All in the Day's Work: An AutobiographyTarbell, Ida M. (Ida Minerva)
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All in the Day's Work: An Autobiography
Tarbell, Ida M. (Ida Minerva)
Journalists -- United States -- Biography; Tarbell, Ida M. (Ida Minerva), 1857-1944
My memory is a tricky and unreliable organ—never properly trained, never
held resolutely to its job. I should have been afraid to trust it on a
lecture platform. Moreover, I realized that, since I was no orator and
never should be, my only hope was to give the appearance of talking
naturally, spontaneously. I put together what seemed to me a logical
framework and decided to drape it afresh every day, never to begin with
the same words, to use fresh illustrations, to think aloud,
experimenting. I soon discovered a fresh beginning every day was too
much to ask of myself under the conditions of travel. I found it
foolish, too, for if I had struck an opening that arrested attention,
why change it for one that might not? I soon found that illustrations
which were all right in an article did not serve with an audience. The
line of argument which I would have followed in an article became more
effective on a platform if switched. That is, as it turned out, although
I was giving the same lecture every day, it was never quite the same. I
worked on it constantly; and that is what kept my interest. I think,
because always I found however tired I might be, however much I despised
myself for undertaking to do what I more and more realized I did not
know how to do, I always was interested in my subject, talking as if it
was something of which I had never talked before. It was that personal
interest in my material which carried me through.
I had not given a thought in advance to the physical aspect of my
undertaking. I had known that every day for forty-nine days I was to
speak in a different place; I knew that meant daily traveling, but that
had not disturbed me. I had always prided myself that I was superior to
physical surroundings. I had not been long on the Chautauqua Circuit
before I was realizing that they played an enormous part in my day. I
found I was inquiring about the town to which we were headed: “How about
the hotel? Are there bathrooms? If so, am I to get one?”
I was uneasy about the table—the ideas of cooking and serving—and at
night about the noises, the drafts and other unmentionable worries. To
my amazement the bed in which I was to sleep soon was taking an
altogether disproportionate place in my mind. It is a fact that, when
the circuit was over and I came to tell its story, I could draw a
diagram of any one of the rooms in which I had slept, giving the exact
location of the bed in relation to windows and doors and bathroom. I
remembered these beds when I did not remember the hotel.
To my surprise I found myself deeply interested in the physical life of
the circuit, so like the life of the circus. We performed in tents, and
our outfit was as gay as ever you saw—khaki tents bound in red, with a
great khaki fence about, pennants floating up and down the streets, and
within, order, cleanliness, and the smartest kind of little platform and
side dressing rooms.
Public-domain text, read in full here on John Shaqi.
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