Go West, Young Woman

The Prairie Wife
Arthur Stringer
London: Hodder & Stoughton, [n.d]
251 pages

In the summer of 1985, I bought a copy of The Oxford Companion to Canadian Literature and read it from cover to cover. This is nowhere near as impressive as it might seem; what I read was the original two-column 843-page edition (1983), not the two-column 1099-page second edition (2001). Nevertheless, it was through the Companion that I first learned of Arthur Stringer. The author's entry, penned by Dick Harrison, amounts to little more than a half-page. Here are some of the things I learned:

• born 1874 in Chatham, Ontario;
• studied at the University of Toronto and Oxford;
• wrote for the Montreal Herald;
• established his literary career in New York;
• "made an enduring contribution to Canadian literature with his prairie trilogy: Prairie Wife (1915), Prairie Mother (1920), and Prairie Child (1921)."

Harrison gets the titles of the trilogy wrong – The Prairie Wife, The Prairie Mother, and The Prairie Child are correct – but never mind, what stuck with me was Prairie. As decades passed, I forgot all about Chatham, Toronto, Oxford, Montreal, and New York, and came to think of Stringer as a Western Canadian. It wasn't until 2009, when I read The Woman Who Could Not Die (1929), my first Stringer, that I was reminded he was an Ontario boy. A Lost World novel set in the Canadian Arctic, I liked it well enough to keep reading and begin collecting his work.

My Arthur Stringer collection (most of it, anyway).
Cliquez pour agrandir.

Admittedly, much of my interest has to do with his enviable popularity, the deals he cut with Hollywood, and his marriage to Jobyna Howland. This is not to suggest that I didn't like the books themselves. My favourite Canadian novel of the early twentieth-century is Stringer's The Wine of Life (1921), which... um, was inspired by his marriage to Jobyna Howland.

A second admission: I put off reading The Prairie Wife, the first volume in Stringer's "enduring contribution to Canadian literature," for no other reason that it is set in rural Canada. Before you judge, I rush to add that this Montrealer has lived in rural Canada these past two decades. Country living attracts, but not novels set in the country. This may explain how it is that I was swept up by its early pages.

The Prairie Wife takes the form of a series of entries, written over the course of more than a year to someone named Matilda Anne. Its writer, Chaddie, begins by describing a voyage from Corfu to Palermo and then on to the Riviera. She is of the moneyed class – that is until Monte Carlo, where Chaddie receives a cable informing that the "Chilean revolution" has wiped out her nitrate mine concessions. Made a pauper, Chaddie's first action is to dismiss her maid; the second is to send word to her German aristocrat fiancé:

I sent a cable to Theobald Gustav (so condensed that he thought it was code) and later on found that he'd been sending flowers and chocolates all the while to the Hotel de L'Athenee, the long boxes duly piled up in tiers, like coffins at the morgue. Then Theobald's aunt, the baroness, called on me, in state. She came in that funny, old-fashioned, shallow landau of hers, where she looked for all the world like an oyster-on-the-half-shell, and spoke so pointedly of the danger of international marriages that I felt sure she was trying to shoo me away from my handsome and kingly Theobald Gustav — which made me quite calmly and solemnly tell her that I intended to take Theobald out of under-secretaryships, which really belonged to Oppenheim romances, and put him in the shoe business in some nice New England town!

After a respectable period of mourning lost wealth, Theobald Gustav throws her over. Just as well, really, because the Paris Herald had reported on of a traffic accident that had occurred when he'd been in the company of a "spidery Russian stage-dancer." On the rebound, Chaddie proposes to Scots-Canadian Duncan Argyll McKail, whom she'd met in Banff the previous October. He is too much in love and far too practical to turn her down.

And so, this is how Chaddie, an American socialite who'd shared the company of Meredith and Stevenson, and had sat through many an opera at La Scala, ends up in a one-room shack with flattened tin can siding on the remote Canadian prairie.

Duncan – annoyingly, his bride refers to him as "Dinky-Dunk" – is a civil engineer from the east. He's got it in his mind to make a fortune through farming, and has purchased a 1700-acre parcel of land one hundred or so kilometres northwest of, I'm guessing, Swift Current.

"He kept saying it would be hard, for the first year or two, and there would be a terrible number of things I'd be sure to miss," Chaddie writes Matilda Anne. 

No doubt!

Harrison doesn't use the term "Prairie Realism" in his Stringer entry, but I will; The Prairie Wife is a good fit with later novels by Frederick Philip Grove, Martha Ostenso, and Robert Stead. Can we agree that Prairie Realism was never terribly realistic? Though pre-Jazz Age, Stringer's story begins as a crazy Jazz Age adventure in which a carefree debutante marries a man she may or may not love. In her earliest pages to Matilda Anne, she writes:

O God, O God, if it should turn out that I don't, that I can't? But I'm going to!  I know I'm going to! And there's one other thing that I know, and when I remember it, It sends a comfy warm wave through all my body: Dinky-Dunk loves me. He's as mad as a hatter about me. He deserves to be loved back. And I'm going to love him back. That is a vow I herewith duly register. I'm going to love my Dinky-Dunk.

Chaddie continues:

But, oh, isn't it wonderful to wake love in a man, in a strong man? To be able to sweep him off, that way, on a tidal wave that leaves him rather white and shaky in the voice and trembly in the fingers, and seems to light a little luminous fire at the back of his eyeballs so that you can see the pupils glow, the same as an animal's when your motor head-lights hit them!

There's a clear separation between the opening pages and the rest of the novel. Whimsy gives way to practicality, as Duncan chases his fortune. Remarkably, Chaddie settles on the prairie, and into matrimony, rather nicely. Harrison writes of "disillusionment as the marriage deteriorates," but this reader saw nothing of the kind. True, there are moments of discord, as in the strongest of marriages, but Dinky-Dunk and Chaddie – he calls her "Gee-Gee" – are soon in one another's arms. She does come to love her Dinky-Dunk.

The frontispiece of the A.L. Burt photoplay edition, c.1925.

I don't know what Harrison means when he writes of Chaddie's "mature resolve as she begins an independent life on the Prairies." The married couple only become closer as the novel progresses, and the two are increasingly reliant on a slowly growing cast of characters. The earliest, hired man Olie, is a silent Swede who at first can't keep his eyes off Chaddie. This male gaze has nothing to do with objectification, rather her ridiculously impractical city dress. Pale Percival Benson Wodehouse, whom this reader suspects to be a remittance man, is next to appear. He was sold the neighbouring ranch from "land chaps" in London. Nineteen-year-old Finnish Canadian Olga Sarristo enters driving a yoke of oxen. Two weeks earlier, what remained of her family had burned to death in their own shack one hundred or so miles to the north. To Chaddie, stoic and stunning Olga is like something out of Norse mythology, "a big blonde Valkyr suddenly introducing herself into your little earthly affairs." Olga is a welcome addition to the farm; every bit as capable physically as Olie and Duncan. Last to arrive is Terry Dillion, a fastidious young Irishman who had once served in far off lands with the British Army.

Together they support Duncan's big gamble, which involves putting all he has on a sea of wheat covering his 1700 acres. Threatened by draught, fire, and hail, the crop survives, making him a wealthy man. His riches are further increased by a new rail line to be built across his land. The final pages have Duncan and Chaddie poring over house-plans mailed from Philadelphia. "We're to have a telephone, as soon as the railway gets through," she writes Matilda Anne. 

The Prairie Wife is the first Stringer novel I've read with a woman narrator. Early pages aside, I found Chaddie's voice oddly convincing. This audio recording by Jennifer Perree, stumbled upon in researching this novel, reinforced my conviction. An enjoyable story, an entertainment, it left me wanting to hear more from Chaddie.

And there is more!

Stringer wrote more than forty novels, but The Prairie Mother is the only one to spawn a sequel, The Prairie Mother (1920)  – and then another in The Prairie Child (1922).

Like Dinky-Dunk, Stringer really knew how to make a buck.  

Favourite sentence:

The trouble with Platonic love is that it's always turning out too nice to be Platonic, or too Platonic to be nice.

Bloomer: 

I can't help thinking of Terry's attitude toward Olga. He doesn't actively dislike her, but he quietly ignores her, even more so than Olie does. I've been wondering why neither of them has succumbed to such physical grandeur. Perhaps it's because they're physical themselves.

Trivia: In 1925, The Prairie Mother was adapted to the silver screen. A lost film, the trade reviews I've read are lukewarm, mainly because there is no gunplay. Chaddie is played by comedic actress Dorothy Devore, one of many who fell in making the transition to talkies. New to me is Herbert Rawlinson, who played Duncan. Olga is played by Canadian Frances Primm, about whom little is known, A pre-Frankenstein Boris Karloff plays Diego, a character that does not feature in the novel. Most interetsing to the silent film buff is Gibson Gowland (Olie), the man who played McTeague in Erich von Stroheim's Greed.

Motion Picture Magazine, December 1924 

Object: My copy was purchased last year from a bookseller located in Winterton, Lincolnshire. Price: £9.00. Sadly, the jacket illustration is uncredited.

The rear pushes all three books in Stringer's trilogy, The Prairie Child not yet available in a bargain edition. The flaps feature a list of other Hodder & Stoughton titles, including works by Canadians Ralph Connor (The Sky Pilot of No Man's Land [sic]), Hulbert Footner (The Fugitive Sleuth, Two on the Trail), Frank L. Packard (The Night Operator, The Wire Devils, Pawned), Robert J.C. Stead (The Homesteaders), and Bertrand W. Sinclair (Poor Man's Rock).

Access: The Prairie Wife first appeared in 1915, published serially over four issues of the Saturday Evening Post (16 January - 6 February). That same year, it appeared in book form in Canada (McLeod & Allen) and the United States (Bobbs-Merril). Both publishers used the same jacket design:

Evidence suggests that The Prairie Wife is Stringer's biggest seller. A.L. Burt published at photoplay edition tied into the 1925 Metro-Goldwyn Mayer adaptation. Is that Boris Karloff as Diego on the right?

At some point, Burt went back to the well to draw Prairie Stories, which included all three novels in Stringer's prairie trilogy. As far as I've been able to determine, The Prairie Wife last saw print in The Prairie Omnibus (Grosset & Dunlap, 1950), in which it is paired with The Prairie Mother. 

Used copies of The Prairie Wife can be purchased online for as little as US$8.95.

Related post:

That's Entertainment

The Mystery Anthology Mystery Solved?

Canadian Mystery Stories

Alberto Manguel, editor

Toronto: Oxford University Press, 1991

288 pages

My review of this, the eleventh of Alberto Manguel's twenty-two anthologies, was posted yesterday at Canadian Notes & Queries online:

The Mystery Anthology Mystery Solved?

What did I think?

Well, for one, it has the most inept introduction I've ever encountered. These jackets to books by writers who are not so much as recognized will provide further clues.

Phantom Wires
Arthur Stringer
Indianapolis: Bobbs-Merril, 1923

The Shadow
H. Bedford-Jones
New York: Fiction League, 1930

The Blue Door
Vincent Starrett
New York: Doubleday, 1930

The Maestro Murders
Frances Shelley Wees
New York: Mystery League, 1931

The Hidden Door
Frank L. Packard
New York: Doubleday, 1933

Trouble Follows Me
Kenneth Millar
New York: Dodd, Mead, 1946

Exit in Green
Martin Brett [pseud Douglas Sanderson]
New York: Dodd, Mead, 1953

Related post:

The Mysterious Question Mystery

When Poets Ruled; Or, Never Mind the Novelists

For my poet friends, these observations from Canada 1962:

A striking feature of Canadian letters in recent years has been the consistently high level of Canadian poetry. Although the poet's audience was often not large, he was at least assured of publication in one of the many literary magazines of the country where his work would receive discriminating critical attention. Too often, however, such limited circulation was the most that could be expected. More recently a growing interest among a wider reading public has made possible the publication of a number of volumes of poetry, some of which have achieved minor commercial successes.

A comprehensive picture of Canadian poetry was made available to readers during 1961 by the appearance of the Oxford Book of Canadian Verse. Several other important collections also appeared during the year, including Leonard Cohen's The Spice Box of Earth, River Among Rocks by Ralph Gustafson, The Devil's Picture Book by Daryl Hine and Irving Layton's collection of stories and poems, The Swinging Flesh. The Governor General's Award for poetry in English for 1960 went to Margaret Avison for Winter Sun and Other Poems, her first published collection. Poetry in French Canada is no less important and vital as was amply illustrated in the Oxford Book. Among the most widely known of the younger poets are Alan Grandbois, Rina Lasnier and Anne Hébert. The latter received the Governor General's Award for French Poetry for her book Poèmes. 

Canadian fiction is perhaps somewhat less vigorous.

Because enquiring minds want to know... (Part II)

My most valuable book (I think).

My favourite book (I know).

A New Year

'Te Deum Laudamus" by Francis Sherman

from The Oxford Book of Canadian Verse (1913), Wilfred Campbell, ed.

Related posts:
Immature Verse for a New Year
An Old Poem for the New Year by Arthur Stringer
Temperance Verse for New Year's Day

Politician Picks Playwright!

The Greatest Englishman of History

Arthur Meighen

Toronto: S.B. Gundy/Oxford University Press, 1936

It's been eighteen months since we traded our swanky Vancouver condo for a Victorian Italianate in St Marys, Ontario. Our first experience with small town living, I think we're taking to it. Besides, we're not all that far from Toronto, London is close by and Stratford, with its famous festival, is only fifteen minutes down the road. This is not to say that St Marys doesn't have its own attractions. The town has produced more than its fair share of professional hockey players and was home to poets James MacRae and David Donnell. 

Being a political beast, in my mind the one name that rises above all others is that of Arthur Meighen, our ninth prime minister. Meighen wasn't born in St Marys, but he spent much of his youth here, considered it home, and was buried in the cemetery on the edge of town.

I doubt I'd have voted for the man, but I certainly would've made an effort to see him speak. Meighen was known as a great orator; while he couldn't best rival Mackenzie King in political manoeuvring  he was most certainly the tubby bachelor's better on the floor of the House of Commons.

Meighen published three volumes of speeches. The first, Oversea Addresses (Musson, 1921), collected those made during his summer 1921 visit to Europe, while the second, Unrevised and Unrepented (Clarke, Irwin, 1949), relies almost entirely on hansard. Sandwiched in-between is this curious little book.

Meighen wrote The Greatest Englishman of History in 1934, while en route to Australia. His subject was Shakespeare, whom he'd read and reread since that St Marys childhood. "In literature I am only a layman", he acknowledges at the beginning, "and it is to laymen alone that I have a right to speak."

Meighen's problem, as he discovered upon arrival at Melbourne, was that laymen didn't much want to listen. True, there was interest at first. Just who was this "Greatest Englishman of History"? Nelson? Wellington? Pitt the Younger? But when Meighen revealed his subject, he met indifference and incredulity. Brass at the Millions Club of New South Wales, for example, passed up the chance to hear the Canadian's thoughts on the Immortal Bard, preferring a talk on the 1932 Ottawa Economic Conference and the international trade agreements it produced.

The Canberra Times, 16 November 1934

Meighen returned to Canada a wiser man. Aboard ship he accepted an invitation to speak to the Vancouver Canadian Club, wiring back that his subject would be the "Greatest Englishman of History". This time, Meighen chose not to disclose the identity beforehand. Biographer Roger Graham tells us that when it was revealed "the audience drooped visibly, slumping in their seats to endure an hour's boredom. What could be worse than a politician on Shakespeare? Before long, however, they were aroused, sitting up straight and listening intently. When he had finished they stood and gave him a resounding ovation, shouting, cheering and throwing their table napkins in the air."

Addresses in Ottawa, Montreal and – oddly – Pittsburgh followed. The delivery before the Toronto Canadian Club was recorded and found its way into college and university libraries. And, of course, we have this little book, which went through a number of printings.

Seven decades later, it's difficult to see what all the fuss was about. Meighen's is a work of admiration, appreciation and love – all of which are very much on display – but there's not anything particularly insightful or novel about his words. I suspect the reaction had much to do with the statesman's delivery, executed without speech in hand. This, and the fact that, as a subject, Shakespeare was a darn sight more interesting than the 1932 Ottawa Economic Conference; no matter what those in charge of the Millions Club might have thought.

Object: A slim hardcover with paper label, the entire first edition appears to suffer from an unsightly skin affliction.

Access: A few public libraries, including St Marys' own, have copies, but universities are the best bet. The news that Library and Archives doesn't have this book – by a former prime minister – will come as small surprise to regular readers of this blog. There are plenty of Very Good copies of the first edition going for under C$20. That Vermont bookstore with the absurd prices shows up yet again, asking C$110 – over ninety dollars more than anyone else – for a copy described as being faded, soiled and yellowed, with a previous owner's signature on the front endpaper. Unless that previous owner was Mackenzie King, I advise all to pass.