7 best short stories by Gertrude Atherton E-Book

Gertrude Atherton

• Herausgeber: Tacet Books
• Kategorie: Gesellschafts- und Liebesromane
• Sprache: Englisch
• Veröffentlichungsjahr: 2020

Beschreibung

Welcome to the 7 Best Short Stories book series, were we present to you the best works of remarkable authors.This edition is dedicated to Gertrude Atherton was an American author. Her bestseller Black Oxen was made into a silent movie of the same name. In addition to novels, she wrote short stories, essays, and articles for magazines and newspapers on such issues as feminism, politics, and war. She was sometimes controversial, especially for her anti-communism and her white supremacist views.Works selected for this book:The Bell in the Fog; The Striding Place; The Dead and the Countess; The Greatest Good of the Greatest Number; A Monarch of a Small Survey; The Tragedy of a Snob; Crowned with One Crest.If you appreciate good literature, be sure to check out the other Tacet Books titles!

Leseprobe

Table of Contents

Title Page

The Author

The Bell in the Fog

The Striding Place

The Dead and the Countess

The Greatest Good of the Greatest Number

A Monarch of a Small Survey

The Tragedy of a Snob

Crowned with One Crest

About the Publisher

The Author

Gertrude Franklin Horn Atherton was an American author. Many of her novels are set in her home state of California. Her bestseller Black Oxen (1923) was made into a silent movie of the same name. In addition to novels, she wrote short stories, essays, and articles for magazines and newspapers on such issues as feminism, politics, and war. She was strong-willed, independent-minded, and sometimes controversial, especially for her anti-communism and her white supremacist views.

Gertrude Franklin Horn was born on October 30, 1857, in San Francisco, California, to Thomas Ludovich Horn and his wife, the former Gertrude Franklin. Her parents separated in 1860 when she was two years old, and she was raised by her maternal grandfather, Stephen Franklin, a devout Presbyterian and a relative of Benjamin Franklin. Grandfather Franklin insisted she be well read, and this influenced her greatly. She attended St. Mary's Hall high school in Benicia, California, and, briefly, the Sayre School in Lexington, Kentucky.

Gertrude moved back to Kentucky to live with her grandfather and mother after her aunt refused to house her any longer because of her rebelliousness. There she met George H.B. Atherton, son of Faxon Atherton, who was courting her mother. He became more interested in daughter Gertrude, and after she accepted his sixth proposal, they eloped on February 15, 1876. She went to live with him and his domineering Chilean mother. Gertrude found life in the Atherton mansion in San Francisco and on their Fair Oaks estate, now Atherton, California, stultifying. As a result of her disappointment with the marriage she began to develop an independent life. Two tragedies changed her life dramatically: Her son George died of diphtheria, and her husband died at sea. She was left alone with their daughter Muriel and needed to support herself. Her mother in law agreed to raise Muriel and give her the inheritance that would have gone to George.

Atherton later told an interviewer that the books that had influenced her the most were Hippolyte Taine's "History of English Literature" and the books of Herbert Spencer.

Atherton's first publication was "The Randolphs of Redwood: A Romance", serialized in The Argonaut in March 1882 under the pseudonym Asmodeus. When she revealed to her family that she was the author, it caused her to be ostracized. In 1888, she left for New York, leaving Muriel with her grandmother. She traveled to London, and eventually returned to California. Atherton's first novel, What Dreams May Come, was published in 1888 under the pseudonym Frank Lin.

In 1889, she went to Paris at the invitation of her sister-in-law Alejandra Rathbone (married to Major Jared Lawrence Rathbone). That year, she heard from British publisher G. Routledge and Sons that they would publish her first two books. William Sharp wrote in The Spectator praising her fiction and would later invite Atherton to stay with him and his wife, Elizabeth, in South Hampstead.

In London, she had the opportunity through Jane Wilde to meet her son, Oscar Wilde. She recalled in her memoir Adventures of a Novelist (1932) that she made an excuse to avoid the meeting because she thought he was physically repulsive. In an 1899 article for London's Bookman, Atherton wrote of Wilde's style and associated it with "the decadence, the loss of virility that must follow over-civilization."

She returned to California in 1890 at the death of her grandfather Franklin and her mother-in-law Dominga Atherton, and she resumed taking care of Muriel. In 1891, while writing a weekly column for The San Francisco Examiner, she met Ambrose Bierce, with whom she carried on a taunting, almost love-hate friendship.

When Kate Field remarked on California writers' neglect of the picturesque and romantic old Spanish life of the state, Atherton explored the history and culture of Spanish California in Monterey, San Juan Bautista, Los Angeles, San Luis Obispo, and Santa Barbara.

She wrote The Doomswoman in 1892, and it was published in Lippincott's Monthly Magazine before being published in book form in 1893. The story (set in the 1840s) focuses on Chonita Moncada y Iturbi and her love of Diego Estenega (modeled after Mariano Guadalupe Vallejo), as he dreams of modernizing California, retaining its Mexican character without sacrificing American economic vigor. Chonita is Catholic, and her faith stands in the way of Diego's political ambitions. The dramatic climax peaks when Diego kills Chonita's brother, Reynaldo, and she is forced to choose between her cultural loyalty or the love of her life. The plot of the novel closely resembles that of Romeo and Juliet. The book was successful with critics, some comparing it to Helen Hunt Jackson's Ramona. Atherton was not pleased with this comparison because Jackson was not from California. However, she was satisfied when Bierce said of The Doomswoman that it was "in its class... superior to any that any Californian has done".

In 1892, Atherton left for New York. There she wrote for the New York World. She also wrote letters to Bierce, confiding her loneliness, her dismay at the necessity to do freelance writing (in particular for the New York World), and her dislike of eastern literary circles. Her distaste came from their belittlement of the West and its authors and the fact they did not accept Bierce's work.While in New York, she published another California novel, Before the Gringo Came (1894).

She next wrote Patience Sparhawk and Her Times, A Novel (1897), but it proved to be too controversial. Its rejection encouraged her to leave for London. It was 1898 and John Lane of The Bodley Head agreed to publish it, but not for two years. She continued to write, writing book reviews for Oliver Fry's Vanity Fair, and even completed a book-length version of "The Randolphs of Redwood" (retitled A Daughter of the Vine, 1899) while staying in Haworth. Max Pemberton asked her to write a 10,000 word essay for a series he was editing for Cassells Pocket Library, which she wrote as A Whirl Asunder (1895).

Once Patience Sparhawk and Her Times, A Novel was published, William Robertson Nicoll gave a review of it in the April 12, 1897 edition of The Bookman that said it was "crude" in its portrayal of a clever young woman with burning interest in life and identified it as a protest against the tame American novel. In the May 15 issue of The New York Times, the reviewer said that Atherton had "incontestable" ability and a "very original talent" while noting that the book offered a series of "fleshy" episodes in Patience's life that must have scared a sensitive reader. It was banned from the San Francisco Mechanics' Institute, and the San Francisco Call review said it represented Atherton's departure from her proper literary goal of treating early California themes romantically

In 1898, she completed The Californians, her first novel in set the post-Spanish era. Critics received this much more positively than Patience, and a review in The Spectator (October 1, 1898) said it "was by far more convincing and attractive in delineating California manners and morals.... The novel fairly establishes her claim to be considered as one of the most vivid and entertaining interpreters of the complex characters of emancipated American womanhood." The November 8 Bookman said it was her "most ambitious work," which has "a feeling of surety that only the consciousness of knowing one's ground can convey."

She traveled to Rouen and wrote American Wives and English Husbands (1898), set in contemporary time. In this novel, she contrasts English and American men, American and English civilizations, and comments on the relationships between men and women. She also completed The Valiant Runaways (1898), an adventure novel for boys that dealt with the Spanish Mexican attempt to civilize California. In 1899, she returned to the United States.

Her novel Senator North (1900) was based on Maine's senator Eugene Hale.

In a May 1904 article, Why Is American Literature Bourgeois? in the North American Review, Atherton critiqued William Dean Howells for the "littleism" or "thin" realism of his fiction. Atherton's novel, Julia France and Her Times (1912), has a strong feminist subtext, with the titular heroine being a woman needing to earn a living wage.

She is best remembered for her California Series, several novels and short stories dealing with the social history of California. The series includes The Splendid, Idle Forties (1902); The Conqueror (1902), which is a fictionalized biography of Alexander Hamilton; and her sensational, semi-autobiographical novel Black Oxen (1923), about an aging woman who miraculously becomes young again after glandular therapy. The novel names the areas of a woman's power as youth and vitality, examines the social expectations surrounding them, then prompts women to avoid these conventions. The latter was adapted into the film Black Oxen in 1923. Atherton's earlier novel Mrs. Balfame (1916) was also adapted to film, as Mrs. Balfame in 1917. Atherton's The Immortal Marriage (1927) and The Jealous Gods (1928) are historical novels set in Ancient Greece.

Atherton wrote several stories of supernatural horror, including the ghost stories "Death and the Woman", and "Crowned with One Crest", as well as "The Foghorn", and the often anthologised "The Striding Place". "The Foghorn", written in 1933, is a psychological horror story that has been compared to "The Yellow Wallpaper". W. Somerset Maugham called it a powerful story in a 1943 publication of his, Great Modern Reading.

Atherton was an early feminist well acquainted with the plight of women. She knew "the pain of sexual repression, knew the cost of strength required to escape it (strength some women do not have to spend), knew its scars—the scars that made her wary of emotional commitment and relegated her, despite her splendid professional triumphs and her surpassing benefit to women, to largely an observer role in human relations. She knew the full cost of the destructive battle of the sexes, and urged that it end at last with true sexual equality." Her novels often feature strong heroines who pursue independent lives, undoubtedly a reaction to her stifling married life.

Atherton was often compared to contemporary authors such as Henry James and Edith Wharton. James assessed Atherton's work and claimed she had reduced the typical man/woman relationship to a personality clash.

Atherton presided in her last years over the San Francisco branch of PEN. As her biographer Emily Wortis Leider notes in California's Daughter, however, "under her domination it became little more than a social club that might have been called Friends of Atherton and (Senator) Phelan". A strong advocate of social reform, and the grande dame of California literature, she yet remained a strong force in the promotion of a California cultural identity. She was a personal friend of Senator James Duval Phelan and his nephew, the philanthropist Noel Sullivan, and often was a guest at Phelan's estate, Villa Montalvo. Among her celebrity friends was travel writer Richard Halliburton, who shared her interest in artists' rights, and whose disappearance at sea she lamented. Though she could be offensively assertive with her acerbic wit, notes Gerry Max, she truculently crusaded for many of the key intellectual freedom issues of her day, especially those involving women's rights, and remained, throughout a long creative life, a true friend to writers. In his autobiographical novel, Kenneth Rexroth speaks of her kindness to him and his wife when they arrived in San Francisco in the late 1920s.

Mariana Bertola, Carrie Jacobs-Bond, May Showler Groves, Minna McGauley, Maud Wilde, Jeanette Lawrence, Miriam Van Waters, Mrs. David Starr Jordan, Annie Florence Brown, Gertrude Atherton

Charlotte S. McClure in a Dictionary of Literary Biography essay said that Atherton "redefined women's potential and presented a psychological drama of a woman's quest for identity and for a life purpose and happiness within and beyond her procreative function". She also said that Patience Sparhawk was Atherton's "first significant novel".In an 1898 essay in Bookman, a critic stated:

"the amazing and memorable Patience Sparhawk may perhaps be referred to as the first foreshadowing of the good work that [Atherton] has done since. It seems to have been also generally conceded that no matter what the subject chanced to be . . . nothing from her pen would be commonplace or dull.  that startling performance [in Patience Sparhawk] introduced her to a different audience, one much larger and more seriously interested than she had had before."

Carl van Vechten said of Atherton in a Nation article: "Usually (not always, to be sure), the work of Mrs. Wharton seems to me to be scrupulous, clever and uninspiring, while that of Mrs. Atherton is often careless, sprawling, but inspired. Mrs. Wharton, with some difficulty, it would appear, has learned to write; Mrs. Atherton was born with a facility for telling stories."

In an essay for Bookman, Frederic Taber Cooper stated that in Senator North, the character Harriet "is practically a white woman but for a scarcely perceptible blueness at the base of her fingernails, this character of Harriet is perhaps the best bit of feminine analysis that Mrs. Atherton ever did."

Atherton was a suffragist who did not believe in the use of militancy to further the cause. In 1917 she wrote a letter to the editor of the New York Times to express her support for suffrage while voicing her opposition to militancy.

Atherton also advocated white supremacy. Atherton's novel Senator North describes a marriage between a "passing" woman of mixed white and African-American ancestry and a white man, which ends in tragedy. Senator North was intended by Atherton as a warning against Interracial marriages. In a 1922 The Bookman article, "The Alpine School of Fiction", Atherton praised the book The Passing of the Great Race by Madison Grant, describing it as a "remarkable work, with its warning of tremendous import to civilization".  Atherton claimed that American civilization had been created by the "Nordic" or "Anglo-Saxon" race, and that this was now threatened by an influx of "Alpine" and "Mediterranean" immigrants, who Atherton regarded as inferior to Nordics. Atherton argued that "The old Nordic-American stock is being rapidly bred out by the refuse of Europe." Atherton cited works such as Main Street by Sinclair Lewis and Three Soldiers by John Dos Passos as signs of a decline in American literature brought about by the rejection of "Nordic" themes. Atherton's views on race were praised by Thomas Dixon Jr., but strongly criticized by both H. L. Mencken and Horace Kallen.

Following the Russian Revolution, Atherton developed a hostility to Communism. In 1919, Atherton wrote an article for The New York Times, (entitled "Time as a cure for Bolshevism") which condemned both the Russian Soviet Federative Socialist Republic and the Americans who sympathized with it. When asked by the League of American Writers which side she supported in the Spanish Civil War, she stated that she supported the Spanish Nationalists-the only author of the 418 the League surveyed who did. In the League pamphlet Writers Take Sides (collecting the authors' responses), Atherton stated that although she disliked both fascism and communism, she considered communism the greater evil and added, "Although I have no love for Franco, I hope he will mop up the Communists, and send home, with tails between legs, all those gullible Americans who enlisted to save Spanish 'Democracy'". In a poll carried out by the Saturday Review of Literature asking writers which Presidential candidate they endorsed in the 1940 election, Atherton was among the writers who endorsed Wendell Willkie.

Atherton's autobiography, Adventures of a Novelist (New York: Horace Liveright, 1932), is an account of her life and the people, including Ambrose Bierce and James Phelan, who filled it. It also features historical reminiscences of San Francisco in the late 19th and early 20th centuries.

She is buried in Cypress Lawn cemetery in Colma, California. In 2009, The Library of America selected Atherton's story "The Striding Place" for inclusion in its two-century retrospective of American Fantastic Tales.

The Bell in the Fog

I

The great author had realized one of the dreams of his ambitious youth, the possession of an ancestral hall in England. It was not so much the good American's reverence for ancestors that inspired the longing to consort with the ghosts of an ancient line, as artistic appreciation of the mellowness, the dignity, the aristocratic aloofness of walls that have sheltered, and furniture that has embraced, generations and generations of the dead. To mere wealth, only his astute and incomparably modern brain yielded respect; his ego raised its goose-flesh at the sight of rooms furnished with a single check, conciliatory as the taste might be. The dumping of the old interiors of Europe into the glistening shells of the United States not only roused him almost to passionate protest, but offended his patriotism—which he classified among his unworked ideals. The average American was not an artist, therefore he had no excuse for even the affectation of cosmopolitanism. Heaven knew he was national enough in everything else, from his accent to his lack of repose; let his surroundings be in keeping.

Orth had left the United States soon after his first successes, and, his art being too great to be confounded with locality, he had long since ceased to be spoken of as an American author. All civilized Europe furnished stages for his puppets, and, if never picturesque nor impassioned, his originality was as overwhelming as his style. His subtleties might not always be understood—indeed, as a rule, they were not—but the musical mystery of his language and the penetrating charm of his lofty and cultivated mind induced raptures in the initiated, forever denied to those who failed to appreciate him.

His following was not a large one, but it was very distinguished. The aristocracies of the earth gave to it; and not to understand and admire Ralph Orth was deliberately to relegate one's self to the ranks. But the elect are few, and they frequently subscribe to the circulating libraries; on the Continent, they buy the Tauchnitz edition; and had not Mr. Orth inherited a sufficiency of ancestral dollars to enable him to keep rooms in Jermyn Street, and the wardrobe of an Englishman of leisure, he might have been forced to consider the tastes of the middle-class at a desk in Hampstead. But, as it mercifully was, the fashionable and exclusive sets of London knew and sought him. He was too wary to become a fad, and too sophisticated to grate or bore; consequently, his popularity continued evenly from year to year, and long since he had come to be regarded as one of them. He was not keenly addicted to sport, but he could handle a gun, and all men respected his dignity and breeding. They cared less for his books than women did, perhaps because patience is not a characteristic of their sex. I am alluding, however, in this instance, to men-of-the-world. A group of young literary men—and one or two women—put him on a pedestal and kissed the earth before it. Naturally, they imitated him, and as this flattered him, and he had a kindly heart deep among the cere-cloths of his formalities, he sooner or later wrote "appreciations" of them all, which nobody living could understand, but which owing to the sub-title and signature answered every purpose.

With all this, however, he was not utterly content. From the 12th of August until late in the winter—when he did not go to Homburg and the Riviera—he visited the best houses in England, slept in state chambers, and meditated in historic parks; but the country was his one passion, and he longed for his own acres.

He was turning fifty when his great-aunt died and made him her heir: "as a poor reward for his immortal services to literature," read the will of this phenomenally appreciative relative. The estate was a large one. There was a rush for his books; new editions were announced. He smiled with cynicism, not unmixed with sadness; but he was very grateful for the money, and as soon as his fastidious taste would permit he bought him a country-seat.

The place gratified all his ideals and dreams—for he had romanced about his sometime English possession as he had never dreamed of woman. It had once been the property of the Church, and the ruin of cloister and chapel above the ancient wood was sharp against the low pale sky. Even the house itself was Tudor, but wealth from generation to generation had kept it in repair; and the lawns were as velvety, the hedges as rigid, the trees as aged as any in his own works. It was not a castle nor a great property, but it was quite perfect; and for a long while he felt like a bridegroom on a succession of honeymoons. He often laid his hand against the rough ivied walls in a lingering caress.

After a time, he returned the hospitalities of his friends, and his invitations, given with the exclusiveness of his great distinction, were never refused. Americans visiting England eagerly sought for letters to him; and if they were sometimes benumbed by that cold and formal presence, and awed by the silences of Chillingsworth—the few who entered there—they thrilled in anticipation of verbal triumphs, and forthwith bought an entire set of his books. It was characteristic that they dared not ask him for his autograph.

Although women invariably described him as "brilliant," a few men affirmed that he was gentle and lovable, and any one of them was well content to spend weeks at Chillingsworth with no other companion. But, on the whole, he was rather a lonely man.

It occurred to him how lonely he was one gay June morning when the sunlight was streaming through his narrow windows, illuminating tapestries and armor, the family portraits of the young profligate from whom he had made this splendid purchase, dusting its gold on the black wood of wainscot and floor. He was in the gallery at the moment, studying one of his two favorite portraits, a gallant little lad in the green costume of Robin Hood. The boy's expression was imperious and radiant, and he had that perfect beauty which in any disposition appealed so powerfully to the author. But as Orth stared to-day at the brilliant youth, of whose life he knew nothing, he suddenly became aware of a human stirring at the foundations of his aesthetic pleasure.

"I wish he were alive and here," he thought, with a sigh. "What a jolly little companion he would be! And this fine old mansion would make a far more complementary setting for him than for me."