THE GENIUS. Theodore Dreiser

coming from abroad; great successes being made by débutantes in society; great movements forwarded generally. Youth and ambition had the call—he saw that. It was only a question of time, if you had talent, when you would get your hearing. He longed ardently for his but he had no feeling that it was coming to him quickly, so he got the blues. It was a long road to travel.

      One of his pet diversions these days and nights was to walk the streets in rain or fog or snow. The city appealed to him, wet or white, particularly the public squares. He saw Fifth Avenue once in a driving snowstorm and under sputtering arc lights, and he hurried to his easel next morning to see if he could not put it down in black and white. It was unsuccessful, or at least he felt so, for after an hour of trying he threw it aside in disgust. But these spectacles were drawing him. He was wanting to do them—wanting to see them shown somewhere in color. Possible success was a solace at a time when all he could pay for a meal was fifteen cents and he had no place to go and not a soul with whom to talk.

      It was an interesting phase of Eugene's character that he had a passion for financial independence. He might have written home from Chicago at times when he was hard pressed; he might have borrowed some money from his father now, but preferred to earn it—to appear to be further along than he was. If anyone had asked him he would have said he was doing fine. Practically he so wrote to Angela, giving as an excuse for further delay that he wanted to wait until he had ample means. He was trying all this time to make his two hundred dollars go as far as possible and to add to it by any little commissions he could get, however small. He figured his expenses down to ten dollars a week and managed to stay within that sum.

      The particular building in which he had settled was really not a studio building but an old, run-down boarding and apartment house turned partially to uses of trade. The top floor contained three fair sized rooms and two hall bedrooms, all occupied by lonely individuals plying some craft or other. Eugene's next door neighbor chanced to be a hack illustrator, who had had his training in Boston and had set up his easel here in the hope of making a living. There were not many exchanges of courtesies between them at first, although, the door being open the second day he arrived, he saw that an artist worked there, for the easel was visible.

      No models applying at first he decided to appeal to the Art Students' League. He called on the Secretary and was given the names of four, who replied to postal cards from him. One he selected, a young Swedish American girl who looked somewhat like the character in the story he had in mind. She was neat and attractive, with dark hair, a straight nose and pointed chin, and Eugene immediately conceived a liking for her. He was ashamed of his surroundings, however, and consequently diffident. This particular model was properly distant, and he finished his pictures with as much expedition and as little expense as he possibly could.

      Eugene was not given to scraping odd acquaintances, though he made friends fast enough when the balance of intellect was right. In Chicago he had become friendly with several young artists as a result of working with them at the Institute, but here he knew no one, having come without introductions. He did become acquainted with his neighbor, Philip Shotmeyer. He wanted to find out about local art life from him, but Shotmeyer was not brilliant, and could not supply him with more than minor details of what Eugene desired to know. Through him he learnt a little of studio regions, art personalities; the fact that young beginners worked in groups. Shotmeyer had been in such a group the year before, though why he was alone now he did not say. He sold drawings to some of the minor magazines, better magazines than Eugene had yet had dealings with. One thing he did at once for Eugene which was very helpful: he admired his work. He saw, as had others before him, something of his peculiar distinction as an artist, attended every show and one day he gave him a suggestion which was the beginning of Eugene's successful magazine career. Eugene was working on one of his street scenes—a task which he invariably essayed when he had nothing else to do. Shotmeyer had drifted in and was following the strokes of his brush as he attempted to portray a mass of East Side working girls flooding the streets after six o'clock. There were dark walls of buildings, a flaring gas lamp or two, some yellow lighted shop windows, and many shaded, half seen faces—bare suggestions of souls and pulsing life.

      "Say," said Shotmeyer at one point, "that kind o' looks like the real thing to me. I've seen a crowd like that."

      "Have you?" replied Eugene.

      "You ought to be able to get some magazine to use that as a frontispiece. Why don't you try Truth with that?"

      "Truth" was a weekly which Eugene, along with many others in the West, had admired greatly because it ran a double page color insert every week and occasionally used scenes of this character. Somehow he always needed a shove of this kind to make him act when he was drifting. He put more enthusiasm into his work because of Shotmeyer's remark, and when it was done decided to carry it to the office of Truth. The Art Director approved it on sight, though he said nothing, but carried it in to the Editor.

      "Here's a thing that I consider a find in its way."

      He set it proudly upon the editorial desk.

      "Say," said the Editor, laying down a manuscript, "that's the real thing, isn't it? Who did that?"

      "A young fellow by the name of Witla, who has just blown in here. He looks like the real thing to me."

      "Say," went on the Editor, "look at the suggestion of faces back there! What? Reminds me just a little of the masses in Doré stuff—It's good, isn't it?"

      "It's fine," echoed the Art Director. "I think he's a comer, if nothing happens to him. We ought to get a few centre pages out of him."

      "How much does he want for this?"

      "Oh, he doesn't know. He'll take almost anything. I'll give him seventy-five dollars."

      "That's all right," said the Editor as the Art Director took the drawing down. "There's something new there. You ought to hang on to him."

      "I will," replied his associate. "He's young yet. He doesn't want to be encouraged too much."

      He went out, pulling a solemn countenance.

      "I like this fairly well," he said. "We may be able to find room for it. I'll send you a check shortly if you'll let me have your address."

      Eugene gave it. His heart was beating a gay tattoo in his chest. He did not think anything of price, in fact it did not occur to him. All that was in his mind was the picture as a double page spread. So he had really sold one after all and to Truth! Now he could honestly say he had made some progress. Now he could write Angela and tell her. He could send her copies when it came out. He could really have something to point to after this and best of all, now he knew he could do street scenes.

      He went out into the street treading not the grey stone pavement but air. He threw back his head and breathed deep. He thought of other scenes like this which he could do. His dreams were beginning to be realized—he, Eugene Witla, the painter of a double page spread in Truth! Already he was doing a whole series in his imagination, all he had ever dreamed of. He wanted to run and tell Shotmeyer—to buy him a good meal. He almost loved him, commonplace hack that he was—because he had suggested to him the right thing to do.

      "Say, Shotmeyer," he said, sticking his head in that worthy's door, "you and I eat tonight. Truth took that drawing."

      "Isn't that fine," said his floor-mate, without a trace of envy. "Well, I'm glad. I thought they'd like it."

      Eugene could have cried. Poor Shotmeyer! He wasn't a good artist, but he had a good heart. He would never forget him.

      CHAPTER XVII

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      This one significant sale with its subsequent check of seventy-five dollars and later the appearance of the picture in color, gave Eugene such a lift in spirit that he felt, for the time being, as though his art career had reached a substantial basis, and he began to think of going to Blackwood to visit Angela. But first he must do some more work.

      He