The Essential Gene Stratton-Porter Collection. Stratton-Porter GeneЧитать онлайн книгу.
the disagreeable features of the swamp and contemptuously familiar with its dangers, so that I worked anywhere in it I chose with other assistance; but no trip was so hard and disagreeable as the first. Mr. Porter insisted upon finishing the Little Chicken series, so that 'deserve' is a poor word for any honour that might accrue to him for his part in the book."
This was the nucleus of the book, but the story itself originated from the fact that one day, while leaving the swamp, a big feather with a shaft over twenty inches long came spinning and swirling earthward and fell in the author's path. Instantly she looked upward to locate the bird, which from the size and formation of the quill could have been nothing but an eagle; her eyes, well trained and fairly keen though they were, could not see the bird, which must have been soaring above range. Familiar with the life of the vulture family, the author changed the bird from which the feather fell to that described in "Freckles." Mrs. Porter had the old swamp at that time practically untouched, and all its traditions to work upon and stores of natural history material. This falling feather began the book which in a few days she had definitely planned and in six months completely written. Her title for it was "The Falling Feather," that tangible thing which came drifting down from Nowhere, just as the boy came, and she has always regretted the change to "Freckles." John Murray publishes a British edition of this book which is even better liked in Ireland and Scotland than in England.
As "The Cardinal" was published originally not by Doubleday, Page & Company, but by another firm, the author had talked over with the latter house the scheme of "Freckles" and it had been agreed to publish the story as soon as Mrs. Porter was ready. How the book finally came to Doubleday, Page & Company she recounts as follows:
"By the time 'Freckles' was finished, I had exercised my woman's prerogative and 'changed my mind'; so I sent the manuscript to Doubleday, Page & Company, who accepted it. They liked it well enough to take a special interest in it and to bring it out with greater expense than it was at all customary to put upon a novel at that time; and this in face of the fact that they had repeatedly warned me that the nature work in it would kill fully half its chances with the public. Mr. F.N. Doubleday, starting on a trip to the Bahamas, remarked that he would like to take a manuscript with him to read, and the office force decided to put 'Freckles' into his grip. The story of the plucky young chap won his way to the heart of the publishers, under a silk cotton tree, 'neath bright southern skies, and made such a friend of him that through the years of its book-life it has been the object of special attention. Mr. George Doran gave me a photograph which Mr. Horace MacFarland made of Mr. Doubleday during this reading of the Mss. of 'Freckles' which is especially interesting."
That more than 2,000,000 readers have found pleasure and profit in Mrs. Porter's books is a cause for particular gratification. These stories all have, as a fundamental reason of their existence, the author's great love of nature. To have imparted this love to others--to have inspired many hundreds of thousands to look for the first time with seeing eyes at the pageant of the out-of-doors--is a satisfaction that must endure. For the part of the publishers, they began their business by issuing "Nature Books" at a time when the sale of such works was problematical. As their tastes and inclinations were along the same lines which Mrs. Porter loved to follow, it gave them great pleasure to be associated with her books which opened the eyes of so great a public to new and worthy fields of enjoyment.
The history of "Freckles" is unique. The publishers had inserted marginal drawings on many pages, but these, instead of attracting attention to the nature charm of the book, seemed to have exactly a contrary effect. The public wanted a novel. The illustrations made it appear to be a nature book, and it required three long slow years for "Freckles" to pass from hand to hand and prove that there really was a novel between the covers, but that it was a story that took its own time and wound slowly toward its end, stopping its leisurely course for bird, flower, lichen face, blue sky, perfumed wind, and the closest intimacies of the daily life of common folk. Ten years have wrought a great change in the sentiment against nature work and the interest in it. Thousands who then looked upon the world with unobserving eyes are now straining every nerve to accumulate enough to be able to end life where they may have bird, flower, and tree for daily companions.
Mrs. Porter's account of the advice she received at this time is particularly interesting. Three editors who read "Freckles" before it was published offered to produce it, but all of them expressed precisely the same opinion: "The book will never sell well as it is. If you want to live from the proceeds of your work, if you want to sell even moderately, you must CUT OUT THE NATURE STUFF." "Now to PUT IN THE NATURE STUFF," continues the author, "was the express purpose for which the book had been written. I had had one year's experience with 'The Song of the Cardinal,' frankly a nature book, and from the start I realized that I never could reach the audience I wanted with a book on nature alone. To spend time writing a book based wholly upon human passion and its outworking I would not. So I compromised on a book into which I put all the nature work that came naturally within its scope, and seasoned it with little bits of imagination and straight copy from the lives of men and women I had known intimately, folk who lived in a simple, common way with which I was familiar. So I said to my publishers: 'I will write the books exactly as they take shape in my mind. You publish them. I know they will sell enough that you will not lose. If I do not make over six hundred dollars on a book I shall never utter a complaint. Make up my work as I think it should be and leave it to the people as to what kind of book they will take into their hearts and homes.' I altered 'Freckles' slightly, but from that time on we worked on this agreement.
"My years of nature work have not been without considerable insight into human nature, as well," continues Mrs. Porter. "I know its failings, its inborn tendencies, its weaknesses, its failures, its depth of crime; and the people who feel called upon to spend their time analyzing, digging into, and uncovering these sources of depravity have that privilege, more's the pity! If I had my way about it, this is a privilege no one could have in books intended for indiscriminate circulation. I stand squarely for book censorship, and I firmly believe that with a few more years of such books, as half a dozen I could mention, public opinion will demand this very thing. My life has been fortunate in one glad way: I have lived mostly in the country and worked in the woods. For every bad man and woman I have ever known, I have met, lived with, and am intimately acquainted with an overwhelming number of thoroughly clean and decent people who still believe in God and cherish high ideals, and it is UPON THE LIVES OF THESE THAT I BASE WHAT I WRITE. To contend that this does not produce a picture true to life is idiocy. It does. It produces a picture true to ideal life; to the best that good men and good women can do at level best.
"I care very little for the magazine or newspaper critics who proclaim that there is no such thing as a moral man, and that my pictures of life are sentimental and idealized. They are! And I glory in them! They are straight, living pictures from the lives of men and women of morals, honour, and loving kindness. They form 'idealized pictures of life' because they are copies from life where it touches religion, chastity, love, home, and hope of heaven ultimately. None of these roads leads to publicity and the divorce court. They all end in the shelter and seclusion of a home.
"Such a big majority of book critics and authors have begun to teach, whether they really believe it or not, that no book is TRUE TO LIFE unless it is true to the WORST IN LIFE, that the idea has infected even the women."
In 1906, having seen a few of Mrs. Porter's studies of bird life, Mr. Edward Bok telegraphed the author asking to meet him in Chicago. She had a big portfolio of fine prints from plates for which she had gone to the last extremity of painstaking care, and the result was an order from Mr. Bok for a six months' series in the Ladies' Home Journal of the author's best bird studies accompanied by descriptions of how she secured them. This material was later put in book form under the title, "What I Have Done with Birds," and is regarded as authoritative on the subject of bird photography and bird life, for in truth it covers every phase of the life of the birds described, and contains much of other nature subjects.
By this time Mrs. Porter had made a contract with her publishers to alternate her books. She agreed to do a nature book for love, and then, by way of compromise, a piece of nature work spiced with enough fiction to tempt her