Through the Eye of the Needle by William Dean Howells

I was one of the earliest of the guests, for I cannot yet believe that people do not want me to come exactly when they say they do. I perceived, however, that one other gentleman had come before me, and I was both surprised and delighted to find that this was my acquaintance Mr. Bullion, the Boston banker. He professed as much pleasure at our meeting as I certainly felt; but after a few words he went on talking with Mrs. Strange, while I was left to her mother, an elderly woman of quiet and even timid bearing, who affected me at once as born and bred in a wholly different environment. In fact, every American of the former generation is almost as strange to it in tradition, though not in principle, as I am; and I found myself singularly at home with this sweet lady, who seemed glad of my interest in her. I was taken from her side to be introduced to a lady, on the opposite side of the room, who said she had been promised my acquaintance by a friend of hers, whom I had met in the mountains -- Mr. Twelvemough; did I remember him? She gave a little cry while still speaking, and dramatically stretched her hand towards a gentleman who entered at the moment, and whom I saw to be no other than Mr. Twelvemough himself. As soon as he had greeted our hostess he hastened up to us, and, barely giving himself time to press the still outstretched hand of my companion, shook mine warmly, and expressed the greatest joy at seeing me. He said that he had just got back to town, in a manner, and had not known I was here, till Mrs. Strange had asked him to meet me. There were not a great many other guests, when they all arrived, and we sat down, a party not much larger than at Mrs. Makely's.

I found that I was again to take out my hostess, but I was put next the lady with whom I had been talking; she had come without her husband, who was, apparently, of a different social taste from herself, and had an engagement of his own; there was an artist and his wife, whose looks I liked; some others whom I need not specify were there, I fancied, because they had heard of Altruria and were curious to see me. As Mr. Twelvemough sat quite at the other end of the table, the lady on my right could easily ask me whether I liked his books. She said, tentatively, people liked them because they felt sure when they took up one of his novels they had not got hold of a tract on political economy in disguise.

It was this complimentary close of a remark, which scarcely began with praise, that made itself heard across the table, and was echoed with a heartfelt sigh from the lips of another lady.

"Yes," she said, "that is what I find such a comfort in Mr. Twelvemough's books."

"We were speaking of Mr. Twelvemough's books," the first lady triumphed, and several began to extol them for being fiction pure and simple, and not dealing with anything but loves of young people.

Mr. Twelvemough sat looking as modest as he could under the praise, and one of the ladies said that in a novel she had lately read there was a description of a surgical operation that made her feel as if she had been present at a clinic. Then the author said that he had read that passage, too, and found it extremely well done. It was fascinating, but it was not art.

The painter asked, Why was it not art?

The author answered, Well, if such a thing as that was art, then anything that a man chose to do in a work of imagination was art.

"Precisely," said the painter -- "art _is_ choice."

"On that ground," the banker interposed, "you could say that political economy was a fit subject for art, if an artist chose to treat it."

"It would have its difficulties," the painter admitted, "but there are certain phases of political economy, dramatic moments, human moments, which might be very fitly treated in art. For instance, who would object to Mr. Twelvemough's describing an eviction from an East Side tenement-house on a cold winter night, with the mother and her children huddled about the fire the father had kindled with pieces of the household furniture?"

"_I_ should object very much, for one," said the lady who had objected to the account of the surgical operation. "It would be too creepy. Art should give pleasure."

"Then you think a tragedy is not art? " asked the painter.

"I think that these harrowing subjects are brought in altogether too much," said the lady. "There are enough of them in real life, without filling all the novels with them. It's terrible the number of beggars you meet on the street, this winter. Do you want to meet them in Mr. Twelvemough's novels, too?"

"Well, it wouldn't cost me any money there. I shouldn't have to give."

"You oughtn't to give money in real life," said the lady. "You ought to give charity tickets. If the beggars refuse them, it shows they are impostors."

"It's some comfort to know that the charities are so active," said the elderly young lady, "even if half the letters one gets _do_ turn out to be appeals from them."

"It's very disappointing to have them do it, though," said the artist, lightly. "I thought there was a society to abolish poverty. That doesn't seem to be so active as the charities this winter. Is it possible they've found it a failure?"

"Well," said Mr. Bullion, "perhaps they have suspended during the hard times."

They tossed the ball back and forth with a lightness the Americans have, and I could not have believed, if I had not known how hardened people become to such things here, that they were almost in the actual presence of hunger and cold. It was within five minutes' walk of their warmth and surfeit; and if they had lifted the window and called, "Who goes there? " the houselessness that prowls the night could have answered them from the street below, "Despair!"