Young Earnest: The Romance of a Bad Start in LifeCannan, Gilbert
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Young Earnest: The Romance of a Bad Start in Life
Cannan, Gilbert
English fiction -- 20th century
The trouble she had looked for should have been between herself and
him, and she was prepared to tackle it so soon as it showed its head,
but this trouble he kept to himself, outside her. And though she
called it unhappiness, she knew well enough that he was not unhappy.
Indeed, it was a joy to him to find himself more and more alive to the
world, the little, grubby, amusing corner of it in Mitcham Mews, and
the great roaring whirlpool outside in which lay his work. His
pleasure in London was no longer purely emotional; no longer did he,
as it were, implore London to let him be a part of it. He was working
in it, contributing to its life, to its bustle and noise; but since
his talks with Kilner and his reading of the poetical works of the old
ragamuffin, he had been able little by little to detach himself from
it and watch all that was going on. Truly there was never a more
amusing city! Everything was on show. Everybody had the air of
expecting to be looked at and admired; though everybody pretended also
that he or she had no such expectation. When provincials arrived in
London they seemed to feel all this and to wince before it, but soon
they perked up their heads and behaved as though all eyes were upon
them. And they went to the show-places, those of which there had been
talk in their homes from their earliest recollection. But everything
else also was a show to them. More and more the shops tended to become
shows. Government offices were being pulled down and rebuilt to make
more show. Exalted personages were bent on making a show of their
common humanity. Even in the city, the offices in which Londoners
worked--the counting-house behind the shop--were being razed to the
ground to give place to colossal palaces of ferro-concrete and marble
and plate-glass. Motor-cars were growing more and more garish and
glossy; the advertisements on the hoardings were more and more crudely
colored. For whom was the show? For whom was all the outpouring and
display of wealth? Hardly, thought René, for Mitcham Mews, that sink
of the submerged and those who could only just hold their heads above
water. He thought he could find the answer in the miles and miles of
little houses like the house in Hog Lane, six rooms, attics, and
cellars, constantly stretching out to the west and to the east; the
unceasing expansion of mediocrity, a flooring of concrete, warranted
fireproof, to keep the fantastic creations of wealth uncontaminated by
the sources from which wealth sprang.
Public-domain text, read in full here on John Shaqi.
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