The best short stories of 1921, and the yearbook of the American short story
General
The best short stories of 1921, 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
The pictures of Marguerite Davis remained a part of the furnishings of
those rooms of his--that we heard; and I knew it directly shortly after
this. For I, too, left the newspaper, and went into the magazine-editing
game. I found a berth on that same popular periodical to which Shelby
was then contributing his matchless stories; and part of my job was to
see him frequently, take him to luncheon or dinner, talk over his future
plans with him, discuss the possibility of his doing a novelette which
later he could expand into a full-sized volume and thereby gain an added
vogue.
It was during this period that I came to know him so well--came to know
him, that is, as intimately as he wished to be known. Always there was a
cloak of reserve which he put on with me, as with every one. I tried to
broaden his horizon, to have him meet other men--and women. He would go
with me once or twice to some party, for he was clever enough to see
that he must not offend me, just as he knew that I must not offend him.
We were too valuable to each other, and in that odd mixing up of our
affairs in this world here we were, after so brief an interval, in the
relationship of editor and contributor.
He knew, however, that I had always admired his literary gifts; but I
confess that the feet of clay began to creep into view when he told me,
one night at the Martin, that his favorite novelist of all time
was--Marion Crawford! That explained so much to me that I had not
understood before. I smiled tolerantly, for my own taste ran much
higher; and I seemed from then on to sense a certain cheapness in
Shelby's mind, as if I had lifted the cloth over a chair and discovered
cherrywood where I had hoped to find Chippendale. It is through such
marginalia that we come to know people. I could not reconcile Shelby's
delicate style with so forlorn a taste for other literary dishes. I said
then that he would never become a great writer. He would simply mark
time, artistically speaking, after reaching a certain point. Thereafter
everything he produced would be but repetition.
I was right. His virgin novel proved a rank failure. The man could do
nothing sustained. He was essentially a person of brilliant flashes. The
book, called, as you may remember, "The Shadow and the Substance," was a
_tour de force_ in vapid writing, and it almost severed his literary
jugular vein. All the reviewers, delighted with a chance to play upon
his title, said it contained far more shadow than substance.
Public-domain text, read in full here on John Shaqi.
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