Portrait of a Man with Red Hair: A Romantic Macabre
was swallowed by the modern realistic movement as a fly is swallowed by an indifferent spider. These men, he said to himself, are very clever. They know so much more about everything than I do that they must be right. They are telling the truth at last about life as no one has ever done it before. But when he had read a great many of these books (and every word of Mr. Joyce's Ulysses), he found that he cared much less about truth than he had supposed. He even doubted whether these writers were telling the truth any more than the naïve and sentimental Victorians; and when at last he heard a story all about an American manufacturer of washing machines whose habit it was to strip himself naked on every possible occasion before his nearest and dearest relations and friends, and when the author told him that this was a typical American citizen, he, knowing his own country people very well, frankly disbelieved it. These realists, he exclaimed, are telling fairy stories quite as thoroughly as Grimm, Fouqué, and De la Mare; the difference is that the realistic fairy stories are depressing and discouraging, the others are not. He determined to desert the realists and wait until something pleasanter came along. Since it was impossible to have the truth about life anyway let us have only the pleasant hallucinations. They are quite as likely to be as true as the others. 

 But he was lonely and desolate. The women whom he loved never loved him, and indeed he never came sufficiently close to them to give them any encouragement. He dreamt about them and painted them as they certainly were not. He had his passions and his desires, but his Puritan descent kept him always at one remove from experience. He never, in fact, seemed to have contact with anything at all—except Baker in Oregon, his two sisters, and his forty etchings. He was so shy that he was thought to be conceited, so idealistic that he was considered cynical, so chaste that he was considered a most immoral fellow with a secret double life. Like the hero of "Flegeljahre," he "loved every dog and wanted every dog to love him," but the dogs did not know enough about him to be interested; he was so like so many other immaculately-dressed, pleasant-mannered, and wandering American cosmopolitans that nobody had any permanent feeling for him—fathered by Henry James, uncled by Howells, aunted (severely) by Edith Wharton—one of a million cultured, kindly impersonal Americans seen as shadows by the matter-of-fact unimaginative British. Who knew or cared that he was lonely, longing for love, for home, for some one to whom he might give his romantic devotion? He was all these things, but no one minded. 

 And then he met James Maradick. 


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