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Title: The Golden Book of Springfield Author: Vachel Lindsay Release Date: July 5, 2019 [EBook #59860] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK THE GOLDEN BOOK OF SPRINGFIELD *** Produced by Richard Tonsing and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) THE GOLDEN BOOK OF SPRINGFIELD LIST OF THE BOOKS OF VACHEL LINDSAY Prose:— A Handy Guide for Beggars. Adventures While Preaching the Gospel of Beauty. The Art of the Moving Picture. The Golden Book of Springfield. Verse:— General William Booth Enters Into Heaven and Other Poems. The Congo and Other Poems. The Chinese Nightingale and Other Poems. The Golden Whales of California and Other Rhymes in the American Language. THE GOLDEN BOOK OF SPRINGFIELD BY VACHEL LINDSAY A CITIZEN OF THAT TOWN Being the review of a book that will appear in the autumn of the year 2018, and an extended description of Springfield, Illinois, in that year. New York THE MACMILLAN COMPANY 1920 All rights reserved Copyright, 1920 By THE MACMILLAN COMPANY Set up and electrotyped. Published October, 1920. TABLE OF CONTENTS CHAPTER PAGE I. The Campbellite, the Florist and the Hostess 3 II. The Prognosticator’s Club 10 III. How People of 1920 Think the Book Will Come, in 2018 19 IV. History of the Michaels 49 V. I Myself Enter into the Springfield of 2018 66 VI. Kopensky Versus Boone 90 VII. The Drug Stores, Coffee Houses and Dance Halls 103 VIII. The Springfield Flag 117 IX. The Beginning of the Flying Machine Riots 137 X. The End of the Flying Machine Riots 154 XI. St. Friend, and His Two Religious Orders 171 XII. The Yellow Dance Halls Are Abolished 192 XIII. Surto Hurdenburg is Lynched 209 XIV. In the House of the Man From Singapore 226 XV. Further Experiences in That Strange Mansion 243 XVI. The Return of Joseph Bartholdi Michael 266 XVII. The Lynching of Boone. An interregnum of the Diary. How The Golden Book Appears 287 XVIII. St. Friend and Avanel Read From The Golden Book 305 XIX. Avanel and I Ascend to the Jungles of Heaven 318 III THE PROGNOSTICATOR’S CLUB 1920 2018 David Carson, Campbellite minister, becomes St. Friend Anne Morrison, a florist, becomes Roxana Grey Eloise Terry, the hostess, becomes Patricia Anthony Clara Horton, a school teacher, becomes Josephine Windom Gregory Webster, an artist, becomes Sparrow Short Nathan Levi, a Jewish boy, becomes Rabbi Terence Ezekiel Margaret Evans, a Christian Scientist, becomes Rachel Madison Daisy Pearl Johnson, a negress, becomes Mary Timmons Nathaniel Davidson, an evangelist, becomes Cave Man Thomas Ruth Everett, a welfare worker, becomes Gwendolyn Charles John Fletcher, the doubter, becomes Dr. Mayo Sims Joseph Bartholdi Michael, I, becomes Joseph Bartholdi Michael, II THIS BOOK IS INSCRIBED TO ISADORA IV CHAPTER I THE CAMPBELLITE, THE FLORIST AND THE HOSTESS In this, our town, we call “New Springfield,” David Carson, a young minister of the Disciples of Christ is a near neighbor of mine. He is a graduate of Bethany College. His great-grandfather studied there before him, when Alexander Campbell, the founder of Bethany, was in his prime. If you want to know of this man as we know him, read Richardson’s staid old biography, or walk the shades of Bethany, West Virginia. Campbell, in our eyes, was the American pioneer theologian. He was devoted to the union of the churches of Christendom. He pleaded that all disciples of Christ call themselves “simply” Christians, and unite on those symbols and ordinances which Christendom has in common. If it would not make our great-grandfathers turn over in their graves, I and my neighbor would call ourselves “simply” Campbellites. We would do it for a human, and not lofty reason. It seems that those spiritually or physically descended from the early Campbellites are on family terms, no matter how they seem to roam in thought or experience, or no matter what their hereditary argumentative disposition. For a “Campbellite” is sure to argue, on the least provocation. There are traces of this tendency even in Richardson’s reverent biography. Ultra modern followers of Campbell hang in their libraries with unlimited pride a certain Rembrandtesque lithograph of the great man, an heirloom that is now quite rare, and to be classed in its southern way, as the spinning wheels and old Bibles of the Mayflower are classed in a northern way. This lithograph is the enlargement of the engraving in the front of the Richardson biography, but much color and magic have been added. Out of the darkness emerges a smooth-shaven, high bred, masterful physiognomy more like that of the statesmen who were the fathers of the republic, than of a member of any priesthood. Campbell’s cheeks and eyes are still fired with youth and authority militant. He has a head bowed with thought, crowned with grey hair, and beneath his chin is the most statesmanlike of cravats, with a peculiarly old-fashioned roll. Thus he must have looked, at the height of debate with the infidel. This is the man who put so much learning, and deathless controversy, and high distinction into the log cabins of the Ohio river basin, especially the romantic regions of Mason and Dixon’s line. On west of the Mississippi his followers carried his light to Seattle, Portland, and Los Angeles, and the cities of Alaska and Canada and the farms between. And they start ’round the world with it all over again at this hour. Yet in the end that light is apt to have a color of its origin, touched with Virginia, West Virginia, and Kentucky;—a southern gospel, far indeed from Plymouth Rock, or Manhattan Island. I can never forget the copy of the lithograph that hung over my grandmother’s front room fireplace in the patriarchal Frazee farm house in Indiana. Under it I heard proverbs from Campbell every summer, from the time I can remember anything. All those sayings were mixed up with stories that came with my people along the old Daniel Boone trail from Kentucky and Virginia. And when that old frame house was new and novel, and most other dwelling houses near were log cabins, Campbell had been a guest received with breathless reverence. Under that picture I was personally conducted through all the daguerreotypes and records pertaining to the Kentucky pioneers of our blood. And now, in Springfield, under the same rich lithograph my neighbor keeps the bound volumes of Campbell’s Christian Baptist and Millenial Harbinger, once the arsenal of every debating “elder” of our persuasion. My grandfather’s copies were marked, every page, and these are marked by my radical friend, but with a different point of view. On a certain evening I am in the pastor’s study tracing with astonishment the suggestion of Christian Socialism in the first number of the Harbinger. My Grandma had said nothing about that! Few of Campbell’s older followers dwell on the hope of a practical City of God that shouted from the covers even before they were opened. This reasonable, non-miraculous millennium is much in the mind of my neighbor, and he tells me again and again of a vision that he has of Springfield a hundred years hence. But more of this later. There is a woman who is florist of our town, Anne Morrison a descendant of the Chapman family. She holds in special reverence, John Chapman, (Johnny Appleseed,) who began his labors in a region a little north of Alexander Campbell’s diocese, in the Ohio basin. He remains a tradition among the more northern group of those who worshipped Campbell, and among similar pioneers. He is especially honored by that splendid sect, the Swedenborgians, for he was a preacher and teacher of the doctrines of Swedenborg. But he was even more notably a nurseryman. He was deserving of the laurels of Thoreau, three times and more, and by the test of life rather than writing, to him belongs nearly every worth- while crown of Whitman. He skirmished on the very edge of the frontier, but fought the wilderness, not the Indian. The aborigines thought him a great medicine man and holy man, because of his magical bag of seeds, for along their trails, wherever he tramped, there soon came up pennyroyal and all beneficent herbs. With the tenderness of St. Francis he wept over every wounded bird, and with the steadiness of a nation builder, he planted orchards of apples in the openings of the forest, fenced them in, and left them for the pioneers to find, long after. He wore for a shirt and sole article of clothing an old gunny-sack with holes cut for arms and legs, and winter or summer slept in the hollow tree on the pile of old leaves, and weathered it past seventy years, while the great Whitman lived in houses, and Thoreau was on Walden but a season or two. These men left behind them certain writings, but Johnny Appleseed left behind him apples, orchards heavy with fruit, beauty from the very black earth, and a tradition whose wonder shall yet ring through all the palaces of mankind. He was swift as the deer, and gentle as the fawn,—and stern with himself, as the Red Indian. Like Christ and Socrates he wrote only in the soil. He was welcomed 3 4 5 6 7 8 more like an angel than a man in the pioneer cabins, and if ever there was an American saint left uncanonized in 1920, it is John Chapman, Johnny Appleseed, and by 2018 he is canonized indeed, and has his niche in the Springfield Cathedral, according to Anne Morrison’s revelation. Another friend is a great hostess of Springfield, Eloise Terry, by name. Her enemies declare that she is the representative of her family fortune, and little else. But they are apt to be people who do not attend her quite earnest parties, where every ramification of the social fabric is candidly examined, at least for one evening. The most competent person is brought in to speak of his strand of the web, be he bootblack or jailbird or poet. But this is an advance on her family who are dully conventional, to the core of their souls. And her constant companions, though they are in fact people of the same general stratification of good fortune as herself, are selected for their human interest in her unconsciously inhuman inquisitions. And inquisitions, after all, come but once a month or so. In general she and her cronies are taking a decent part in politics, and their wealth does not interfere with an unprejudiced estimate of candidates, entirely apart from bank accounts. Her presence in town makes for the truth, and for progress that much. Liars hate her intensely. Petty political lies fade before her, however poor her remedies may be for the great lies. She is a golden-haired girl, around thirty years of age, with three thriving and well- reared children. Her distinction, in my eyes, is not her opinions, but the fact that she dresses in schemes allied to the gold of her hair. I meet her on the street like a bit of blessed sunshine. Also her heart is quite warm. If she had been a musician, instead of a kind of contemporary conversational historian, she would have talked of music, instead of events, with the same ardor and fine tone, to a similar circle of friends, and brought in the singers, to sing for them, from the very gutters if necessary, and have been as decent to such songbirds as she knew how. 9 CHAPTER II THE PROGNOSTICATOR’S CLUB The young disciple minister and I decide that the people of Springfield who see the vision of the city of the future should be brought together, and we write some carefully worded invitations. We organize a Prognosticator’s Club and meet in the Sun Parlor of the Leland Hotel. One of the first to join, after our florist friend and the great hostess of Springfield, is John Fletcher, a Doubter. He is a person in whom we place much confidence in practical affairs. He is high authority in the financial circles of Springfield. He is religious, on Sunday only, from eleven till twelve-thirty, when he sits in his pew. He represents the present State House view which takes for granted that the fewer ideas men have the better, if only the crowd in power “get theirs.” The general assumption is:—politics is business and business is politics and the only worth while citizens are those that “get the money,” and, of course, those others who keep it safely and who correctly add the accounts till the money is wanted. They hate any new current in any party. And they hate the idea of any clan wanting anything except established well-dressed bank accounts to rule the city. Children are sent to universities to polish their manners, but not to bring back any changed thoughts on these subjects. The gentleman who incarnates this dream lives in the north, is therefore a Republican. He is quite sure the Emancipation Proclamation meant that millionaires are exempt from criticism, except from other millionaires or their shrewedest lackeys, and that the Emancipation Proclamation was sent forth into the world to establish more thoroughly the lackey, the toady, the tuft hunter, the snob, the bootlicker, and the parasite, in the service of the stupidest holders of money and land. He will defend this position quite ardently, almost in those terms, and he is quite sure that anyone who protests against his views is a “red.” And “red,” “radical,” “anarchist,” and “liberal” are absolutely synonymous, according to his thinking. He is sure that anyone who does not want to be a millionaire or serve one well is contemplating arson. He is quite sure that every large bank account is automatically moral, that every small one is almost moral, and the one crime is to be without money. He is quite convinced that Abraham Lincoln died to establish such ideals more firmly in the Republican Party, and when he is in the South he maintains that Thomas Jefferson and Andrew Jackson lived and toiled and suffered to establish them in the Democratic Party, and did it with eminent success: that all other notions have been recently imported from the shameful streets of Russia. When he sent his son to college he urged him to spend money on the conservative professors and their sons and daughters, and to put the radical professors in bad odor with the “best fellows,” and get them fired as soon as the trustees would listen to one so young. All this point of view is in my friend’s tone of voice and gesture. He has inherited part of his money, and married the rest, and the income pays for a good caretaker. He himself is a physician for the most extensively landed families in central Illinois. He dresses well, so people think he knows all about medicine. He is squarely set, has a heavy jaw, a steadying manner, a kindly disposition, pays the best salaries to his office boy and secretaries and the people who work his farms. He has the greatest aversion to oaths, bad manners, adultery, and has a literary turn. Though he looks like an old prize fighter with a touch of deacon-sleekness, he reads Montaigne, Lord Chesterfield, Thackeray, Shakespeare, and the like. He enjoys discussing in the most sympathetic way every human trait that has to do with purely domestic dramatic and personal emotions. His wife is a valiant Daughter of the American Revolution and his daughter belongs to the most snobbish sorority to be discovered for miles. He has been “right in the wagon” whenever a bit of near royalty has passed through Springfield, and his manner though blunt, was deferential. His wildest turn is for radical painters, and he has the best collection west of the Hudson of the now forgotten cubists. Of far different sort is the next member of our Club. She is of the fine nerved creatures of this world, a spring beauty in whose conversation I take delight. She is a teacher in one of the Springfield ward schools, and a sober little reader of The Atlantic Monthly, and we quarrel a bit about that. But her taste there represents her desire for fine grained English whatever the thought conveyed. When Clara Horton takes delight in life, it comes in a flash that sets her friends aflame. The school marm is gone. She ceases to admonish me. The imaginary eyes of her censorious pupils are banished, and I am no longer a pupil, and she is the daughter of a nymph of the most delicate mood and a faun of the gentlest sort. Her whole physical fabric is aglow with the idea of the book or the event or the mere day’s sunshine or tomorrow’s movie. Her skin shows the whiteness of a stock that has been too inbred for many generations for complete vigor, the gentle nymph and the gentle faun met too often, and there were not quite enough bullies or peasants among her far European ancestors. Her people have been for many generations in America. Every line of her family, north and south, has been remembered with the greatest comprehension of every taste and impulse. She gets her silky black hair from one grandmother, and her thousand dimples from another no doubt. She openly hates the complacency of our “first families.” Ideas go pouring through her head, all the time. As for the families representing the defended and entrenched fortunes of Springfield, theirs is still the practice of keeping their children out of public school, for fear of contamination with teachers who read such papers as The Atlantic Monthly, and other vulgar publications. The children must be sent off to teachers who flatter and flatter and flatter. But we do not talk about these matters generally. We talk about New Springfield. The Prognosticators discover that still others have been dreaming joyfully all alone of the future of Springfield. One fiery artist of our town brings in quite definite testimony. He was born in the village of Rochester, near to Springfield, but has no sign in his manner of being a citizen of the United States. Quite an old man, Gregory Webster has the ways of boulevard heroes of Paris who swung their canes like 10 11 12 13 14 15 swashbucklers, among the cafes, in 1876. He speaks English with a French accent. Yet he has been a tremendous force for good in the history of American Art. Thousands upon thousands of pupils have passed through his studios. He has been a courageous patron of young artists. With infallible taste he has purchased their best pictures, as soon as their pictures were good, thereby giving them reputations twenty years sooner, and himself “going broke.” He has championed the most elegant craftsmanship. In torrents of tireless language, with an unflagging zeal and animation, he has talked down and out the cheap and popular conception of the uses of art. He has exalted the great portrait masters. He has exalted brushwork and drawing into a ritual, and good color into a finality of the soul. He has been marvelously generous in his sympathy and his patience with budding talent, and therefore the artists’ aspiration of America for a whole generation has come to his front door. He is, in actual subject matter, in his own pictures an unimaginative creature. He is able to paint fishes better than men and rabbits better than women, and yet, since he painted fishes and rabbits with Olympian finality, they have been enshrined in the highest galleries of the world next to portraits of human creatures by Rembrandt and Hals and Velasquez. A stranger to these others comes to me. Nathan Levi, son of one of the Rabbis of our tiny Springfield Ghetto. He at once wins my heart. I have always found myself in peculiar sympathy with the Jews. Once past the moment of shyly seeking my confidence, he is full of the Jewish expressiveness and demonstration. He is astonished beyond measure to discover a double consciousness within himself. In this century he is as orthodox as his father, and a young man devoted to the routine of the pawn shop. In 2018 he is in a hundred ways opposite. Another newcomer, Margaret Evans, is a Christian Science Reader. She is beautiful, in this day, and though she does not speak of her mirror in 2018, as does the headlong Jewish boy, I know she will always be beautiful in body and soul. She has fathomed the holy grace and immortal gladness of her teaching, and I can well believe she is immortal in this place, under our oak and apple trees. Still another is a Springfield Negress who is a preacher among her own people. She has not a single Caucasian contour to her face or figure, yet all the world must admit that Daisy Pearl Johnson is beautiful as she is divinely young. She is “black but comely,” according to the scripture. And she is eager in all the matters of the mind and spirit. Another prophet, Nathaniel Davidson, gathers several denominations under one temporary roof, and preaches to them about hell. He was once a Y. M. C. A. physical director, and he ranges in attributes from Caliban to higher things, and looks much like Douglas Fairbanks and William. A. Sunday. He receives an invitation to join the Prognosticator’s Club. Then there is a woman who was a welfare worker in France. Ruth Everett has such a sleek and sophisticated grace, and her face is so snobbish yet so Alexandrian Greek that I have often called her “The Daughter of Lysippus.” In every line is the elegance that old sculptor might have loved. In pomp, upon her throne, and she makes any chair her throne, she is like “Sara Siddons as the Tragic Muse” as painted by Sir Joshua Reynolds. And here you have men and women who see the vision, each in a strange and mystical fashion. 16 17 18 CHAPTER III HOW PEOPLE OF 1920 THINK THE GOLDEN BOOK WILL COME IN 2018 When we, the Prognosticator’s Club, come together for our meetings it is inevitable that our talk should be of the Springfield of our fancy and of the manner in which the vision has come to each one. The first to testify, when we call the members together in the Sun Parlor of the Leland Hotel is the young Campbellite minister. He tells us of a dream that has come to him on many evenings by his study fire. In a vision he is reborn three or four generations in the future. He is a priest of the Catholic Church. He is known as St. Friend, the Giver of Bread. He is almost alone in a vast Gothic Cathedral. He is astonished to find himself changed in body, conviction, and habit from all his former routine, but enough memory remains for the comparison, and he knows he is still himself. But of this another time. There are a few people praying at the stations of the cross, in this, Springfield’s new church of St. Peter and St. Paul, on the old site of Sixth and Reynold’s Streets. The time is All Saint’s Day, Anno Domini, 2018. As he tells us the story, the very picture springs before me in elaborate detail, as though I witnessed the event in my own person. The church is indeed gigantic for so small a town to build, and in many particulars as well as general type it is like Notre Dame, Paris. We behold with him how a book of air, gleaming with spiritual gold, comes flying in through the walls as though they were but shadows. It is a book open as it soars, and every fluttering page is richly bordered and illuminated. It has wings of black, and above them wings of azure. Long feathers radiate from the whirring, soaring pennons. The book circles above the heads of the congregation. From the sky comes music incredibly sweet. The book flies toward the altar, where St. Friend finds himself standing. The wings fade. This day moves with rapid breath. The congregation has been trooping in as the visitant from the world of spirit- wonder has been settling into its own holy place on the altar. Now St. Friend is in the act of reading the gleaming volume. It is a book of homilies, addressed directly to New Springfield. Day after day the whole population flocks to the cathedral to hear, in the blazing kaleidoscopic costumes of that time,—all kinds of people, saints and sinners. But to speak briefly of the essential story, the town is transfigured and redeemed beyond any merely mundane plan. And so we call 2018 the Mystic Year, and give it other honorable titles of similar import. For the town, then, becomes half-way millennial. Of these qualified but stirring wonders, another time. Let us turn for the moment to the second witness, and hear her version of the appearance of the Golden Book. The florist had already revealed to me, when I was buying red roses in her gorgeous greenhouse, that she had a strange recurrent picture of the days of Johnny Appleseed’s triumph going through her head. She repeats her story to the other members of the club. It is of Anno Domini 2018, and though she is still a florist she wears her rue with a difference. She finds herself the exponent of a religion of flowers. Her name is Roxana Grey. She is daughter of a “Mother Grey,” who was in like manner daughter of a “Mother Grey.” There is much interesting detail irrelevant to the present point, but I may say she is first moved to tell me the story because she finds my name on the roll of the backsliders among the devotees of this 2018 religion of flowers. She has a double consciousness that keeps a mind in both periods, but is surprised to find both my name and my very self in the new time. But as to Johnny Appleseed, which is more to the point of this chapter, she is most uplifted of heart to find that he at last comes into his own in our city and his name is whispered there perpetually. In his name Springfield has developed the great Amaranth Apple Orchards; it is said, from seeds he gave in his lifetime to a certain pioneer, Hunter Kelly. And it is taught in his name, or with the mood he engenders in our hearts, that he who eats of the Amaranth Apple is filled with a love of eternal beauty, and it is used as the City’s understood symbol of beauty. Then there is a teaching in his name that he who, after certain prayers, eats of certain acorns, or walks under the oak saplings that come from them, accepts in some sense promptings toward eternal goodness. It has come about that eating the acorn, is the city’s accepted metaphor for the search for righteousness. The earlier devotees of the oak, planted a notable group that have of late grown taller than the California redwoods. They are in a complete circle of twelve, surrounding the very edges of the city. The first two, which are the tallest, are by the inside northwest gate, put there long before there was any gate, by Hunter Kelly, of whom more hereafter. But these oaks, the pillars of Springfield’s temple-cathedral-synagogue, whose roof is the sky, are made the theme of many varieties of teaching, all of which goes back to Johnny Appleseed, who gave to Hunter Kelly the original acorns that made the trees of Oak Ridge, and these pillar oaks as well. There is another teaching, abroad in Springfield, 2018, the teaching of Democracy, of which the Symbol is the Golden Rain-Tree brought from New Harmony, Indiana. It is said in Springfield, and taught with especial emphasis by the devotees of the Flower Religion, that he who enters under the shade of the Rain-Tree boughs and leaves and flowers, enters the gate of eternal democracy, and so the trees are often called Gate-Trees. And then having told us so much, my friend speaks again and shows to our spirit eyes an out-of-door statue of John Chapman, Johnny Appleseed, near which she finds herself just before sunrise of All Saint’s Day, Anno Domini, 2018. Roxana is there to watch for the dawn. She walks alone, according to the discipline, saying certain prayers. The park is on the edge of the Governor’s yard. A great rose-colored, egg-shaped boulder is dug from the midst of the lawn of the Governor’s yard. 19 20 21 22 23 24 She hides in a clump of bushes to watch; for the digging is by no mortal hand, but by spiritual presences which are the souls of the primeval trees of the city, looming, whispering, rustling above the place. Then the boulder is there, rolled over on the grass, and a bolt from the clear starry heaven strikes it. The book comes flying forth. It has the same airy, other-worldly presence and power as when described by the first witness. But it soars to the Shrine of Flowers consecrated to the especial sect and the esoteric teachings of Roxana Grey and her immediate predecessors. But she does not know where it has gone, it has circled and wandered so, appearing and disappearing. And it is with a tremendous leaping of the heart she finds it next day on her altar with wings gone but with pages open to be read to the faithful. Its main themes are the teachings of the trees, of which we have spoken, woven with her own traditional doctrines of the flowers, but all these teachings in most heightened and glorified aspects. Along the margins are old texts from the special books of her shrine, and from Swedenborg and the Old and New Testaments. When the great hostess of Springfield begins her testimony my first question, since I am but a man, is whether her hair in 2018 gleams with the same darling golden hue. And have the red-haired girls the courage to dress like daffodils, in 2018? She insists I am the wicked one to be pressing this devilish investigation, when there are rarer things to impart,—but in the glad Mystic Year, since I must know, she is endowed with the hair of what might be called her 1920 Grandmother-self, and the only change she notices is a more painful tendency to freckles, from riding horseback in a certain notable cavalry, behind a certain young lady commander, Avanel Boone,—of whom more anon. The most important revelation to her, sociologically, is that she finds herself no longer one of “our best people.” That is, she has not much money, and no privilege of collecting rents in the style that is now the sole reason many of the “old families” are in Springfield for a part of the year. She is in Springfield because she loves a certain factory. She loves it because she is Patricia Anthony, forewoman, and can order people about. Her factory is at Ninth and Converse Streets, on the same ground with The Illinois Watch Company and The Sangamon Electric Company. It is a place where telescopic and microscopic lenses are made. As for the Golden Book about which she is all aquiver, she finds the volume when she is inspecting the place in the late afternoon of All Saint’s Day, Anno Domini, 2018. She says I am there with her, carrying on, as of old, in the same conceited, philandering way. I am helping take inventory of the supplies needed for the next week, as my excuse for the tour. The factory echoes hollow with our solitary steps. Indeed it takes her aback to meet the book in such an off-hand, teasing moment. But there is The Golden Book. Every transparent page, which flutters as though with the gusty thoughts of our spirits, is written in letters of fire. On the first leaf is an inscription delivering the work to her by name: “Patricia Anthony.” She was always a conceited woman, and here is the first thing that ever happened to her to justify it, I say to her, speaking as one 1920 person to another. But on, to 2018: For all the Golden Book is penned so gorgeously, the discussion is largely economic. There are citations from Adam Smith, Karl Marx, Henry George, and on, forward, to Joseph Bartholdi Michael the second, and Black Hawk Boone,—Springfield sages of 2018. All these are cited to corroborate, in various items, piecemeal, an absolutely new economic remedy for the world. Patricia sees herself reading the volume to the workers, through the lunch hour. The book keeps its wings. Often, as though stirred with divine impatience, it dashes and flutters on through the walls, as though they were shadows, then comes soaring back again. Each time it returns the work is re-opened, at the first page, and newer and more difficult teaching is written there, till the volume is no longer economic. It is as though a work by Henry George had been changed into a work by Swedenborg! Now it shows how to make microscopes that will enable all Springfield to find the fairies of the fairies, and telescopes that will discover the angels that guard the angels. At last the book instructs the devout how to woo and win these creatures, without turning upon them any glass of cold scrutiny, how to see them with the natural eye, and touch them with the natural hand. The little school teacher finds herself reborn in 2018 as head of the three-color printing department of the school where she teaches. In the reincarnation she bears the name of Josephine Windom. She stands helpless when a Rock and Kopensky mob, and children of Doctor Mayo Sims seize the winged volume from the altar of St. Friend, apparently against its will, like a hundred men binding an angel. Near the market house between Fourth and Fifth on Monroe they pile firewood upon the book. They pour on oil. They light the pyre. All is turned to ashes. Later a band of Municipal University rescuers arrives. They are led by her assistant in the color printing department, Horace Andrews. Slowly as though greeting this band the flames renew themselves, and take form. There is the book again, but four times as large, with wings, binding, leaves, and letters of fire. Then suddenly it is flying above the city. Its covers are of the iridescence of a shell, with a golden shimmering. The wings are music making. The book is a friend of men. It is disposed to descend to its friends. It is carried in flying and fluttering state to the three-color printing department of the school, where hundreds of rainbow replicas of the pages are made, though not on this earth can replicas of the wings be made. And while the book is within the four walls, the school becomes a place of fairyland. Every cottage has its own copy of the volume in time. Edition after edition goes out, first from the school, then from the greater, more dazzling printing presses of the University, to the scholars and artists of Europe and Asia, through their colleagues who are attending the World’s Fair of the University of Springfield. But the book itself, having once been copied in the printing room there, flies around the Truth Tower, the center of town; it goes up in higher and wider circles. At last it is seen, a star among the stars. Meanwhile the transfiguration of the city begins. 25 26 27 28 29 The future plays a curious trick with our artist friend, the valiant and patriotic American who sent forth all his sons against the Germans. He is astonished to find himself reborn a pacifist, Anno Domini, 2018. And there are other sad changes. He sees himself in a mirror as a long-haired creature, a ragged libel of the William Cullen Bryant type, with similar features, but dressed in ready made garments, and with much food spilled down the front of his vest. His nickname in 2018 is “Old Sparrow Short,” because at that time the sparrow is his favorite bird, and because he is tall. This increased height is the only concession to his vanity in the revelation, for in 1920 he has been obliged to stand on his toes over and over, to give any impression of height. In 2018, though a pacifist, he is still militant in the aesthetic field. He is a leader of a group of young Springfield painters, sculptors, and architects who are always dynamiting our stagnant exhibitions with appropriate bombs of paint. He insists it is the painting and sculpture of his followers that make Springfield such a dazzling success. He is still the head teacher of the Springfield Art Association which has its headquarters at the Edwards Place on North Fifth, as of old. His political hobby in 2018 is that we should return to the glory of the ancient time of the unchained nations, especially, as he hears himself say, the era of peace and good will when the Czar instituted the Hague tribunal, and Andrew Carnegie sent out his peace lecturers. He is sent to our local World Government prison which is built across the street from the City and County Jails on Seventh and Jefferson Streets. He is here locked up for emphasizing his views to the point of world-treason. The book flies in through the walls of his cell as though those walls were shadows, and as though the book were made of but air and sunshine, woven together. He who is doomed to become this awful Sparrow Short declares that the principal mandate of the volume is for the immediate dissolution of the entire International Government. It demands a restoration of the conditions of 1913. The mandate of the volume for the artist is the same as for the nation. “Live like the Sparrow. Be yourself completely. Utter your soul, regardless of cost.” This condition, universally accepted, will secure a real world-peace, and one that is not hypocrisy or oppression. It comes the turn of the Jewish boy I so much admire. He says that in 2018 he is “Rabbi Terence Ezekiel,” a rank heretic, and an old man. He dreams of himself as being the grandson and the son of two other Rabbis of the same name and as having a rebel congregation all his own in 2018, of being in their estimation and that of many others, the leading citizen of the community. His temple is on the site of the old Isador Kanner Synagogue. He it is, who, as the leading champion of the aggrandizement of the photoplay as a general social factor, fights his best chum, St. Friend, when films are a public issue, because St. Friend preaches against them from the Cathedral. No longer is his life the slow, devious midnight-lamp technique of the pawnshop, the furtive, the futile, the too confidential. Not his the bad street abounding in second-hand stores and cheap rooming lofts. To his temple come the wise of all the world, and there is preached the gospel of righteousness as symbolized by the planting all around the world of the Ezekiel Oak (for thus he has taken a leaf from the testimony of Roxana Grey), and the distribution of all other great trees, including the Golden Rain-Tree and the Apple Amaranth. But within this wave of beneficence his sect has a peculiar and especial discipline, as rigid and elaborate as Leviticus, which is, in another set of forms, essentially the same curious flowering of the Jewish mind on the same general level of the soul. When he looks into the glass he sees, in 1920, a young rascal who has stooped shoulders, from long bending over the jewelry and watches he has mended. He sees dull-brown hair and eyes, a blank face, a heavy jaundiced skin, all of which give the lie to the great brain. And he is five feet in height. In 2018 he is six feet four, an old man, but with a blazing eye and a voice like the surf in a storm. His hair is brilliant black, his face is that of the Arabian war horse and the American eagle. Into his temple come all the wise of the world, week after week, and he introduces them, and they speak to his people and the rest. But he is to deliver his own discourse on a certain day in the autumn of the Mystic Year. It is a little before the beginning of the services. Amid faint music from afar the light before the doors of the tabernacle is suddenly enriched in color and splendor. The holy doors swing open with a noble deliberation, and there, instead of the Torah, is The Book of Air and Wonder,—The Golden Book, poised like a cloud and a moon and a bird. It has six wings, woven from the rays of a strange moonrise, perhaps like the wings of the cherubim, that bent above the ark long ago. The book settles on the desk. The pennons fade. The volume is open at the beginning of a series of prophecies about the soul of Springfield, as though Springfield were a living personality and not a mere assembly of citizens, and as though the book were a person, and not mere wings of air. He tells us that he sees a face much like mine in the assembly of 2018, and I have not changed, but have the same yellow hair and pale face, as he says, “still look like a Swede,” and, (as he insists, with the pawnbroker’s emphasis on material texture), I wear the same suit of clothes, and carry the same iron and leather cane. And so he tells us his tale of double consciousness, with the honest glow of the blood that I love in all leaders of his race, with that thick fire which no other race can equal. His synagogue is rebuilt on a vast scale in 2018 to hold Golden Book devotees; And this is but the beginning of his history of great affairs in Springfield. The Christian Science Reader says she sees my face in the Sunday morning Christian Science congregation of her vision. We are one and all given new names. Her name in 2018 is Rachel Madison, and, though I am not of her faith today, in the new time I have grown toward this light, and she sees me with my unfortunate yellow hair and my iron cane, for all the world as the young pawnbroker does, but sitting in the back of the Christian Science temple listening attentively, Sunday after Sunday. She says that it is a silver book that we see upon the great day of November 1st, 2018. It sheds an ineffable white light, it is almost as impalpable as a comet in the sky, yet a substance that comes flying through the walls 30 31 32 33 34 35 as though they were but gleaming shadows. The air is filled with music from all the high heavens. The book spreads six wings, like those of celestial swans. The pages have no illuminations or other abominable traces of the Gothic. The book circles above the ecstatic and transfixed assembly, then it settles upon the desk between the two older books there, and in its presence they become like itself, books of air. And so she reads to the people, with the other reader, who stands beside her according to old custom. They read as though by long understanding, but actually led as in a trance, through alternate pages of the three books. Almost in a day the church is rebuilt. It becomes a tremendous white dome, a house of devotion, where the whole city worships as one soul. Then begins the one new evolution of the town toward healing, and the peace of the clear sky. The negress who sees prophetic visions is easily persuaded to add her testimony about the book. Her name in 2018 is Mary Timmons, and she is nicknamed “Pious Mary.” She is most voluble concerning the wonders of the new time. But to the matter of the book at once. She finds herself in her church, in the place where the Baptist Evangelical chapel stood a century before. And it is still called the “Baptist Evangelical.” The house of worship is now gorgeous with curious jungle-mooded ornaments, pillars which are so carved as to seem moss-hung and vine-wound. It is as though we were in the shade of things too high for man. All this house of worship has been evolved by her cousin, the great architect John Emis, who is also a member of this congregation, and a powerful exhorter among his own people, despite all his world fame among paler races. It is in the midst of his designs she moves, on this great day. With pentecostal power her people are singing “Swing Low, Sweet Chariot.” While the faces are uplifted, the book of air, the book that gleams with spiritual gold, flies in through the walls as though they were but shadows. There is a mighty glory shout from the congregation. It is, according to Mary Timmons, answered by music from “the highest sanctorium of the meridian sky.” There are twenty heavenly doves soaring in a circle around the book. Outside of them is a circle of robins. All these birds fly through the walls and away, while the book settles upon the reading desk. The wings do not fade, but cover the pulpit with plumes of azure, plumes of ebony, peacock feathers, each with three eyes, and long feathery golden threads that are spreading and scattering like loose silk. Yet these things seem but as clouds spun by necromancy and as words of the angels made visible. Then Mary Timmons takes a strange turn, and insists it is, after all, only a copy of the Bible, open at the Beatitudes. Glorified in this way it brings about the higher emancipation of her people. Beginning with this congregation they are stirred to the depths of their more creative selves. Devout composers, the kind that once gave birth to one line spirituals, sung like “rounds,” now develop epic forms of composition that are allied to these, so that great and musical shouts echo from mouth to mouth and breast to breast with three hundred singing, and then the whole African race singing. And instead of simply expressing the massed devotion of Africa, as of old, these more personal spirituals record the lyric cry of this or that black poet. Africa-in-America now sings the special story of the black statesman, the black farmer, or even the devout architect John Emis and the like. And the people and race of Mary Timmons, once natural orators, but no one a better creator than another, suddenly flower individually. Their genius becomes intensely centered in a few, and there are speakers with definite, individual messages, who shout not only wonderful round rolling words, but phrases with whip lash and sentences with sword edge, in orations as individual as the world demands that art shall be. The African man with the soul of the fox, now speaks like the fox, as is his right and duty, the man with the soul of the elephant now speaks like the elephant, as is his right and duty, and the woman with the heart of the nightingale now speaks like the nightingale. Our evangelist reveals to us his dream that in the Mystic Year 2018, he is the Vice-President of the Springfield Athletic Union and his nickname is Cave Man Thomas. On a certain day, in the fall of 2018, the president of the Athletic Union is dying. He is “said to be” poisoned by a political foe. He hands a key to Cave Man Thomas. It opens the official roller-top desk, which is in a building on the site of the present Y. M. C. A. on Seventh Street and Capital Avenue. There is a book, the size and shape and general appearance of Spaulding’s Athletic Guide, with the same man with a baseball bat, on the cover. The near pamphlet has no wings or other such fantastic ornament. It is mundane paper and ink, with a yellow back. According to his tale, we two read it alone of nights. We follow its counsel as one would secret foot-ball signals. We do not betray the source of our wisdom to any but Mayor Kopensky and his friend Dr. Sims. We see large results of our labors. We two, acting for the Mayor and the Doctor, smash the face of everyone who does not submit to our dogmas about Hell, which we get from the very front pages of the book. We have more sluggers on our side every hour. We give God and the Mayor and the Doctor the glory, and take none of it ourselves. We hear no music in the air or such like nonsense, while these things are going on. The Cave Man insists that the town is much improved by our policy. Of his predestined valor I may discourse at an opportune time. But meanwhile let me show you a further variation from the typical story about The Golden Book. I am more eager to know how the welfare worker finds herself in the mirrors of 2018 than to receive any other news of that time from her. Despite all her graces she has no especial personal vanity. She is more imperious than vain. But I gently insist upon her confidence till she confesses that she finds herself in the mirrors of 2018 much the same, but with a greater rush of blood through all that magnificent slender frame, and a consequent higher color. In her dream she rejoices in a great resiliency, a greater long-bow curve in action, as she walks with even more of her humorously commanding way. Her name in the new time is Gwendolyn Charles. Gwendolyn Charles is, in 2018, a motion-picture director and scenario writer. She claims Rabbi 36 37 38 39 40