The best short stories of 1917, and the yearbook of the American short story
General
The best short stories of 1917, and the yearbook of the American short story
American fiction -- 20th century; Short stories -- 20th century -- Bibliography; Short stories -- 20th century -- Indexes; Short stories, American
Jo Hertz was a loop-hound. On the occasion of those sparse first nights
granted the metropolis of the Middle West he was always present, third
row, aisle, left. When a new loop cafe was opened, Jo's table always
commanded an unobstructed view of anything worth viewing. On entering he
was wont to say, "Hello, Gus," with careless cordiality to the
head-waiter, the while his eye roved expertly from table to table as he
removed his gloves. He ordered things under glass, so that his table,
at midnight or thereabouts, resembled a hot-bed that favors the bell
system. The waiters fought for him. He was the kind of man who mixes his
own salad dressing. He liked to call for a bowl, some cracked ice,
lemon, garlic, paprika, salt, pepper, vinegar and oil, and make a rite
of it. People at near-by tables would lay down their knives and forks to
watch, fascinated. The secret of it seemed to lie in using all the oil
in sight and calling for more.
That was Jo--a plump and lonely bachelor of fifty. A plethoric,
roving-eyed and kindly man, clutching vainly at the garments of a youth
that had long slipped past him. Jo Hertz, in one of those pinch-waist
belted suits and a trench coat and a little green hat, walking up
Michigan Avenue of a bright winter's afternoon, trying to take the curb
with a jaunty youthfulness against which every one of his fat-encased
muscles rebelled, was a sight for mirth or pity, depending on one's
vision.
The gay-dog business was a late phase in the life of Jo Hertz. He had
been a quite different sort of canine. The staid and harassed brother of
three unwed and selfish sisters is an under dog. The tale of how Jo
Hertz came to be a loop-hound should not be compressed within the limits
of a short story. It should be told as are the photoplays, with frequent
throw-backs and many cut-ins. To condense twenty-three years of a man's
life into some five or six thousand words requires a verbal economy
amounting to parsimony.
At twenty-seven Jo had been the dutiful, hard-working son (in the
wholesale harness business) of a widowed and gummidging mother, who
called him Joey. If you had looked close you would have seen that now
and then a double wrinkle would appear between Jo's eyes--a wrinkle that
had no business there at twenty-seven. Then Jo's mother died, leaving
him handicapped by a death-bed promise, the three sisters and a
three-story-and-basement house on Calumet Avenue. Jo's wrinkle became a
fixture.
Death-bed promises should be broken as lightly as they are seriously
made. The dead have no right to lay their clammy fingers upon the
living.
"Joey," she had said, in her high, thin voice, "take care of the girls."
"I will, ma," Jo had choked.
"Joey," and the voice was weaker, "promise me you won't marry till the
girls are all provided for." Then as Jo had hesitated, appalled: "Joey,
it's my dying wish. Promise!"
"I promise, ma," he had said.
Whereupon his mother had died, comfortably, leaving him with a
completely ruined life.
Public-domain text, read in full here on John Shaqi.
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