What I Saw in America. Гилберт Кит Честертон

it must be realised that they were not doing quite such desecration; and that many of them felt the saloon a specially poisonous sort of place. They did feel that drinking-places were used only as drug-shops. So they have effected the great reconstruction, by which it will be necessary to use only drug-shops as drinking-places. But I am not dealing here with the problem of Prohibition except in so far as it is involved in the statement that the saloons were in no sense inns. Secondly, of course, there are the hotels. There are indeed. There are hotels toppling to the stars, hotels covering the acreage of villages, hotels in multitudinous number like a mob of Babylonian or Assyrian monuments; but the hotels also are not inns.

      Broadly speaking, there is only one hotel in America. The pattern of it, which is a very rational pattern, is repeated in cities as remote from each other as the capitals of European empires. You may find that hotel rising among the red blooms of the warm spring woods of Nebraska, or whitened with Canadian snows near the eternal noise of Niagara. And before touching on this solid and simple pattern itself, I may remark that the same system of symmetry runs through all the details of the interior. As one hotel is like another hotel, so one hotel floor is like another hotel floor. If the passage outside your bedroom door, or hallway as it is called, contains, let us say, a small table with a green vase and a stuffed flamingo, or some trifle of the sort, you may be perfectly certain that there is exactly the same table, vase, and flamingo on every one of the thirty-two landings of that towering habitation. This is where it differs most perhaps from the crooked landings and unexpected levels of the old English inns, even when they call themselves hotels. To me there was something weird, like a magic multiplication, in the exquisite sameness of these suites. It seemed to suggest the still atmosphere of some eerie psychological story. I once myself entertained the notion of a story, in which a man was to be prevented from entering his house (the scene of some crime or calamity) by people who painted and furnished the next house to look exactly like it; the assimilation going to the most fantastic lengths, such as altering the numbering of houses in the street. I came to America and found an hotel fitted and upholstered throughout for the enactment of my phantasmal fraud. I offer the skeleton of my story with all humility to some of the admirable lady writers of detective stories in America, to Miss Carolyn Wells, or Miss Mary Roberts Rhinehart, or Mrs. A. K. Green of the unforgotten Leavenworth Case. Surely it might be possible for the unsophisticated Nimrod K. Moose, of Yellow Dog Flat, to come to New York and be entangled somehow in this net of repetitions or recurrences. Surely something tells me that his beautiful daughter, the Rose of Red Murder Gulch, might seek for him in vain amid the apparently unmistakable surroundings of the thirty-second floor, while he was being quietly butchered by the floor-clerk on the thirty-third floor, an agent of the Green Claw (that formidable organisation); and all because the two floors looked exactly alike to the virginal Western eye. The original point of my own story was that the man to be entrapped walked into his own house after all, in spite of it being differently painted and numbered, simply because he was absent-minded and used to taking a certain number of mechanical steps. This would not work in the hotel; because a lift has no habits. It is typical of the real tameness of machinery, that even when we talk of a man turning mechanically we only talk metaphorically; for it is something that a mechanism cannot do. But I think there is only one real objection to my story of Mr. Moose in the New York hotel. And that is unfortunately a rather fatal one. It is that far away in the remote desolation of Yellow Dog, among those outlying and outlandish rocks that almost seem to rise beyond the sunset, there is undoubtedly an hotel of exactly the same sort, with all its floors exactly the same.

      Anyhow the general plan of the American hotel is commonly the same, and, as I have said, it is a very sound one so far as it goes. When I first went into one of the big New York hotels, the first impression was certainly its bigness. It was called the Biltmore; and I wondered how many national humorists had made the obvious comment of wishing they had built less. But it was not merely the Babylonian size and scale of such things, it was the way in which they are used. They are used almost as public streets, or rather as public squares. My first impression was that I was in some sort of high street or market-place during a carnival or a revolution. True, the people looked rather rich for a revolution and rather grave for a carnival; but they were congested in great crowds that moved slowly like people passing through an overcrowded railway station. Even in the dizzy heights of such a sky-scraper there could not possibly be room for all those people to sleep in the hotel, or even to dine in it. And, as a matter of fact, they did nothing whatever except drift into it and drift out again. Most of them had no more to do with the hotel than I have with Buckingham Palace. I have never been in Buckingham Palace, and I have very seldom, thank God, been in the big hotels of this type that exist in London or Paris. But I cannot believe that mobs are perpetually pouring through the Hotel Cecil or the Savoy in this fashion, calmly coming in at one door and going out of the other. But this fact is part of the fundamental structure of the American hotel; it is built upon a compromise that makes it possible. The whole of the lower floor is thrown open to the public streets and treated as a public square. But above it and all round it runs another floor in the form of a sort of deep gallery, furnished more luxuriously and looking down on the moving mobs beneath. No one is allowed on this floor except the guests or clients of the hotel. As I have been one of them myself, I trust it is not unsympathetic to compare them to active anthropoids who can climb trees, and so look down in safety on the herds or packs of wilder animals wandering and prowling below. Of course there are modifications of this architectural plan, but they are generally approximations to it; it is the plan that seems to suit the social life of the American cities. There is generally something like a ground floor that is more public, a half-floor or gallery above that is more private, and above that the bulk of the block of bedrooms, the huge hive with its innumerable and identical cells.

      The ladder of ascent in this tower is of course the lift, or, as it is called, the elevator. With all that we hear of American hustle and hurry it is rather strange that Americans seem to like more than we do to linger upon long words. And indeed there is an element of delay in their diction and spirit, very little understood, which I may discuss elsewhere. Anyhow they say elevator when we say lift, just as they say automobile when we say motor and stenographer when we say typist, or sometimes (by a slight confusion) typewriter. Which reminds me of another story that never existed, about a man who was accused of having murdered and dismembered his secretary when he had only taken his typing machine to pieces; but we must not dwell on these digressions. The Americans may have another reason for giving long and ceremonious titles to the lift. When first I came among them I had a suspicion that they possessed and practised a new and secret religion, which was the cult of the elevator. I fancied they worshipped the lift, or at any rate worshipped in the lift. The details or data of this suspicion it were now vain to collect, as I have regretfully abandoned it, except in so far as they illustrate the social principles underlying the structural plan of the building. Now an American gentleman invariably takes off his hat in the lift. He does not take off his hat in the hotel, even if it is crowded with ladies. But he always so salutes a lady in the elevator; and this marks the difference of atmosphere. The lift is a room, but the hotel is a street. But during my first delusion, of course, I assumed that he uncovered in this tiny temple merely because he was in church. There is something about the very word elevator that expresses a great deal of his vague but idealistic religion. Perhaps that flying chapel will eventually be ritualistically decorated like a chapel; possibly with a symbolic scheme of wings. Perhaps a brief religious service will be held in the elevator as it ascends; in a few well-chosen words touching the Utmost for the Highest. Possibly he would consent even to call the elevator a lift, if he could call it an uplift. There would be no difficulty, except what I cannot but regard as the chief moral problem of all optimistic modernism. I mean the difficulty of imagining a lift which is free to go up, if it is not also free to go down.

      I think I know my American friends and acquaintances too well to apologise for any levity in these illustrations. Americans make fun of their own institutions; and their own journalism is full of such fanciful conjectures. The tall building is itself artistically akin to the tall story. The very word sky-scraper is an admirable example of an American lie. But I can testify quite as eagerly to the solid and sensible advantages of the symmetrical hotel. It is not only a pattern of vases and stuffed flamingoes; it is also an equally accurate pattern of cupboards and baths. It is a dignified and humane custom to have a bathroom attached to every bedroom; and my impulse to sing the praises of