The Great God Success: A NovelPhillips, David Graham
General
The Great God Success: A Novel
Phillips, David Graham
Journalists -- United States -- Fiction
It was the centre of the most varied life in New York. To the north lay
fashion and wealth, to the east and west, respectability and moderate
means; to the south, poverty and squalor, vice and crime. All could be
seen and heard from the windows of his sitting room. In the evenings
toward spring he looked out upon a panorama of the human race such as
is presented by no other city in the world and by no other part of
that city. Within view were Americans of all kinds, French and Germans,
Italians and Austrians, Spaniards and Moors, Scandinavians and
negroes, born New Yorkers and born citizens of most of the capitals of
civilisation and semi-barbarism. There were actresses, dancers, shop
girls, cocottes; touts, thieves, confidence-men, mission workers;
artists and students from the musty University building, tramps and
drunkards from the “barrel-houses” and “stale-beer shops;” and, across
the square to the north, representatives of New York’s oldest and most
noted families. To the west were apartment houses whence stiff, prim
bookkeepers, floor-walkers, clerks and small shop-keepers issued with
their families on Sundays, bound for church. There were other apartment
houses--the most of them to the south--whence in the midnight hours
came slattern servants and reckless looking girls in loose wrappers and
high-heeled slippers, pitcher in hand, bound for the nearest saloon.
After dusk from early spring until late fall a multitude of interesting
sounds mingled with the roar of the elevated trains to the west and
south and the rumble of carriages in “the Avenue” to the north. Howard,
reading or writing at his window on his leisure days, heard the young
men and young women laughing and shouting and making love under the
trees where the Washington Arch glistened in the twilight. Later came
the songs--“I want you, my honey, yes I do,” or “Lu, Lu, how I love my
Lu!”, or some other of the current concert-hall jingles. Many figures
could be seen flitting about in the shadows. Usually these figures were
in pairs; usually one was in white; usually at her waist-line there was
a black belt that continued on until it was lost in the other and darker
figure.
Scraps of a score of languages--curses, jests, terms of
endearment--would float up to him. Then came the hours of comparative
silence, with the city breathing softly and regularly, with the moon
hanging low and the pale arch rising above the dark trees like a giant
ghost. There would be an occasional drunken shout or shriek; a riotous
roar of song from some staggering reveller making company for himself on
the journey home; the heavy step of the policeman. Or perhaps the only
sound to disturb the city’s sleep would be that soft tread, timid as
a mouse’s, stealthy as a jackal’s--the tread of a lonely woman with
draggled silk skirt and painted cheeks and eyes burning into the
darkness, and a heart as bitter and as sad as no money, no home, no
friends, no hope can make it.
Public-domain text, read in full here on John Shaqi.
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