Love stories; New York (N.Y.) -- Fiction; Speculation -- Fiction; Wall Street (New York, N.Y.) -- Fiction
The response should have warned “The Seven.” But it did not. Under their
orders the telegraph companies refused to transmit the letter. I got an
injunction. It was obeyed in typical, corrupt corporation fashion--they
sent my matter, but so garbled that it was unintelligible. I appealed to
the courts. In vain.
To me, it was clear as sun in cloudless noonday sky that there could be but
one result of this insolent and despotic denial of my rights and the rights
of the people, this public confession of the truth of my charges. I turned
everything salable or mortgageable into cash, locked the cash up in my
private vaults, and waited for the cataclysm.
Thursday--Friday--Saturday. Apparently all was tranquil; apparently the
people accepted the Wall Street theory that I was an “exploded sensation.”
“The Seven” began to preen themselves; the strain upon them to maintain
prices, if no less than for three months past, was not notably greater; the
crisis would pass, I and my exposures would be forgotten, the routine of
reaping the harvests and leaving only the gleanings for the sowers would
soon be placidly resumed.
Sunday. Roebuck, taken ill as he was passing the basket in the church of
which he was the shining light, died at midnight--a beautiful, peaceful
death, they say, with his daughter reading the Bible aloud, and his lips
moving in prayer. Some hold that, had he lived, the tranquillity would have
continued; but this is the view of those who can not realize that the tide
of affairs is no more controlled by the “great men” than is the river led
down to the sea by its surface flotsam, by which we measure the speed and
direction of its current. Under that terrific tension, which to the shallow
seemed a calm, something had to give way. If the dam had not yielded where
Roebuck stood guard, it must have yielded somewhere else, or might have
gone all in one grand crash.
Monday. You know the story of the artist and his Statue of Grief--how
he molded the features a hundred times, always failing, always getting
an anti-climax, until at last in despair he gave up the impossible and
finished the statue with a veil over the face. I have tried again and again
to assemble words that would give some not too inadequate impression of
that tremendous week in which, with a succession of explosions, each like
the crack of doom, the financial structure that housed eighty millions of
people burst, collapsed, was engulfed. I can not. I must leave it to your
memory or your imagination.
Public-domain text, read in full here on John Shaqi.
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