Maggie_ A Girl Of The Streets And Other Writings About New York Part 19

"Oh, oh, my heart is broken! My heart is broken!"

But Swift knew as well as the rest of mankind that these girls have no hearts to be broken, and this acting filled him with a new rage. He grabbed an alarm clock from the dresser and banged her heroically on the head with it.

She fell and quivered for a moment. Then she arose, and, calm and dry-eyed, walked to the mirror. Swift thought she was taking an account of the bruises, but when he resumed his cyclonic tirade, she said: "I've taken morphine, Swift."

Swift leaped at a little red pill box. It was empty. Eight quarter-grain pills make two grains. The Suicidal Purpose was distinctly ahead of the Alarm Clock. With great presence of mind Swift now took the empty pill box and flung it through the window.

At this time a great battle was begun in the dining-room of the little flat. Swift dragged the girl to the sideboard, and in forcing her to drink whisky he almost stuffed the bottle down her throat. When the girl still sank to the depths of an infinite drowsiness, sliding limply in her chair like a cloth figure, he dealt her furious blows, and our decorous philosophy knows little of the love and despair that was in those caresses. With his voice he called the light into her eyes, called her from the sinister slumber which her senses welcomed, called her soul back from the verge.

He propped the girl in a chair and ran to the kitchen to make coffee. His fingers might have been from a dead man's hands, and his senses confused the coffee, the water, the coffee-pot, the gas stove, but by some fortune he managed to arrange them correctly. When he lifted the girlish figure and carried her to the kitchen, he was as wild, haggard, gibbering, as a man of midnight murders, and it is only because he was not engaged in the respectable and literary a.s.sa.s.sination of a royal duke that almost any sensible writer would be ashamed of this story. Let it suffice, then, that when the steel-blue dawn came and distant chimneys were black against a rose sky, the girl sat at the dining-room table chattering insanely and gesturing. Swift, with his hands pressed to his temples, watched her from the other side of the table, with all his mind in his eyes, for each gesture was still a reminiscence, and each tone of her voice a ballad to him. And yet he could not half measure his misery. The tragedy was made of homeliest details. He had to repeat to himself that he, worn-out, stupefied from his struggle, was sitting there awaiting the moment when the unseen hand should whirl this soul into the abyss, and that then he should be alone.

The girl saw a fly alight on a picture. "Oh," she said, "there's a little fly." She arose and thrust out her finger. "h.e.l.lo, little fly," she said, and touched the fly. The insect was perhaps too cold to be alert, for it fell at the touch of her finger. The girl gave a cry of remorse, and, sinking to her knees, searched the floor, meanwhile uttering apologies.

At last she found the fly, and, taking it, [in] her palm went to the gas-jet which still burned weirdly in the dawning. She held her hand close to the flame. "Poor little fly," she said, "I didn't mean to hurt you. I wouldn't hurt you for anything. There now-p'r'aps when you get warm you can fly away again. Did I crush the poor little bit of fly? I'm awful sorry-honest. I am. Poor little thing! Why I wouldn't hurt you for the world, poor little fly-"

Swift was woefully pale and so nerve-weak that his whole body felt a singular coolness. Strange things invariably come into a man's head at the wrong time, and Swift was aware that this scene was defying his preconceptions. His instruction had been that people when dying behaved in a certain manner. Why did this girl occupy herself with an accursed fly? Why in the name of the G.o.ds of the drama did she not refer to her past? Why, by the shelves of the saints of literature, did she not clutch her brow and say: "Ah, once I was an innocent girl?" What was wrong with this death scene? At one time he thought that his sense of propriety was so scandalized that he was upon the point of interrupting the girl's babble.

But here a new thought struck him. The girl was not going to die. How could she under these circ.u.mstances? The form was not correct.

All this was not relevant to the man's love and despair, but, behold, my friend, at the tragic, the terrible point in life there comes an irrelevancy to the human heart direct from the Wise G.o.d. And this is why Swift Doyer thought those peculiar thoughts.

The girl chattered to the fly minute after minute, and Swift's anxiety grew dim and more dim until his head fell forward on the table and he slept as a man who has moved mountains, altered rivers, caused snow to come because he wished it to come, and done his duty.

For an hour the girl talked to the fly, the gas-jet, the walls, the distant chimneys. Finally she sat opposite the slumbering Swift and talked softly to herself When broad day came they were both asleep, and the girl's fingers had gone across the table until they had found the locks on the man's forehead. They were asleep, and this after all is a human action, which may safely be done by characters in the fiction of our time.

THE "TENDERLOIN" AS IT REALLY IS BY STEPHEN CRANE. THE FIRST OF A SERIES OF STRIKING SKETCHES OF NEW YORK LIFE BY THE FAMOUS NOVELIST.

MANY REQUIEMS HAVE BEEN sung over the corpse of the Tenderloin. Dissipated gentlemen with convivial records burn candles to its memory each day at the corner of Twenty-eighth street and Broadway. On the great thoroughfare there are 4,000,000 men who at all times recite loud anecdotes of the luminous past.

They say: "Oh, if you had only come around when the old Haymarket was running!" They relate the wonders of this prehistoric time and fill the mind of youth with poignant regret. Everybody on earth must have attended regularly at this infernal Haymarket. The old gentlemen with convivial records do nothing but relate the glories of this place. To be sure, they tell of many other resorts, but the old gentlemen really do their conjuring with this one simple name-"the old Haymarket."

The Haymarket is really responsible for half the tales that are in the collections of these gay old boys of the silurian period. Some time a man will advertise "The Haymarket Restored," and score a clamoring, popular success. The interest in a reincarnation of a vanished Athens must pale before the excitement caused by "The Haymarket Restored."

Let a thing become a tradition, and it becomes half a lie. These moss-grown columns that support the sky over Broadway street corners insist that life in this dim time was a full joy. Their descriptions are short, but graphic.

One of this type will cry: "Everything wide open, my boy; everything wide open! You should have seen it. No sneaking in side doors. Everything plain as day. Ah, those were the times! Reubs from the West used to have their bundles lifted every night before your eyes. Always somebody blowing champagne for the house. Great! Great! Diamonds, girls, lights, music. Well, maybe it wasn't smooth. Fights all over Sixth avenue. Wasn't room enough. Used to hold over-flow fights in the side streets. Say, it was great!"

Then the type heaves a sigh and murmurs: "But now? Dead-dead as a mackerel. The Tenderloin is a graveyard. Quiet as a tomb. Say, you ought to have been around here when the old Haymarket was running.

Perchance they miss in their definition of the Tenderloin. They describe it as a certain condition of affairs in a metropolitan district. But probably it is in truth something more dim, an essence, an emotion-something superior to the influences of politics or geographies, a thing unchangeable. It represents a certain wild impulse, and a wild impulse is yet more lasting than an old Haymarket. And so we come to reason that the Tenderloin is not dead at all and that the old croakers on the corners are men who have mistaken the departure of their own youth for the death of the Tenderloin, and that there still exists the spirit that flings beer bottles, jumps debts and makes havoc for the unwary; also sings in a hoa.r.s.e voice at 3 A.M.

There is one mighty fact, however, that the croakers have clinched. In the old days there was a great deal of money and few dress clothes exhibited in the Tenderloin. Now it is all clothes and no money. The spirit is garish, for display, as are the flaming lights that advertise theatres and medicines. In those days long ago there might have been freedom and fraternity.

Billie Maconnigle is probably one of the greatest society leaders that the world has produced. Seventh avenue is practically one voice in this matter.

He asked Flossie to dance with him, and Flossie did, seeming to enjoy the attentions of this celebrated cavalier. He asked her again, and she accepted again. Johnnie, her fellow, promptly interrupted the dance.

"Here!" he said, grabbing Maconnigle by the arm. "Dis is me own private snap! Youse gitaway f 'm here an' leggo d' loidy!"

"A couple a nits," rejoined Maconnigle swinging his arm clear of his partner. "Youse go chase yerself. I'm spieling wit' dis loidy when I likes, an' if youse gits gay, I'll knock yer block off-an dat's no dream!"

"Youse'll knock nuttin' off."

"Won't I?"

"Nit. An' if yeh say much I'll make yeh look like a lobster, you fresh mug. Leggo me loidy!"

"A couple a nits."

"Won't?"

"Nit."

Blim! Blam! Cras.h.!.+

The orchestra stopped playing and the musicians wheeled in their chairs, gazing with that semi-interest which only musicians in a dance hall can bring to bear upon such a scene. Several waiters ran forward, crying "Here, gents, quit dat!" A tall, healthy individual with no coat slid from behind the bar at the far end of the hall, and came with speed. Two well-dressed youths, drinking bottled beer at one end of the tables, nudged each other in ecstatic delight, and gazed with all their eyes at the fight. They were seeing life. They had come purposely to see it.

The waiters grabbed the fighters quickly. Maconnigle went through the door some three feet ahead of his hat, which came after him with a battered crown and a torn rim. A waiter with whom Johnnie had had a discussion over the change had instantly seized this opportunity to a.s.sert himself. He grappled Johnnie from the rear and flung him to the floor, and the tall, healthy person from behind the bar, rus.h.i.+ng forward, kicked him in the head. Johnnie didn't say his prayers. He only wriggled and tried to s.h.i.+eld his head with his arms, because every time that monstrous foot struck it made red lightning flash in his eyes.

But the tall, healthy man and his cohort of waiters had forgotten one element. They had forgotten Flossie. She could worry Johnnie ; she could summon every art to make him wildly jealous; she could cruelly, wantonly harrow his soul with every device known to her kind, but she wouldn't stand by and see him hurt by G.o.ds nor men.

Blim! As the tall person drew back for his fourth kick, a beer mug landed him just back of his ear. Scratch! The waiter who had grabbed Johnnie from behind found that fingernails had made a ribbon of blood down his face as neatly as if a sign painter had put it there with a brush.

This cohort of waiters was, however, well drilled. Their leader was p.r.o.ne, but they rallied gallantly, and flung Johnnie and Flossie into the street, thinking no doubt that these representatives of the lower cla.s.ses could get their harmless pleasure just as well outside.

The crowd at the door favored the vanquished. "Sherry!" said a voice. "Sherry! Here comes a cop!" Indeed a helmet and bra.s.s b.u.t.tons shone brightly in the distance. Johnnie and Flossie sherried with all the prompt.i.tude allowed to a wounded man and a girl whose sole anxiety is the man. They ended their flight in a little dark alley.

Flossie was sobbing as if her heart was broken. She hung over her wounded hero, wailing and making moan to the sky, weeping with the deep and impressive grief of gravesides, when he swore because his head ached.

"Dat's all right," said Johnnie. "Nex' time youse needn't be so fresh wit' every guy what comes up."

"Well, I was only kiddin', Johnnie," she cried, forlornly.

"Well, yeh see what yeh done t' me wit'cher kiddin," replied Johnnie.

They came forth cautiously from their alley and journeyed homeward. Johnnie had had enough of harmless pleasure.

However, after a considerable period of reflective silence, he paused and said: "Say, Floss, youse couldn't a done a t'ing t' dat guy."

"I jest cracked 'im under d' ear," she explained. "An it laid 'im flat out, too."

A complacence for their victory here came upon them, and as they walked out of the glow of Seventh avenue into a side street it could have been seen that their self satisfaction was complete.

Five men flung open the wicket doors of a brilliant cafe on Broadway and, entering, took seats at a table. They were in evening dress, and each man held his chin as if it did not belong to him.

"Well, fellows, what'll you drink?" said one. He found out, and after the ceremony there was a period of silence. Ultimately another man cried, "Let's have another drink." Following this outburst and its attendant ceremony there was another period of silence.

At last a man murmured: "Well, let's have another drink." Two members of the party discussed the state of the leather market. There was an exciting moment when a little newsboy slid into the place, crying a late extra, and was ejected by the waiter. The five men gave the incident their complete attention.

"Let's have a drink," said one afterward.

At an early hour of the morning one man yawned and said: "I'm going home. I've got to catch an early train, and-"

The four others awoke. "Oh, hold on, Tom. Hold on. Have another drink before you go. Don't go without a last drink."

He had it. Then there was a silence. Then he yawned again and said: "Let's have another drink."

They settled comfortably once more around the table. From time to time somebody said: "Let's have a drink."

Yes, the Tenderloin is more than a place. It is an emotion. And this spirit seems still to ring true for some people. But if one is ever obliged to make explanation to any of the old croakers, it is always possible to remark that the Tenderloin has grown too fine. Therein lies the cause of the change.

To the man who tries to know the true things there is something hollow and mocking about this Tenderloin of to-day, as far as its outward garb is concerned. The newer generation brought new clothes with them. The old Tenderloin is decked out. And wherever there are gorgeous lights, ma.s.sive buildings, dress clothes and theatrical managers, there is very little nature, and it may be no wonder that the old spirit of the locality chooses to lurk in the darker places.

IN THE "TENDERLOIN"

BY STEPHEN CRANE. THE SECOND OF A SERIES OF SKETCHES OF NEW YORK LIFE BY THE FAMOUS NOVELIST.

THE WAITERS WERE VERY wise. Every man of them had worked at least three years in a Tenderloin restaurant, and this must be equal to seven centuries and an added two decades in Astoria. Even the man who opened oysters wore an air of acc.u.mulated information. Here the science of life was perfectly understood by all.

At 10 o'clock the place was peopled only by waiters and the man behind the long bar. The innumerable tables represented a vast white field, and the glaring electric lamps were not obstructed in their mission of shedding a furious orange radiance upon the cloths. An air of such peace and silence reigned that one might have heard the ticking of a clock. It was as quiet as a New England sitting room.

As 11 o'clock pa.s.sed, however, and time marched toward 12, the place was suddenly filled with people. The process was hardly to be recognized. One surveyed at one moment a bare expanse of tables with groups of whispering waiters and at the next it was crowded with men and women attired gorgeously and plainly and splendidly and correctly. The electric glare swept over a region of expensive bonnets. Frequently the tall pride of a top hat-a real top hat-could be seen on its way down the long hall, and the envious said with sneers that the theatrical business was booming this year.

Without, the cable cars moved solemnly toward the mysteries of Harlem, and before the glowing and fascinating refrigerators displayed at the front of the restaurant a group of cabmen engaged in their singular diplomacy.

If there ever has been in a New York cafe an impulse from the really Bohemian religion of fraternity it has probably been frozen to death. A universal suspicion, a thing of so austere a cast that we mistake it for a social virtue, is the quality that generally oppresses us. But the hand of a bartender is a supple weapon of congeniality. In the small hours a man may forget the formulae which prehistoric fathers invented for him. Usually social form as practised by the stupid is not a law. It is a vital sensation. It is not temporary, emotional; it is fixed and, very likely, the power that makes the rain, the suns.h.i.+ne, the wind, now recognizes social form as an important element in the curious fas.h.i.+oning of the world. It is as solid, as palpable as a fort, and if you regard any landscape, you may see it in the foreground.

Therefore a certain process which moves in this restaurant is very instructive. It is a process which makes constantly toward the obliteration of the form. It never dangerously succeeds, but it is joyous and frank in the attempt.

A man in race-track clothing turned in his chair and addressed a stranger at the next table. "I beg your pardon-will you tell me the time please?"

The stranger was in evening dress, very correct indeed. At the question, he stared at the man for a moment, particularly including his tie in this look of sudden and subtle contempt. After a silence he drew forth his watch, looked at it, and returned it to his pocket. After another silence he drooped his eyes with peculiar significance, puffed his cigar and, of a sudden, remarked: "Why don't you look at the clock?"

The race-track man was a genial soul. He promptly but affably directed the kind gentleman to a place supposed to be located at the end of the Brooklyn trolley lines.

And yet at 4:30 A.M. the kind gentleman overheard the race-track man telling his experience in London in 1886, and as he had experiences similar in beauty, and as it was 4:30 A.M. and as he had completely forgotten the incident of the earlier part of the evening, he suddenly branched into the conversation, and thereafter it took ten strong men to hold him from buying a limitless ocean of wine.

A curious fact of upper Broadway is the man who knows everybody, his origin, wealth, character and tailor. His knowledge is always from personal intercourse, too, and, without a doubt, he must have lived for ten thousand years to absorb all the anecdotes which he has at the tip of his tongue. If it were a woman, now, most of the stories would be weird resurrections of long-entombed scandals. The trenches for the dead on medieval battle fields would probably be clawed open to furnish evidence of various grim truths, or of untruths, still more grim. But if, according to a rigid definition, these men are gossips, it is in a kinder way than is usually denominated by the use of the word. Let a woman once take an interest in the shortcomings of her neighbors, and she immediately and naturally begins to magnify events in a preposterous fas.h.i.+on, until one can imagine that the law of proportion is merely a legend. There is one phrase which she uses eternally. "They say"-Herein is the peculiar terror of the curse. "They say"-It is so vague that the best spear in the world must fail to hit this shadow. The charm of it is that a woman seldom relates from personal experience. It is nearly always some revolving tale from a hundred tongues.

But it is evident in most cases that the cafe historians of upper Broadway speak from personal experience. The dove that brought the olive branch to Noah was one of their number. Another was in Hades at the time that Lucifer made his celebrated speech against the street-lighting system there. Another is an ex-member of the New Jersey Legislature. All modes, all experiences, all phases of existence are chronicled by these men. They are not obliged to fall back upon common report for their raw material. They possess it in the original form.

A cafe of the kind previously described is a great place for the concentration of the historians. Here they have great opportunities.

"See that fellow going there? That's young Jimmie Lode. Knew his father well. Denver people, you know. Old man had a strange custom of getting drunk on the first Friday after the first Thursday in June. Indian reservation near his house. Used to go out and fist-fight the Indians. Gave a twenty-dollar gold piece to every Indian he licked. Indians used to labor like thunder to get licked. Well, sir, one time the big chief of the whole push was trying to earn his money, and, by Jove, no matter what he did, he couldn't seem to fix it so the old man could lick him. So finally he laid down flat on the ground and the old man jumped on him and stove in his bulwarks. Indian said it was all right, but he thought forty dollars was a better figure for stove-in bulwarks. But the old man said he had agreed to pay twenty dollars, and he wouldn't give up another sou. So they had a fight-a real fight, you know-and the Indian killed him.

"Well, that's the son over there. Father left him a million and a half Maybe Jack ain't spending it. Say! He just pours it out. He's crushed on Dollie Bangle, you know. She plays over here at the Palais de Glace. That's her now he's talking to. Ain't she a peach. Say? Am I right? Well, I should say so. She don't do a thing to his money. Burns it in an open grate. She's on the level with him, though. That's one thing. Well, I say she is. Of course, I'm sure of it."

In the meantime others pa.s.s before the historian's watchful vision, and he continues heroically to volley his traditions.

The babble of voices grew louder and louder. The heavy smoke clouds eddied above the s.h.i.+ning countenances. Into the street came the clear, cold blue of impending day-light, and over the cobbles roared a milk wagon.

STEPHEN CRANE IN MINETTA LANE.

ONE OF GOTHAM'S MOST NOTORIOUS THOROUGHFARES. THE NOVELIST TELLS WHAT HE SAW AND HEARD ON A STREET WHERE THE INHABITANTS HAVE BEEN FAMOUS FOR EVIL DEEDS, WHERE THE BURGLAR AND THE SHOPLIFTER AND THE MURDERER LIVE SIDE BY SIDE. THE NOVEL RESORT OF MAMMY ROSS AND OTHERS OF HER KIND.

MINETTA LANE IS A small and becobbled valley between hills of dingy brick. At night the street lamps, burning dimly, cause the shadows to be important, and in the gloom one sees groups of quietly conversant negroes with occasionally the gleam of a pa.s.sing growler.bm Everything is vaguely outlined and of uncertain ident.i.ty unless indeed it be the flas.h.i.+ng b.u.t.tons and s.h.i.+eld of the policeman on post. The Sixth Avenue horse cars jingle past one end of the Lane and, a block eastward, the little thoroughfare ends in the darkness of MacDougal Street. Everything is vaguely outlined and of uncertain ident.i.ty unless indeed it be the flas.h.i.+ng b.u.t.tons and s.h.i.+eld of the policeman on post. The Sixth Avenue horse cars jingle past one end of the Lane and, a block eastward, the little thoroughfare ends in the darkness of MacDougal Street.

One wonders how such an insignificant alley could get such an absurdly large reputation, but, as a matter of fact, Minetta Lane, and Minetta Street, which leads from it southward to Bleecker Street, MacDougal Street and nearly all the streets thereabouts were most unmistakably bad, but when the Minettas started out the other streets went away and hid. To gain a reputation in Minetta Lane, in those days, a man was obliged to commit a number of furious crimes, and no celebrity was more important than the man who had a good honest killing to his credit. The inhabitants, for the most part, were negroes, and they represented the very worst elements of their race. The razor habit clung to them with the tenacity of an epidemic, and every night the uneven cobbles felt blood. Minetta Lane was not a public thoroughfare at this period. It was a street set apart, a refuge for criminals. Thieves came here preferably with their gains, and almost any day peculiar sentences pa.s.sed among the inhabitants. "Big Jim turned a thousand last night." "No Toe's made another haul." And the wors.h.i.+pful citizens would make haste to be present at the consequent revel.

Not Then a Thoroughfare.

As has been said, Minetta Lane was then no thoroughfare. A peaceable citizen chose to make a circuit rather than venture through this place, that swarmed with the most dangerous people in the city. Indeed, the thieves of the district used to say: "Once get in the Lane and you're all right." Even a policeman in chase of a criminal would probably shy away instead of pursuing him into the lane. The odds were too great against a lone officer.

Sailors, and many men who might appear to have money about them, were welcomed with all proper ceremony at the terrible dens of the Lane. At departure, they were fortunate if they still retained their teeth. It was the custom to leave very little else to them. There was every facility for the capture of coin, from trapdoors to plain ordinary knockout drops.

And yet Minetta Lane is built on the grave of Minetta Brook, where, in olden times, lovers walked under the willows of the bank, and Minetta Lane, in later times, was the home of many of the best families of the town.

A negro named Bloodthirsty was perhaps the most luminous figure of Minetta Lane's aggregation of desperadoes. Bloodthirsty, supposedly, is alive now, but he has vanished from the Lane. The police want him for murder. Bloodthirsty is a large negro and very hideous. He has a rolling eye that shows white at the wrong time and his neck, under the jaw, is dreadfully scarred and pitted.