I hate my "pot-boiling" stuff. But it gives me the keenest pleasure to write something that is good, a fit and proper incarnation of the art I worship. The news-editor has just been in to give me an assignment for to-morrow, bad 'cess to him. It is Easter Sunday, and I have to write up the 'parade' down Pleasant Street after church, for Monday's Echo.
Palmday, May 3, 1902
I spent the afternoon "expurgating" a novel for the news-editor's use and behoof. When he was away on his vacation his substitute began to run a serial in the Echo called "Under the Shadow." Instead of getting some A.P.A. stuff as he should have done, he simply bought a sensational novel and used it. It was very long and was only about half done when the news-editor returned. So, as it would run all summer, in its present form, I was bidden to take it and cut mercilessly out all unnecessary stuff. I have followed instructions, cutting out most of the kisses and embraces, two-thirds of the love-making, and all the descriptions, with the happy result that I have reduced it to about a third of its normal length, and all I can say 'Lord, have mercy on the soul of the compositor who has set it up in its present mutilated condition.'
Saturday, May 31, 1901
I had a good internal laugh to-night. I was in a street car and two ladies beside me were discussing the serial that had just ended in the Echo. 'You know,' said one, 'it was the strangest story I ever read. It wandered on, chapter after chapter, for weeks, and never seemed to get anywhere; and then it just finished up in eight chapters, licketty-split. I can't understand it!'
I could have solved the mystery, but I didn't.
In June, 1902, I returned to Cavendish, where I remained unbrokenly for the next nine years. For the first two years after my return I wrote only short stories and serials as before. But I was beginning to think of writing a book. It had always been my hope and ambition to write one. But I never seemed able to make a beginning.
I have always hated beginning a story. When I get the first paragraph written I feel as though it were half done. The rest comes easily. To begin a book, therefore, seemed quite a stupendous task. Besides, I did not see just how I could get time for it. I could not afford to take the time from my regular writing hours. And, in the end, I never deliberately sat down and said "Go to! Here are pens, paper, ink and plot. Let me write a book." It really all just "happened."
I had always kept a notebook in which I jotted down, as they occurred to me, ideas for plots, incidents, characters, and descriptions. In the spring of 1904 I was looking over this notebook in search of some idea for a short serial I wanted to write for a certain Sunday School paper. I found a faded entry, written many years before: "Elderly couple apply to orphan asylum for a boy. By mistake a girl is sent them." I thought this would do. I began to block out the chapters, devise, and select incidents and "brood up" my heroine. Anne -- she was not so named of malice aforethought, but flashed into my fancy already christened, even to the all important "e" -- began to expand in such a fashion that she soon seemed very real to me and took possession of me to an unusual extent. She appealed to me, and I thought it rather a shame to waste her on an ephemeral little serial. Then the thought came, "Write a book. You have the central idea. All you need do is to spread it out over enough chapters to amount to a book."
The result was Anne of Green Gables. I wrote it in the evenings after my regular day's work was done, wrote most of it at the window of the little gable room which had been mine for many years. I began it, as I have said, in the spring of 1904. I finished it in the October of 1905.
Ever since my first book was published I have been persecuted by the question "Was so-and-so the original of such-and-such in your book?" And behind my back they don't put it in the interrogative form, but in the affirmative. I know many people who have asserted that they are well acquainted with the "originals" of my characters. Now, for my own part, I have never, during all the years I have studied human nature, met one human being who could, as a whole, be put into a book without injuring it. Any artist knows that to paint exactly from life is to give a false impression of the subject. Study from life he must, copying suitable heads or arms, appropriating bits of character, personal or mental idiosyncracies, "making use of the real to perfect the ideal."
But the ideal, his ideal, must be behind and beyond it all. The writer must create his characters, or they will not be life-like.
With but one exception I have never drawn any of my book people from life. That exception was "Peg Bowen" in The Story Girl. And even then I painted the lily very freely. I have used real places in my books and many real incidents. But hitherto I have depended wholly on the creative power of my own imagination for my characters.
Cavendish was "Avonlea" to a certain extent. "Lover's Lane" was a very beautiful lane through the woods on a neighbour's farm. It was a beloved haunt of mine from my earliest days. The "Shore Road" has a real existence, between Cavendish and Rustico. But the "White Way of Delight," "Wiltonmere," and "Violet Vale" were transplanted from the estates of my castles in Spain. "The Lake of Shining Waters" is generally supposed to be Cavendish Pond. This is not so. The pond I had in mind is the one at Park Corner, below Uncle John Campbell's house. But I suppose that a good many of the effects of light and shadow I had seen on the Cavendish pond figured unconsciously in my descriptions. Anne's habit of naming places was an old one of my own. I named all the pretty nooks and corners about the old farm. I had, I remember, a "Fairyland," a "Dreamland," a "Pussy-Willow Palace," a "No-Man's-Land," a "Queen's Bower," and many others. The "Dryads Bubble" was purely imaginary, but the "Old Log Bridge" was a real thing. It was formed by a single large tree that had blown down and lay across the brook. It had served as a bridge to the generation before my time, and was hollowed out like a shell by the tread of hundreds of passing feet. Earth had blown into the crevices, and ferns and grasses had found root and fringed it luxuriantly. Velvet moss covered its sides and below was a deep, clear, sun-flecked stream.
Anne's Katie Maurice was mine. In our sitting-room there had always stood a big book-case used as a china cabinet. In each door was a large oval glass, dimly reflecting the room. When I was very small each of my reflections in these glass doors were "real folk" to my imagination. The one in the left-hand door was Katie Maurice, the one in the right, Lucy Gray. Why I named them thus I cannot say. Wordsworth's ballad had no connection with the latter, for I had never read it at that time. Indeed, I have no recollection of deliberately naming them at all. As far back as consciousness runs, Katie Maurice and Lucy Gray lived in the fairy room behind the bookcase. Katie Maurice was a little girl like myself, and I loved her dearly. I would stand before that door and prattle to Katie for hours, giving and receiving confidences. In especial, I liked to do this at twilight, when the fire had been lit and the room and its reflections were a glamour of light and shadow.
Lucy Gray was grown-up and a widow! I did not like her as well as Katie. She was always sad, and always had dismal stories of her troubles to relate to me; nevertheless, I visited her scrupulously in turn, lest her feelings should be hurt, because she was jealous of Katie, who also disliked her. All this sounds like the veriest nonsense, but I cannot describe how real it was to me. I never passed through the room without a wave of my hand to Katie in the glass door at the other end.
The notable incident of the liniment cake happened when I was teaching school in Bideford and boarding at the Methodist parsonage there. Its charming mistress flavoured a layer cake with anodyne liniment one day. Never shall I forget the taste of that cake and the fun we had over it, for the mistake was not discovered until tea-time. A strange minister was there to tea that night. He ate every crumb of his piece of cake. What he thought of it we never discovered. Possibly he imagined it was simply some new-fangled flavouring.
Many people have told me that they regretted Matthew's death in Green Gables. I regret it myself. If I had the book to write over again I would spare Matthew for several years. But when I wrote it I thought he must die, that there might be
a necessity for self-sacrifice on Anne's part, so poor Matthew joined the long procession of ghosts that haunt my literary past.
Well, my book was finally written. The next thing was to find a publisher. I typewrote it myself, on my old secondhand typewriter that never made the capitals plain and wouldn't print "w" at all, and I sent it to a new American firm that had recently come to the front with several "best sellers." I thought I might stand a better chance with a new firm than with an old established one that had already a preferred list of writers. But the new firm very promptly sent it back. Next I sent it to one of the "old, established firms," and the old established firm sent it back. Then I sent it, in turn, to three "Betwixt-and-between firms", and they all sent it back. Four of them returned it with a cold, printed note of rejection; one of them "damned with faint praise." They wrote that "Our readers report that they find some merit in your story, but not enough to warrant its acceptance."
That finished me. I put Anne away in an old hat-box in the clothes room, resolving that some day when I had time I would take her and reduce her to the original seven chapters of her first incarnation. In that case I was tolerably sure of getting thirty-five dollars for her at least, and perhaps even forty.
The manuscript lay in the hatbox until I came across it one winter day while rummaging. I began turning over the leaves, reading a bit here and there. It didn't seem so very bad. "I'll try once more," I thought. The result was that a couple of months later an entry appeared in my journal to the effect that my book had been accepted. After some natural jubilation I wrote: "The book may or may not succeed. I wrote it for love, not money, but very often such books are the most successful, just as everything in the world that is born of true love has life in it, as nothing constructed for mercenary ends can ever have.
"Well, I've written my book! The dream dreamed years ago at that old brown desk in school has come true at last after years of toil and struggle. And the realization is sweet, almost as sweet as the dream."
When I wrote of the book succeeding or not succeeding, I had in mind only a very moderate success indeed, compared to that which it did attain. I never dreamed that it would appeal to young and old. I thought girls in their teens might like to read it, that was the only audience I hoped to reach. But men and women who are grandparents have written to tell me how they loved Anne, and boys at college have done the same. The very day on which these words are written has come a letter to me from an English lad of nineteen, totally unknown to me, who writes that he is leaving for "the front" and wants to tell me "before he goes" how much my books and especially Anne have meant to him. It is in such letters that a writer finds meet reward for all sacrifice and labor.
Well, Anne was accepted; but I had to wait yet another year before the book was published. Then on June 20th, 1908, I wrote in my journal:
"To-day has been, as Anne herself would say, 'an epoch in my life.' My book came to-day, 'spleet-new' from the publishers. I candidly confess that it was to me a proud and wonderful and thrilling moment. There, in my hand, lay the material realization of all the dreams and hopes and ambitions and struggles of my whole conscious existence -- my first book. Not a great book, but mine, mine, mine, something which I had created."
I have received hundreds of letters from all over the world about Anne. Some odd dozen of them were addressed, not to me, but to "Miss Anne Shirley, Green Gables, Avonlea, Prince Edward Island." They were written by little girls who had such a touching faith in the real flesh and blood existence of Anne that I always hated to destroy it. Some of my letters were decidedly amusing. One began impressingly, "My dear long-lost uncle," and the writer went on to claim me as Uncle Lionel, who seemed to have disappeared years ago. She wound up by entreating me to write to my "affectionate niece" and explain the reason of my long silence. Several people wrote me that their lives would make very interesting stories, and if I would write them and give them half the proceeds they would give me "the facts!" I answered only one of these letters, that of a young man who had enclosed stamps for a reply. In order to let him down as gently as possible, I told him that I was not in any need of material, as I had books already planned out which would require at least ten years to write. He wrote back that he had a great deal of patience and would cheerfully wait until ten years had expired; then he would write again. So, if my own invention gives out, I can always fall back on what that young man assured me was "a thrilling life-history!"
Green Gables has been translated into Swedish and Dutch. My copy of the Swedish edition always gives me the inestimable boon of a laugh. The cover design is a full length figure of Anne, wearing a sunbonnet, carrying the famous carpet-bag, and with hair that is literally of an intense scarlet!
With the publication of Green Gables my struggle was over. I have published six novels since then. Anne of Avonlea came out in 1909, followed in 1910 by Kilmeny of the Orchard. This latter story was really written several years before Green Gables, and ran as a serial in an American magazine, under another title. Therefore some sage reviewers amused me not a little by saying that the book showed "the insidious influence of popularity and success" in its style and plot!
The Story Girl was written in 1910 and published in 1911. It was the last book I wrote in my old home by the gable window where I had spent so many happy hours of creation. It is my own favourite among my books, the one that gave me the greatest pleasure to write, the one whose characters and landscape seem to me most real. All the children in the book are purely imaginary. The old "King Orchard" was a compound of our old orchard in Cavendish and the orchard at Park Corner. "Peg Bowen" was suggested by a half-witted, gypsy-like personage who roamed at large for many years over the Island and was the terror of my childhood. We children were always being threatened that if we were not good Peg would catch us. The threat did not make us good, it only made us miserable.
Poor Peg was really very harmless, when she was not teased or annoyed. If she were, she could be vicious and revengeful enough. In winter she lived in a little hut in the woods, but as soon as the spring came the lure of the open road proved too much for her, and she started on a tramp which lasted until the return of winter snows. She was known over most of the Island. She went bareheaded and barefooted, smoked a pipe, and told extraordinary tales of her adventures in various places. Occasionally she would come to church, stalking unconcernedly up the aisle to a prominent seat. She never put on hat or shoes on such occasions, but when she wanted to be especially grand she powdered face, arms and legs with flour!
As I have already said, the story of Nancy and Betty Sherman was founded on fact. The story of the captain of the Fanny is also literally true. The heroine is still living, or was a few years ago, and still retains much of the beauty which won the Captain's heart. "The Blue Chest of Rachel Ward" was another "ower-true tale." Rachel Ward was Eliza Montgomery, a cousin of my father's, who died in Toronto a few years ago. The blue chest was in the kitchen of Uncle John Campbell's house at Park Corner from 1849 until her death. We children heard its story many a time and speculated and dreamed over its contents, as we sat on it to study our lessons or eat our bed-time snacks.
In the winter of 1911, [sic] Grandmother Macneill died at the age of eighty-seven, and the old home was broken up. I stayed at Park Corner until July; and on July 5th was married. Two days later my husband and I sailed from Montreal on the Megantic for a trip through the British Isles, another "dream come true," for I had always wished to visit the old land of my forefathers. A few extracts from the journal of my trip, may be of interest.
Glasgow, July 20, 1912
Thursday afternoon we left for an excursion to Oban, Staffa, and Iona. We went by rail to Oban and the scenery was very beautiful, especially along Loch Awe, with its ruined castle. Beautiful, yes! And yet neither there nor elsewhere in England or Scotland, did I behold a scene more beautiful than can be seen any evening at home, standing on the "old church hill" and looking afar over New London Harbor. But then -- we have no ruined cas
tles there, nor the centuries of romance they stand for!
Oban is a picturesque little town, a fringe of houses built along the shore of a land-locked harbour, with wooded mountains rising steeply behind them. Next morning we took the boat to Iona. It was a typical, Scottish day, bright and sunny one hour, showery or misty the next. For a few hours I enjoyed the sail very much. The wild, rugged scenery of cape and bay and island and bleak mountain -- the whole of course, peppered with ruined, ivy-hung castles -- was an ever changing panorama of interest, peopled with the shades of the past.
Then, too, we had a Cook's party of French tourists on board. They jabbered incessantly. There was one nice old fellow in particular, with a pleasant, bronzed face and twinkling black eyes, who seemed to be the expounder-in-chief of the party. They got into repeated discussions, and when the arguments reached a certain pitch of intensity, he would spring to his feet, confront the party, wave his arms, umbrella, and guide book wildly in the air, and lay down the law in a most authoritative tone and fashion.
As the forenoon wore away I began to lose interest in everything. Ruined castle, towering mountain, white torrent, ghosts, and French tourists lost their charm. In the morning I had been much worried because I heard that it might be too rough to stop at Staffa, and I wanted so badly to see Fingal's Cave. But now I did not care in the least for Fingal's Cave, or for any other earthly thing. For the first time in my life I was horribly seasick.
The steamer did stop at Staffa, however, and two boatloads went ashore. I let them go. What cared I? The waves would not have daunted me, the pouring rain would not have appalled me, but seasickness!
However, the steamer was now still and I began to feel better. By the time the boats came back for the second load I was quite well and once more it seemed a thing of first importance to see Fingal's Cave. I joyfully scrambled down into the boat and was rowed ashore with the others to the Clamshell cave. From there we had to scramble over what seemed an interminably long distance -- but really I suppose it was nor more than a quarter of a mile -- over the wet, slippery, basalt columns that fringe the shore, hanging in the worst places to a rope strung along the cliff. Owing to my much scrambling over the rocks of Cavendish shore in early life, I got on very well and even extorted a compliment from the dour guide; but some of the tourists slipped to an alarming degree. Never shall I forget the yelps and sprawls of the old Frenchman aforesaid.
The Alpine Path Page 6
