This, I think, is the lesson I learnt from my own book. I did not know it when I wrote it. I never thought of writing it; I never meant to write anything; I only went to America because England and the life of London made me ill. If I could have lived my own life here I would have stayed, but the crushing combination of social forces drove me out. For fear of cutting my own throat I left, and took my chance with natural forces. To fight with nature makes men, to fight with society makes devils, or criminals, or martyrs, and sometimes a man may be all three. I preferred to revert to mere natural conditions for a time.

To lead such a life for a long time is to give up creeds, and to go to the universal storehouse whence all creeds come. It is giving up dogmas and becoming religious. In true opposition to instructive nature, we find our own natural religion, which cannot be wholly like any other. So a life of this kind does not make men good, in the common sense of the word. But it makes a man good for something. It may make him an ethical outcast, as facts faced always will. He prefers induction to deduction, especially the sanctioned unverified deductions of social order. For nature affords the only verification for the logical process of deduction. 'We fear nature too much, to say the least.' For most of us hold to other men's theories instead of making our own.

When Mill said, 'Solitude, in the sense of being frequently alone, is necessary to the formation of any depth of character,' he spoke almost absolute truth. But here we can never be alone; the very air is full of the dead breath of others. I learnt more in a four days' walk over the California coast range, living on parched Indian corn, than I could have done in a lifetime of the solitude of a lonely house. The Selkirks and the Rocky Mountains are books of ancient learning: the long plains of grey grass, the burnt plateaus of the hot South, speak eternal truths to all who listen. They need not listen, for there men do not learn by the ear. They breathe the knowledge in.

In speaking as I have done about America I do not mean to praise it as a State or a society. In that respect it is perhaps worse than our own, more diseased, more under the heel of the money fiend, more recklessly and brutally acquisitive. But there are parts of it still more or less free; nature reigns still over vast tracts in the West. As a democracy it is so far a failure, as democracies must be organised on a plutocratic basis; but it at any rate allows a man to think himself a man. Walt Whitman is the big expression of that thought, but his fervent belief in America was really but deep trust in man himself, in man's power of revolt, in his ultimate recognition of the beauty of the truth. The power of America to teach lies in the fact that a great part of her fertile and barren soil has not yet been taught, not yet cultivated for the bread which of itself can feed no man wholly.

Perhaps among the few who have read 'The Western Avernus' (for it was not a financial success), fewer still have seen what I think I myself see in it now. But it has taken me six years to understand it, six years to know how I came to write it, and what it meant. That is the way in life: we do not learn at once what we are taught, we do not always understand all we say even when speaking earnestly. There is often one aspect of a book that the writer himself can learn from, and that is not always the technical part of it. All sayings may have an esoteric meaning. In those hard days by the camp fire, on the trail, on the prairie with sheep and cattle, I did not understand that they called up in me the ancient underlying experience of the race, and, like a deep plough, brought to the surface the lowest soil which should hereafter be a little fertile. When I starved, I thought not of our far ancestors who had suffered too; as I watched the sheep or the sharp-horned Texas steers, I could not reflect upon our pastoral forefathers; as I climbed with bleeding feet the steep slopes of the Western hills, my thoughts were set in a narrow circle of dark misery. I could not think of those who had striven, like me, in distant ages. But the songs of the camp fire, and the leap of the flame, and the crackling wood, and the lofty snow-clad hills, and the long dim plains, the wild beast, and the venomous serpents, and the need of food, brought me back to nature, the nature that had created those who were the fathers of us all, and, bringing me back, they taught me, as they strive to teach all, that the real and deeper life is everywhere, even in a city, if we will but look for it with unsealed eyes and minds set free from the tedious trivialities of this debauched modern life.

'A LIFE'S ATONEMENT'

By David Christie Murray

I BEGAN my first book more years ago than I care to count, and, naturally enough, it took poetic form, if not poetic substance. In its original shape it was called 'Marsh Hall,' and ran into four cantos. On the eve of my twenty-first birthday I sent the MS. to Messrs. Macmillan, who, very wisely, as I have since come to believe, counselled me not to publish it. I say this in full sincerity, though I remember some of the youthful bombast not altogether without affection. Here and there I can recall a passage which still seems respectable. I wrote reams of verse in those days, but when I came into the rough and tumble of journalistic life I was too occupied to court the Muses any longer, and found myself condemned to a life of prose. I was acting as special correspondent for the Birmingham Morning News in the year '73—I think it was '73, though it might have been a year later—and at that time Mr. Edmund Yates was lecturing in America, and a novel of his, the last he ever wrote, was running through our columns. Whether the genial 'Atlas,' who at that time had not taken the burden of The World upon his shoulders, found his associations too numerous and heavy, I can only guess, but he closed the story with an unexpected suddenness, and the editor, who had supposed himself to have a month or two in hand in which to make arrangements for his next serial, was confronted with the finis of Mr. Yates's work, and was compelled to start a new novel at a week's notice. In this extremity he turned to me. 'I think, young 'un,' he said, 'that you ought to be able to write a novel.' I shared his faith, and had, indeed, already begun a story which I had christened 'Grace Forbeach.'

I handed him two chapters, which he read at once, and, in high feather, sent to the printer. It never bade fair to be a mighty work, but at least it fulfilled the meaning of the original edition of Pope's famous line, for it was certainly 'all without a plan.' I had appropriate scenery in my mind, no end of typical people to draw, and one or two moving actualities to work from. But I had forgotten the plot. To attempt a novel without a definite scheme of some sort is very like trying to make a Christmas pudding without a cloth. Ruth Pinch was uncertain as to whether her first venture at a pudding might not turn out a soup. My novelistic effort, I am sorry to confess, had no cohesion in it. Its parts got loose in the cooking, and I have reason to think that most people who tried it found the dish repellent. The cashier assured me that I had sent down the circulation of the Saturday issue by sixteen thousand. I had excellent reasons for disbelieving this circumstantial statement in the fact that the Saturday issue had never reached that number, but I have no doubt I did a deal of damage. There had been an idea in 'Marsh Hall,' and what with interpolated ballads and poetic excursions and alarums of all sorts, I had found in it matter enough to fill out my four cantos. I set out with the intent to work that same idea through the pages of 'Grace Forbeach,' but it was too scanty for the uses of a three-volume novel, at least in the hands of a tiro. I know one or two accomplished gentlemen who could make it serve the purpose admirably, and, perhaps, I myself might do something with it at a pinch at this time of day. Anyhow, as it was, the cloth was too small to hold the pudding, and, in the process of cooking, I was driven to the most desperate expedients. To drop the simile and to come to the plain facts of the case, I sent all my wicked and superfluous people into a coal-mine, and there put an end to them by an inrush of water. I forget what became of the hero, but I know that some of the most promising characters dropped out of that story, and were no more heard of. The sub-editor used occasionally, for my encouragement, to show me letters he received, denouncing the work, and asking wrathfully when it would end.