traveling quack dentist and after a fashion, learned the business.
"Then one day at San Francisco had come the news of his mother's death; she had left him some money--not much, but enough to set him up in business; so he had cut loose from the charlatan and had opened his 'Dental Parlors' on Polk street, an 'accommodation street' of small shops in the residence quarter of the town. Here he had slowly collected a clientele of butcher boys, shop girls, drug clerks and car conductors. He made but few acquaintances. Polk street called him the 'doctor' and spoke of his enormous strength. For McTeague was a young giant, carrying his huge shock of blonde hair six feet three inches from the ground; moving his immense limbs, heavy with ropes of muscle, slowly, ponderously. His hands were enormous, red, and covered with a fell of stiff yellow hair; they were as hard as wooden mallets, strong as vices, the hands of the old-time car boy. Often he dispensed with forceps and extracted a refractory tooth with his thumb and finger. His head was square-cut, angular; the jaw salient: like that of the carnivora.
"But for one thing McTeague would have been perfectly contented. Just outside his window was his signboard--a modest affair--that read: 'Doctor McTeague. Dental Parlors. Gas Given;' but that was all. It was his ambition, his dream, to have projecting from that corner window a huge gilded tooth, a molar with enormous prongs, something gorgeous and attractive. He would have it some day, but as yet it was far beyond his means."
Then Mr. Norris launches into a description of the street in which "McTeague" lives. He presents that street as it is on Sunday, as it is on working days; as it is in the early dawn when the workmen are going out with pickaxes on their shoulders, as it is at ten o'clock when the women are out purchasing from the small shopkeepers, as it is at night when the shop girls are out with the soda-fountain tenders and the motor cars dash by full of theatre-goers, and the Salvationists sing before the saloon on the corner. In four pages he reproduces the life in a by-street of a great city, the little tragedy of the small shopkeeper. There are many ways of handling environment--most of them bad. When a young author has very little to say and no story worth telling, he resorts to environment. It is frequently used to disguise a weakness of structure, as ladies who paint landscapes put their cows knee-deep in water to conceal the defective drawing of the legs. But such description as one meets throughout Mr. Norris' book is in itself convincing proof of power, imagination and literary skill. It is a positive and active force, stimulating the reader's imagination, giving him an actual command, a realizing sense of this world into which he is suddenly transplanted. It gives to the book perspective, atmosphere, effects of time and distance, creates the illusion of life. This power of mature, and accurate and comprehensive description is very unusual among the younger American writers. Most of them observe the world through a temperament, and are more occupied with their medium than the objects they see. And temperament is a glass which distorts most astonishingly. But this young man sees with a clear eye, and reproduces with a touch firm and decisive, strong almost to brutalness. Yet this hand that can depict so powerfully the brute strength and brute passions of a "McTeague," can deal very finely and adroitly with the feminine element of his story. This is his portrait of the little Swiss girl, "Trina," whom the dentist marries:
"Trina was very small and prettily made. Her face was round and rather pale; her eyes long and narrow and blue, like the half-opened eyes of a baby; her lips and the lobes of her tiny ears were pale, a little suggestive of anaemia. But it was to her hair that one's attention was most attracted. Heaps and heaps of blue-black coils and braids, a royal crown of swarthy bands, a veritable sable tiara, heavy, abundant and odorous. All the vitality that should have given color to her face seemed to have been absorbed by that marvelous hair: It was the coiffure of a queen that shadowed the temples of this little bourgeoise."
The tragedy of the story dates from a chance, a seeming stroke of good fortune, one of those terrible gifts of the Danai. A few weeks before her marriage "Trina" drew $5 000 from a lottery ticket. From that moment her passion for hoarding money becomes the dominant theme of the story, takes command of the book and its characters. After their marriage the dentist is disbarred from practice. They move into a garret where she starves her husband and herself to save that precious hoard. She sells even his office furniture, everything but his concertina and his canary bird, with which he stubbornly refuses to part and which are destined to become very important accessories in the property room of the theatre where this drama is played. This removal from their first home is to this story what Gervaise's removal from her shop is to L'Assommoir; it is the fatal episode of the third act, the sacrifice of self-respect, the beginning of the end. From that time the money stands between "Trina" and her husband. Outraged and humiliated, hating her for her meanness, demoralized by his idleness and despair, he begins to abuse her. The story becomes a careful and painful study of the disintegration of this union, a penetrating
