Perhaps one reason why the brassworks employed so many crooked and decrepit was as an efficiency measure. The few males who were whole caused so many flutterings among the female hands that it seriously interfered with production. Rosie's real cause for turning Frank down was that she was after Good Lookin'. Good Lookin' would not have been so good lookin' out along the avenue, but in the setting of our third floor he was an Adonis. Rosie worked a power press. I would miss the clank of her machine. There she would be up in the corner of the floor where Good Lookin' worked. Good Lookin' would go for a drink. Rosie would get thirsty that identical moment. They would carry on an animated conversation, to be rudely broken into by a sight of the boss meandering up their way. Rosie would make a dash for her machine, Good Lookin' would saunter over to his. * * * * * From the start I had pestered the boss to be allowed on a power press, for two reasons: one just because I wanted to—the same reason why a small boy wants to work at machinery; secondly, I wanted to be able to pose at the next job as an experienced power-press worker and sooner or later get a high-power machine. One day the boss was watching me at the foot press. “Y'know, m'girl, I think you really got intelligence, blessed if I don't. I'm goin' to push you right ahead. I'll make a machinist out of you yet, see if I don't. You stay right on here and you'll be making big money yet.” (Minnie—eleven years in her last job—fourteen dollars a week now.) Anyway, one morning he came up—and that morning foot presses of every description had lost all fascination for me—and he said, “You still want a power press?” “Bet your life I do!” And he gave me a power press deserted that morning by one of the boys. Life looked worth living again. All I had to do to work miracles was press ever so lightly a pedal. The main point was to get my foot off it as quick as I got it on, or there was trouble. I wasn't to get my fingers here or there, or “I'd never play the piano in this life.” If the belt flew off I wasn't to grab it, or I'd land up at the ceiling. For the rest, I merely clamped a round piece on the top of a nail-like narrow straight piece—the part that turned the lamp wick up and down. Hundreds and thousands of them I made. The monotony did not wear on me there; it was mixed with no physical exertion. I could have stayed on at the brassworks the rest of my life—perhaps.