Don't Kill the Dog

The Heart of the Ancient Wood

Charles G.D. Roberts
New York: Wessels, 1906
276 pages

A bestseller in its day, a college text in mine, I read The Heart of the Ancient Wood for my very first CanLit course.

Last week I read it again.

Because I remembered liking the novel, I was really taken aback. The lengthy, gentle, gassy scenic opening is just the sort of thing that sets this sexagenarian's surprisingly healthy teeth on edge.

Your tastes may differ, but I think we can agree that "Not indolently soft, like that which sifts in green shadow through the leafage of a summer garden, but tense, alertly and mysteriously expectant, was the silence of the forest," is not a captivating first sentence.

The Heart of the Ancient Wood unfolds so very, very slowly with descriptions of the wood, its creatures, their sounds, their scents, their habits, their habitats, the trees, the sky, and the air until a "grey man figure" appears. The cock-partridge, the nuthatch, the bear, the wild-cat, and the weasel all react differently. The wood-mice quiver with fear, while the hare looks on with "aversion, not unmixed with scorn" while noting the man's lumbering gait:

“Never,” thought the hare, disdainfully, "would he be able to escape from his enemies!”

Eventually, the man figure reaches a clearing, pushes through blackberry and raspberry canes, then picks his way between the burned stumps of a desolate pasture, before at long last reaching "the loneliest cabin he had ever chanced to see."

The man figure's name is David "Old Dave" Titus. He has come to prepare the cabin. But for what purpose?

The answer comes in the third chapter, "The Exiles from the Settlement," with the arrival of Kirstie Craig (née MacAlister) and her young daughter Miranda, as announced by "the dull tanky tank, a-tonk, tank of cowbells." The pace picks up with Kirstie's backstory. A "tall, erect, strong-stepping, long-limbed woman," she'd lived her entire life in a place identified only as "the Settlement." Some seven years earlier Kirstie had chanced to be in a store when in walked a man unlike any other she had ever seen. This was Frank Craig, dilettante, musician, poet, and artist ("when the mood seized him strongly enough"). A prime specimen of a fish out of water, Frank had been advised to forgo city life for the restorative nature of country air. 

Before he had breathed it a month he had won Kirstie MacAlister, to whom he seemed little less than a god. To him, on her part, she was a splendid mystery. Even her peculiarities of grammar and accent did no more than lend a piquancy to her strangeness. They appealed as a rough, fresh flavour to his wearied senses.

They soon married. Kirstie gave birth to a daughter, Miranda, within the year.

Theirs seemed an ideal marriage, and maybe it was, but there came a time when Frank became restless. He talked about business in "the city" (also unidentified) that needed attending to. Kirstie saw her husband off on a rattling mail-wagon. The next paragraph is my favourite in the entire novel:

But – he never came back. The months rolled by, and no word came of him; and Kirstie gnawed her heart out in proud anguish. Inquiry throughout the cities of the coast brought no hint of him. Then, as the months climbed into years, that tender humanity which resents misfortune as a crime started a rumour that Kirstie had been fooled. Perhaps there had been no marriage, went the whisper at first. “Served her right, with her airs, thinkin’ she could ketch a gentleman!” – was the next development of it. Kirstie, with her superior air, had never been popular at best; and after her marriage the sufficiency and exclusiveness of her joy, coupled with the comparative fineness of speech which she adopted, made her the object of jealous criticism through all the country-side. When the temple of her soaring happiness came down about her ears, then was the time for her chastening, and the gossips of the Settlement took a hand in it with right good-will. Nothing else worth talking about happened in that neighbourhood during the next few years, so the little rumour was cherished and nourished. Presently it grew to a great scandal, and the gossips came to persuade themselves that things had not been as they should be. Kirstie, they said, was being very properly punished by Providence, and it was well to show that they, chaste souls, stood on the side of Providence. If Providence threw a stone, it was surely their place to throw three.  

This, I thought, was the reason my younger self liked the novel. Stories of gossip, jealousy, and their consequences appealed to me back then, just as they do today. Here's another favourite passage:

Some one else had heard from some one else of some one having seen Frank Craig in the city. There was at first a difference of opinion as to what city; but that little discrepancy was soon smoothed out. Then a woman was suggested, and forthwith it appeared that he had been seen driving with a handsome woman, behind a spanking pair, with liveried coachman and footman on the box.

Sadly, these elements and all their intrigue vanish completely, leaving the reader with more purple prose and a near absence of plot.

So as to escape bitter tongues, Kirstie makes a home for herself and little Miranda in the cabin. It's a rather idyllic if modest existence with remarkably few challenges. Good ol' Old Dave, Kirstie's only friend, drops by on occasion; otherwise the only human contact mother and daughter have is with each other. Miranda becomes an object of curiosity to the woodland creatures and is curious in return. The girl's main focus is a female bear, "far the most human of all the furry woodfolk," that her young mind identifies as a "nice, big dog." There is a chance encounter early in the novel, after which Kirstie insists the girl stay within sight of the cabin.

I remember The Heart of the Ancient Wood being included in the syllabus as an introduction to the "realistic animal story." We students were told the genre was originated in Canada by Roberts and his rival Ernest Thompson Seton... or some such thing. As a proud Canadian, this too may have appealed. As a city boy, its likely that I found the depictions of the furry woodfolk interesting, even as I recognized the anthropomorphism. And so, I suppose my memory could be right about liking the novel at the time.

Now, I very much dislike it.

A brief summary of the major plot points, right to the end, follows. 

Kirstie and Miranda survive their first winter at the cabin without difficulty, aided in part by an early spring. The bear emerges from hibernation and a few days later gives birth to a male cub. He's so very weak, but under his mother's care the cub becomes the most playful, curious, and cute of little guys before being crushed by a hunter's trap. That same awful day, the grieving she-bear comes upon Miranda as the girl is about to be set upon by a panther. The bear saves the girl and escorts her back to the cabin. Kirstie is rightfully wary, yet comes recognize the bear, Kroof, as a protector and companion. As Miranda grows into adulthood, she becomes at one with the creatures of the ancient wood, and they in turn grow to both trust her and accept her as their superior. This includes the panther.

One afternoon, Miranda comes upon a young man sleeping beneath a tree. In an echo of the scene years earlier involving Kroof, a panther is about to spring. As a student of Kroof, Miranda manages to order it away. The young man turns out to be Young Dave, son of Old Dave. The two haven't seen each other since the day Craig mother and daughter left the Settlement. Young Dave is immediately taken with the mature Miranda and soon becomes a frequent visitor. Kirstie likes Young Dave, but her daughter runs lukewarm and cold. Her reaction has something to do with the fact that the young man is a hunter, where she and her mother are vegetarians. I'd suggest it also has something to do with Miranda being unaccustomed to people, never mind a man who is more or less her own age. 

Young Dave pitches woo, but to no avail. He goes so far as to take Miranda on an excursion away from the cabin, deftly navigating dangerous rapids in order to deliver much needed medicine to a young mother and her ailing son. If anything, the visit pushes Miranda farther away, though this has to do with the older woman's assumption that the girl is Dave's fiancée.

A fair percentage of the closing chapters involves play between the two with Young Dave doing his best to ingratiate himself and making a bit of progress only to be pushed away.

Will they or won't they?

As with sitcoms, the question is increasingly tiring with each passing year. The resolution was not one I saw coming. You'd think I would've remembered. 

What happens is that Young Dave is walking through the ancient wood one day on yet another visit to the cabin when he chances upon a small male bear cub. He kills the cub with a shot to the head, skins it, cuts out the choicest portions, and continues on his merry way.

The reader already knows that the cub was Kroof's. Did Dave?

To this point, Young Dave has been portrayed as quick and intelligent. He's met Kroof many a time with Miranda over the years, is aware of the unusual relationship they share, and knows there are no other bears in the area. And yet, and yet, and yet, he kills without so much as a thought that the cub just might be the Kroof's.

Kroof finds what's left of her son, a red carcass "hideously affronting the sunlight, "walks around it twice, and then sets off on Dave's trail:

She was not blinded by her fury. Rather was she coolly and deliberately set upon a sufficing vengeance. She moderated her pace, and went softly; and soon she caught sight of her quarry some way ahead, striding swiftly down the brown-shadowed vistas. There was no other bear in all the forests so shrewd as Kroof.

She catches up with Dave as he's washing in a small steam so as to make himself presentable to Kirstie and Miranda. The hunter makes for a beech tree and begins climbing with the bear following. Miranda arrives on the scene and tries to call Kroof off. In desperation, she picks up Dave's rifle and fires:

The bear’s body heaved convulsively for a moment, then seemed to fall together on the branch, clutching at it. A second later and it rolled off, with a leisurely motion, and came plunging downward, soft, massive, enormous. It struck the ground with a sobbing thud. Miranda gave a low cry at the sound, turned away, and leaned against the trunk of the hemlock. Her face was toward the tree, and hidden in the bend of her arm.

Have we had enough?

The very next sentence is the worst:

Dave knew now that all he had hoped for was his.

I will not be reading this novel a third time.

Personal note: In the midst of reading The Heart of the Ancient Wood, I stumbled upon this beautiful poster. 

Good thing I put off the purchase for a couple of days. Knowing her fate, how could I put that image of Kroof on my wall.

Object and Access: A later edition, my copy was purchased for $2.50 sometime in the early 'eighties at Montreal's Russell Books. It's title page makes a big deal of it being illustrated, but the only illustration appears on the frontispiece. The first edition, published in 1900 by Silver, Burdett & Co, features a total of six, including the one found in my Wessels edition. All are by English-born James Weston (1841-1922), a man remembered more for his landscapes than his book illustrations. Looking at those he provided for this novel, I can see why, though I am partial to this:

The Heart of the Ancient Wood first appeared – in its entirety – in the April 1900 issue of Lippincott's Magazine. The novel has enjoyed numerous editions through the decades and as number 110 was once a New Canadian Library staple. It's currently available only as part of the Formac Fiction Treasures series.  

The novel has enjoyed a Polish translation (Vsrdci pralesa, 1925).

Black panthers are not native to Canada.

As always, print on demand vultures are to be avoided. That said, I was tempted to purchase this, if only because the cover features a detail Gustav Kimt's 'Church in Unterach on Lake Attersee.'

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Portrait of a Former Mistress

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A Man Reaps What He Sows

The Homesteaders: A Novel of the Canadian West
Robert J.C. Stead
Toronto: Musson , 1916
347 pages

The first edition is bound in boards reading The Homesteader when it should be The Homesteaders. The distinction is important, particularly in the early chapters, though it becomes less so as the novel progresses.

The Homesteaders opens in Quebec's Eastern Townships as one-room schoolteacher John Harris watches students scatter at the end of the day. He's soon joined by his fiancée Mary. 

This being 1881, John is expected to support his betrothed, and so has made the decision to give up his paltry teacher's salary and try his hand at farming in Manitoba. The plan, which John has taken care to hide, involves traveling west the next spring, locating a homestead, constructing some sort of shelter, and breaking ground. If all goes well, he'll return for Mary. If not, well, there's aways the year after that.

There's something about Mary in these early pages. Lithe and beautiful, she is not "a daughter of the sturdy backwoods pioneers, bred to hard work in field and barnyard," rather "she was sprung from gentler stock." Mary is also the only character in this novel to demonstrate a sense of humour, as when she ribs John:

“Always at your studies,” she cried, as he sprang eagerly to his feet. “You must be seeking a professorship. But I suppose you have to be always brushing up,” she continued, banteringly. “Your oldest pupil must be—let me see—not less than eight?”

Clever and quick, Mary was onto her fiancé from the start. “I declare, if it isn’t Manitoba!" she says, snatching a map from his hands. "What next? Siberia or Patagonia? I thought you were still in the Eastern Townships.”

Mary insists on accompanying John west, moving up their wedding day in the process. What follows is not an account of their honeymoon, rather descriptions of lengthy train travel to Emerson and an oh-so-slow trek northward to tracts of land Ottawa is offering gratis to men who prove themselves able to establish working farms. The couple's first marital home is a windowless sod shack with a heavy blanket for a door.

These are the novel's most interesting pages, no doubt drawn from Stead's childhood memories and experiences. Born in Ontario's Lanark Highlands, as a toddler Robert, his father (Robert, Sr). and mother (tellingly, Mary) established a Manitoba homestead in the very same year as John and Mary Harris.

Robert J.C. Stead
Bookseller & Stationer, October 1916

The fictional couple's success in meeting the government's terms has to do with hard work, but not necessarily self-sufficiency. Friendships were formed as those cramped railcars made their way across Ontario. Though the homesteaders settle miles away from one another, their struggle is common. The men work together, loaning each other mowers, plows, and hayracks. As for the women:

Mrs. Grant was the proud possessor of a very modern labour- saver in the shape of a clothes-wringer, as a consequence of which wash-day was rotated throughout the community, and it was well known that Mrs. Riles and Mrs. Harris had to do their churning alternately.

Stead takes great care here. This is not drudgery, rather progress, with each couple striving for a better life. The most dramatic pages are set after the first harvest, reaching a climax in the fifth chapter when, during a winter storm, John abducts a drunken doctor to aid with the delivery of Allan, his first child.

cliquez pour agrandir

Moving between chapters five and six can be jarring. Twenty-five years have passed. The sod shack has been replaced by a brick house. Family and farm have expanded with the addition of a second child, Beulah, and many more acres of land. But all this is no way satisfies John:

He saw the light ahead, but it was now a phantom of the imagination. He said, “When I am worth ten thousand I will have reached it”; when he was worth ten thousand he found the faithless light had moved on to twenty-five thousand. He said, “When I am worth twenty-five thousand I will have reached it”; when he was worth twenty-five thousand he saw the glow still ahead, beckoning him on to fifty thousand. It never occurred to him to slacken his pace—to allow his mind a rest from its concentration; if he had paused and looked about he might, even yet, have recognized the distant lighthouse on the reef about the wreck of his ideals. But to stop now might mean losing sight of his goal, and John Harris held nothing in heaven or earth so great as its attainment.

The John of the early chapters has become crude; even his whole manner of speech has changed. Mary too is transformed, but only physically. The years have taken a toll, "the shoulders, in mute testimony to much hard labour of the hands, had drooped forward over the deepening chest; the hair was thinner, and farther back above the forehead, and streaked with grey at the temples; the mouth lacked the rosy sensuousness of youth, and sat now in a mould, half of resolution, half submission."

The community formed a quarter-century earlier in those railcars is already a thing of the past. Though one of the most prosperous homesteaders, John cannot help but compare himself to others. Wanting more, he teams up with neighbouring homesteader Hirim Riles. They plan to go out to Alberta, the new frontier, and procure four or five tracts of free land. John will set up a homestead on the first and Riles will establish another on the second. The third, four and possibly fifth would be worked by men who will be provided grub and a small wage during the three years required to secure titles which would subsequently be be transferred to Harris and Riles:

This was strictly against the law, but the two pioneers felt no sense of crime or shame for their plans, but rather congratulated themselves upon their cunning though by no means original scheme to evade the regulations.

Indeed, by no means an original scheme. There is no way the two men would've succeeded, though the scheme does serve to bring further notice to John's descent from the decent, dedicated Eastern Townships schoolteacher with whom Marys fell in love.

The last fifteen chapters are far less interesting than the first five, in part because there isn't nearly so much about the pioneer experience, and in part because too many of its pages focus on a crime that takes too long to unfold. I suppose there is a lesson to be learned about working with another when committing a crime, but only if one has never heard of the time-worn observation on honour amongst thieves.

What I liked most was Mary leaving John.

Beulah running away was second.

She is in every way her mother's daughter.

Censorship?: Riles reaches Alberta before partner-in-crime Harris. Though a miser, he enters a bar in order to get the lay of the land (no pun intended). What follows is a scene somewhat reminiscent of this 2016 Heritage Minute:

The American in Stead's novel threatens a lumberjack – yes, a lumberjack – for what he perceives as a personal slight.

By far the most superfluous scene in the novel, it is nevertheless interesting for these two instances of... what exactly? Is it censorship? An author well aware of the impermissible?  Or just Stead having some fun?

I leave it for you to judge.

Object: My first edition is printed on paper so acidic that it's a wonder I didn't burn my fingers. It was acquired in 2018 as part of a lot. A few years earlier, I'd purchased a copy of the 1973 University of Toronto Press reissue with introduction by Susan Wood Glicksohn.

Access: A Canadian bestseller, The Homesteaders went through five printings. It was also published in the UK by Unwin (1916) and Hodder & Stoughton (1923). Used copies aren't at all difficult to find online. 

 

The Dodo Press print on demand edition uses a detail of Abraham Louis Buvelot's 1873 painting Tubbutt Homestead in the Bombala district, in the foothills of the Snowy Mountains. Two different countries, two different continents, the distance between the Tubbutt and Harris homesteads amounts to roughly 15,000 kilometres. 

The novel is available online here thanks to the Internet Archive.

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A Man of Peculiar Notions

The Rise and Fall of a Peacock Philosopher

The Money Master;
   Being the Curious History of Jean Jacques Barbille,

   His Labours, His Loves and His Ladies
Gilbert Parker

Toronto: Copp Clark, 1915
360 pages

I bought my first Gilbert Parker book at a library sale in the mid-eighties. By 1990, it was gone, though I have no idea where. My fault, of course. I'd paid it little attention because Parker himself wasn't paid much attention. His name had never once come up in university courses. The Oxford Companion to Canadian Literature, then my bible, doesn't accord the man so much as one of its 1199 pages, despite popularity and critical acclaim (both now a century past).

I couldn't even remember which Parker I'd owned back then. What I did remember was an illustration and caption depicting a miserable man traveling to Quebec in the company of a beautiful woman who seemed intent on marriage. Imagine my surprise when in researching this recent read I came upon:

The image of the reluctant groom threw me because Parker depicts him as being extremely keen on marrying the woman in the funnel.

The fiancé, Jean Jacques Barbille, is heir to a fortune built over four generations. Having transformed these inherited riches into slightly greater riches, the Canadien has an idea to visit the land of his ancestors, where he expects to be recognized as a man of great importance. Paris disappoints, but folks in the nether regions appreciate his money and so accord deference. Satisfied, Jean Jacques sets off for home with purse depleted, comforted by the knowledge that his various endeavors, save one or two, are moderately successful. 

Whilst crossing the Atlantic aboard the good ship Antoine, Jean Jacques encounters Spanish Amazon Carmen Delores – she of the funnel – and Sebastian Delores, her father. They are on the run because papa – the sinister figure at the funnel's base – had been on the losing side of Spain's most recent power struggle. If anything, young Carmen suffered a far greater loss in that her lover Carvillho Gonzales was executed for his efforts:

Carmen had made up her mind from the first to marry Jean Jacques, and she deported herself accordingly – with modesty, circumspection and skill. It would be the easiest way out of all their difficulties. Since her heart, such as it was, fluttered, a mournful ghost, over the Place d’Armes, where her Gonzales was shot, it might better go to Jean Jacques than anyone else; for he was a man of parts, of money, and of looks, and she loved these all; and to her credit she loved his looks better than all the rest.

In short, Jean Jacques looks a lot like Carvillho Gonzales.

The Money Master is the twentieth book I've reviewed here this year. It follows James De Mille's The Cross and the Lily (1874) and Grant Allen's The Great Taboo (1890) in being the third to feature a shipwreck. Parker's takes place when the Antoine strikes an iceberg off the shore of Gaspé. Jean Jacques sees Carmen safely bestowed on a lifeboat, before giving up his spot to a crying fifteen-year-old boy. This he does, despite being not that strong a swimmer.

Fortunately, the Spanish Amazon is a strong swimmer. When her lifeboat overturns, she makes for a floating chair, and then uses that chair to save Jean Jacques from drowning.

James Cameron take note.

  

Jean Jacques and Carmen marry in the Gaspé, much to the disapproval of the gentle townspeople of St Saviour:

It was bad enough to marry the Spanische, but to marry outside one’s own parish, and so deprive that parish and its young people of the week’s gaiety, which a wedding and the consequent procession and tour through the parish brings, was little less than treason.

But what a story! The romance of it all is so great as to encourage the curious to travel as much as forty miles to catch a glimpse of the couple during Sunday mass. Carmen never corrects the presumption that she was saved by Jean Jacques and not the reverse. 

Jean Jacques Barbille is a man with "a good many irons in the fire." Given the opportunity, he'll sell you insurance and lightning rods. His inherited riches grow not by leaps and bounds, rather by unsteady steps as taken by a toddler.

He fancies himself first and foremost a philosophe. Though he never quite articulates his philosophy, Jean Jacques is quick to share that he spent a year at Université Laval. He carries with him a small volume titled Mediations on Philosophy, which he bought in Quebec before sailing for France.

Jean Jacques is an egotist and something of a dandy, all the while being a good man. He is kind, treats his workers well, forgives debts, and is generous toward the less fortunate. The man's greatest fault relates to the home. He is so taken with his reputation and many business concerns that Carmen feels neglected; this in turn results in the most interesting scenes I've read in an old novel this year...

And, you know, I've read twenty.

Carmen does not feature in the scene, though she does in the next, which is easily the second most interesting scene.

Reading The Money Master forty or so years after having first purchased a copy, I'm at a loss to explain how it is Gilbert Parker is so ignored.

Trivia: Adapted to the Hollywood screen in 1921 as A Wise Fool, the subject of the next week's post. 

Object: The first Canadian edition, it features seven illustrations by French artist André Castaigne, best known for having illustrated the first edition of Le Fantôme de l'Opéra. 'Tis a thing of beauty, purchased ten or so years ago in London, Ontario. Price: $2.50.

I'm also the proud owner of the Hutchinson's UK first edition, which I picked up in fin du millénaire Montreal for 30¢.

Sadly, it lacks its dust jacket (see below).

Access: The novel first appeared serialized in Hearst's Magazine (Aug 1913 - April 1914) and Nash's Magazine (Nov 1913 - Jul 1914).

As I write this, a Riverview, New Brunswick bookseller is offering a Very Good copy of the Copp Clark first edition at two dollars. There's no mention of a dust jacket, so I'm assuming that the bookseller believed it had none. Further west, a bookseller in Whitby, Ontario has a Canadian first with dust jacket!

The asking price is $100.

If you don't have the cash, consider the two dollar copy. It's a steal, particularly if you live nearby and can avoid shipping charges.

Before making your decision, consider Harper's American first with its unusual wrap-around jacket illustration, drawn from one of Castaigne's interior illustrations.

A bookseller in Portland, Oregon is offering this copy at US$35:

At the high end – US$350 – we have the Hutchinson UK first on offer from Babylon Revisited, a favourite bookseller. Must say that the cover illustration pales somewhat when compared to the work of Monsieur Castaigne.

Buyer beware, none of Castaigne's illustrations feature in the Hutchinson.

As always, print on demand copies are not to be considered.

Woodrow Wilson would agree.

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Gilbert Parker's Savage Novel
Behold the Translation of a Savage on Film!

Gilbert Parker's Savage Novel

The Translation of a Savage
Gilbert Parker
London: Methuen, [c.1897]
240 pages

I'm writing this after having spent several hours shovelling heavy slushy snow and stacking firewood. It may not be the best time – the mind is less than sharp and the body is tired – but I can't put off sharing my discovery of The Translation of a Savage, which is by far the most unpleasant and problematic novel I've ever read.

The Camden Democrat
6 October 1894

I mean discovery in a personal sense, of course; The Translation of a Savage was a bestseller in Canada, Great Britain, and the United States. Lippincott's Monthly Magazine devoted much of its June 1893 edition to publishing the novel in full. It was serialized in newspapers throughout the United States, and was thrice adapted by Hollywood. In the introduction provided for his 24-volume Works, Parker remarks on the novel's "many friends – sufficiently established by the very large sale it has had in cheap editions."

Sadly, those friends are long dead, and there is precious little evidence the novel is being read today.*

The Translation of a Savage begins in uninteresting fashion as yet another tale of the Canadian North. Frank Armour is a son of English privilege come to "Hudson Bay country" to further his fortune through mining. In doing so, he leaves behind his betrothed, beautiful Miss Julia Sherwood. The Armour parents aren't terribly keen on favourite son Frank's fiancée because she doesn't come from money; they'd much rather he marry Lady Agnes Martling, who "had long cared for him, and was most happily endowed with wealth and good looks." In their son's absence, mama and papa conspire to prevent the union.

Easily done! They invite Miss Sherwood to Greyhope, their Herefordshire home, then bring in young Lord Haldwell, and Bob's your uncle!

It's quite a blow to Frank, who receives his "Dear John" letter after reading about Julia and Hopewell's wedding in the society pages. He knows to blame his parents for the broken engagement, though as I've suggested, they didn't put in much effort. Nevertheless, brandy in his belly and revenge in his heart, he looks to "bring down the pride of his family" by marrying Lali, daughter of Chief Eye-of-the-Moon. After a brief honeymoon, the bride is dispatched to Greyhope in buckskin dress.

Lali, as portrayed by Mabel Julienne Scott, in Behold My Wife!, the 1920 Hollywood adaptation of The Translation of a Savage.

Lali's arrival in England is preceded by a well-crafted letter in which Frank acknowledges his parents' anxiousness that he wed "acceptably." He takes pains to note that Lali is of "the oldest aristocracy, in America." Because they'd wished him to marry wealth, he has sent them a wife rich in virtues, "native, unspoiled virtues." Frank trusts that they will take his bride to their hearts and cherish her, ever aware of their firm principles of honour. They will be kind to Lali until his return, "to share the affection which he was sure would be given to her."

The letter lands in the second of the novel's fifteen chapters. Twenty-first-century readers familiar with Victorian literature and mores will anticipate the reaction. I did, but was taken aback by a racial epithet entirely new to me. As I'm not one for censorship, I present it here. If you want to read it, click on the image below.

Richard Armour is the hero of this story. Frank's younger older-looking bookish brother, "not strong on his pins," has devoted his life to helping pensioners, the poor, and the infirm. Lali's acceptance at Hopewell is all Richard's doing. He is her defender. With gentle touch, he manipulates his family to her side, and provides the guidance she needs in navigating English society. 

Lali is the heroine. A young bride – her age is never disclosed – she wed Frank for love. Because that love is not blind, Lali quickly comes to recognize the awful truth behind her marriage.

Frank is the villain. After marrying Lali, he remains in Canada, and never so much as writes. His ventures are unsuccessful, in large part because his wife's people come to question what has become of Lali. Frank's people – by which I mean his family – do not trust his judgement. By the time Lali gives birth to a son, seven or so months after arriving at Hopewell, she has won over the Armour family. They recognize how badly she has been treated, and so respect her wishes that they keep the child's existence a secret.

Four years pass before Frank's return, during which Lali has adapted to her new surroundings. The woman he encounters in the halls of Greyhope is very different than the "heathen" he married.

Lali (Mabel Julienne Scott) and Frank (Milton Sills) are reunited in
Behold My Wife! (1920).

That word – "heathen" – is the used by Lali at the novel's climax, in which she is pushed to confront her husband:

Years of indignation were at work in her. “I have had a home,” she said, in a low, thrilling voice, — “a good home; but what did that cost you? Not one honest sentiment of pity, kindness, or solicitude. You clothed me, fed me, abandoned me, as — how can one say it? Do I not know, if coming back you had found me as you expected to find me, what the result would have been? Do I not know? You would have endured me if I did not thrust myself upon you, for you have after all a sense of legal duty, a kind of stubborn honour. But you would have made my life such that some day one or both of us would have died suddenly. For” — she looked him with a hot clearness in the eyes — “for there is just so much that a woman can bear. I wish this talk had not come now, but, since it has come, it is better to speak plainly. You see, you misunderstand. A heathen has a heart as another — has a life to be spoiled or made happy as another. Had there been one honest passion in your treatment of me — in your marrying me — there would be something on which to base mutual respect, which is more or less necessary when one is expected to love. But — but I will not speak more of it, for it chokes me, the insult to me, not as I was, but as I am. Then it would probably have driven me mad, if I had known; now it eats into my life like rust!"

Ultimately, of course, "heathen" is Parker's word, as is the measure of what a woman can bear. Lali existed only in his imagination, and remains with us today solely through the printed page.**

Frank tries to make amends, though His motivation is unclear. Is it, as Lali suggests, a sense of duty and a stubborn kind of honour? Might it have something to do with her "translation" to a woman who has been accepted by Society? Or is it simply because the two have a son? I have no answer, though will direct the curious to an associated theological question (below).

The very definition of a forgotten novel; The Canadian Encyclopedia, The Encyclopedia of Canadian Literature, The Oxford Companion to Canadian Literature, and The Cambridge Companion to Canadian Literature don't so much as mention The Translation of a Savage. This old Canadian Studies, English, and History major always saw it as just another of the dozens of Parker titles. I knew nothing about the novel, but feel I should have been made aware.

The Translation of a Savage begins as a story of the Canadian North. Aforementioned racial epithet aside, its attitudes and depictions of First Nations people are typical of Victorian literature; Lali's father, for example, is the very example of the "noble savage." What sets the novel apart is Lali and her translation.

She receives love in the Old World, in the main from the Amour family, making life sufferable, but her story is terrible. The entire story is terrible. Lali would like to return to Hudson Bay country, but feels she is too much changed. The novel's final sentences hint at reconciliation with Frank, but it is in no way a happy ending.

After all the time that has passed since reading those final words – some of it spent shovelling snow and stacking firewood – I'm still not sure what to think. What I can say, without hesitation, is that The Translation of a Savage should be read, studied, and discussed.

* Highly unscientific I know, but I do note that Goodreads features one lone readers' rating (one star), whereas Parker's The Right of Way has fourteen (3.36 stars average).

** I acknowledge that variations of Lali have appeared throughout the years on the silver screen – 1913, 1920, and 1934, to be precise – but Parker had no input in those depictions.

The subject of a future post.

Trivia: Frank receives news of Julia's marriage at Fort Charles – twice "Fort St. Charles" – a Hudson Bay Company outpost not far from the Kimash Hills and the White Valley. All exist only in Parker's fiction, most notably Pierre and His People (1894) and A Romany of the Snows (1898).

Interestingly, in 1907 poet Harmony Twichwell submitted an outline of an opera titled 'Kimash Hills' to her future husband Charles Ives.

Not trivia: In The Works of Gilbert Parker the author writes that the story "had a basis of fact; the main incident was true. It happened, however, in Michigan rather than in Canada; but I placed the incident in Canada where it was just as true to the life."

A theological question (spoiler): The novel ends suddenly with a contrived crise, after which we learn that Lali accepts "without demur her husband's tale of love for her." The suggestion is that this brings the couple together. Then come the last two ssentences:

Yet, as if to remind him of the wrong he had done. Heaven never granted Frank Armour another child.

If this is God's punishment is He not also punishing Lali?

Criticism: In his Works introduction, Parker notes that the novel was well-received. Despite the author's misgivings, Sir Clement Konloch-Cooke was eager to publish it in The English Illustrated Magazine. This was followed by enthusiasm from an unexpected source:  

The judgment of the press was favourable, – highly so – and I was as much surprised as pleased when Mr. George Moore, in the Hogarth Club one night, in 1894, said to me: “There is a really remarkable play in that book of yours, The Translation of a Savage.” I had not thought up to that time that my work was of the kind which would appeal to George Moore, but he was always making discoveries.

Object and Access: The novel made its debut in the June 1893 edition of Lippincott's Monthly Magazine. My copy was purchased online late last year from a French bookseller. Price: US$14.65. It was advertised as the 1894 first British edition; indeed the title page suggests as much, but the novel itself is followed by a 40-page catalogue of Methuen titles dated March 1897. Included are seven Parker novels and Robert Barr's disappointing In the Midst of Alarms.

Je ne regrette rien.

This copy, the copy that now rests in my Upper Canadian home, once belonged to Parker's fellow Tory Sir Henry Drummond Wolff, who from 1892 to 1900 was British Ambassador to Spain.

Sir Henry was also the father of prolific novelist Anne Cleeve, author of The Woman Who Wouldn't (1895), written in response to Grant Allen's The Woman Who Did (1895).

In its first three decades, The Translation of a Savage went through plenty of editions from plenty of publishers. I'm betting most used booksellers can't be bothered listing them for sale online. Of those who have, the least expensive – an undated Nelson at £2.80 – is offered by a UK bookseller. The most expensive is a cocked copy of Appleton's 1893 American first edition at US$75.00.

Those with an aversion to previously-owned books – I knew one such person – will see that both Indigo and Amazon sell this Esprios World Classics print on demand edition. 

The photograph used on the cover was taken in 1902 at the Warm Springs Indian Reservation, Wasco County, Oregon, adding further insult.

Related posts:

Born Again Infidel
Getting to the Fenian Raids
Getting to Know the Woman Who Did

Behold the Translation of a Savage on Film!

The Witch is Back; or, Cousin Cousine Cousine

A Daughter of Witches: A Romance

Joanna E. Wood
[n.p.]: Luminosity, [n.d.]
241 pages

Of all the books read these past twelve months, not one haunts so much as Joanna E. Wood's 1894 debut novel The Untempered Wind. It tells the story of Myron Holder, an unwed mother who dares raise a child in Jamestown, a provincial village located somewhere in the Niagara Region. To this reader, it is earliest example of Southern Ontario Gothic, holding every characteristic of the sub-genre; Protestant morality and hypocrisy are paramount.

Types of Canadian Women
Henry J. Morgan, ed.
Toronto: William Briggs, 1903

A Daughter of Witches, is Wood's third novel. It's set south of the border in the New England community of Dole, but make no mistake, this is Wood Country. The accents may differ, but the townsfolk of Dole are every bit as narrow-minded-minded and judgemental as those of Jamestown.

Dole is something akin to a closed community. Its families go back generations, stay put, and generally keep to themselves (see below). From time to time, someone will leave the village and strike out for Boston, the most recent being young Len Simpson.

And now he's dead... so there you go.

Old Lansing has this to say:

"Yes the buryin's to-morrow, and it seems Len was terrible well thought of amongst the play-actin' folk, and they've sent up a hull load of flowers along with the body, and there's a depitation comin' to-morrow to the buryin' and they say there's considerable money comin' to Len and of course his father'll get it. I don't know if he'll buy that spring medder of Mr. Ellis, or if he'll pay the mortgage on the old place, but anyhow it'll be a big lift to him."

No one in Dole is the least bit curious as to how Len acquired such wealth. The general consensus is that he was a disgrace to his family. It's whispered that he drank. 

News of Len Simpson's death coincides with the arrival of Sidney Martin, son of Sid Martin. Decades earlier, Sid left Dole to make a life for himself in Boston. He did something there, no one knows just what, but it is known that he married a woman from a moneyed family.

Sidney Martin's mother and father are now dead. Frail and pale, their son isn't looking too good himself. His countenance and weak physique contrast with raven-haired Vashti Lansing, whose Amazonian beauty and strength – she's first seen wrestling a runaway horse – captures the young man's heart.

The Canadian Bookseller, August 1900

Sidney falls hard for Vashti, but Vashti is in love with her cousin Lansing "Lanty" Lansing. Lanty loves another cousin, fair Mabella Lansing. Cousin Mabella returns his love.

The author passes no judgement on this bizarre love triangle, though she does torture Vashti in having her witness the moment in which her two cousins declare their love for one another.

Vashti is the central character in this romance, yet she is one of least realized characters. I believe this is intentional. Wood describes Vashti as acting on instinct; her will is not entirely her own:

Long ago they had burned one of her forbears as a witch-woman. They said she caused her spirit to enter into her victims and commit crimes, crimes which were naively calculated to tend to the worldly advantage of the witch. Vashti thought of her martyred ancestress often; she herself sometimes felt a weird sensation as of illimitable will power, as of an intelligence apart from her normal mind, an intelligence which wormed out the secrets of those about her, and made the fixed regard of her large full eyes terrible.  

Sidney Martin is so smitten, yet so blind, that he proposes marriage to Vashti on the very same spot Lanty and Mabella become engaged. Vashti's acceptance, which came as something of a surprise to this reader, comes with two conditions, the first being that once married they will live in Dole. The second condition, odd in the extreme, is that Sidney, an agnostic, will become an ordained minister so as to take over from old Mr Didymus, the village pastor.

What is Vashti up to? She does not know herself.

Sidney leaves Dole to study theology in Boston, returning years later as Didymus is dying. The elderly preacher's final act is to marry fiancé and fiancée. 

As the bride had long intended, the newlyweds move into the parsonage and Sidney takes over the ministry. If anything, he is more popular than his predecessor. Sidney's sermons, focusing on the majesty of the natural world, go over well in what is essentially a farming community. This is not to suggest that Sidney and Vashti are immune to town gossip.

As the preacher's wife, Vashti draws resentment in lording over the local ladies, attending their weekly sewing circle in gowns made in Boston. Then there's cousin Lanty – secret object of her affection – who has fallen into drink. Harsh words are spoken of Ann Serrup. "Left at thirteen the only sister among four drunken brothers much older than herself," like Myron Holder in The Untempered Wind, Ann is an unwed mother. Might Lanty be the father?

All this poisonous talk exhausts the patience of Temperance Tribbey, Old Lansing's housekeeper. In one of the novel's many memorable scenes, she takes down Mrs Abiron Ranger:

Temperance spoke with a knowledge of her subject which gave play to all the eloquence she was capable of; she discussed and disposed of Mrs. Ranger's forbears even to the third generation, and when she allowed herself finally to speak of Mrs. Ranger in person, she expressed herself with a freedom and decision which could only have been the result of settled opinion.
     "As for your tongue, Mrs. Ranger, to my mind, it's a deal like a snake's tail it will keep on moving after the rest of you is dead."

Vashti's instinct brings what I believe is intended as the climax. My uncertainty has to do with the scene being nowhere near as memorable as others. It should haunt, but it does not haunt. 

And so, the spoiler:

One Sunday morning, Sidney takes to the pulpit and delivers a sermon unlike any other. More brimstone than pastural, he admonishes his parishioners, pointing out their duplicity, dishonesty, deceit, and deception. Sidney repeats town gossip going back decades, but his words are not his own; they belong to Vashti, a daughter of witches. 

Not a spoiler: 

Vashti's fate is not deserved, nor is Wood's fate as a forgotten novelist.

Bloomer:

"Lanty will take it terribly hard," said the old man musingly. "He and Len Simpson ran together always till Len went off, and Lanty never took up with anyone else like he did with Len." 

Object and Access: A Daughter of Witches first appeared serialized in the Canadian Magazine (November 1898 - October 1899). In 1900, Gage (Canada) and Hurst & Blackett (England) published the novel in book form. I've yet to find a copy of either edition for sale, and so bought this print-on-demand edition.

The Gage edition can be read online here at the Internet Archive.

Related posts:

A Woman Who Did

Getting to Know the Woman Who Did

A Romance of Toronto: CanLit Most Verbose

A Romance of Toronto (Founded on Fact)

Mrs Annie G. Savigny
Toronto: William Briggs, 1888
229 pages

The first chapter, 'Toronto a Fair Matron,' begins:

Two gentlemen friends saunter arm in arm up and down the deck of the palace steamer Chicora as she enters our beautiful Lake Ontario from the picturesque Niagara River, on a perfect day in delightful September, when the blue canopy of the heavens seems so far away, one wonders that the mirrored surface of the lake can reflect its color.

Dale and Buckingham are the two gentlemen friends. In their sauntering, the former teases the latter for being a bachelor. Dale brags that he has not only wed, but has managed to father a child, whilst friend Buckingham prefers the company of his gentleman's club.

I describe this opening scene because it suggests an intriguing read.

Sadly, A Romance of Toronto is not.

Buckingham has joined Dale, Mrs Dale, their child, and pretty governess Miss Crew on a voyage from New York to Toronto. His presence aboard the Chicora is something of a mystery, but then the same might be said of the Dales and young Miss Crew. All may or may not involve a certain Mrs Gower, who has put to pen "a letter descriptive of Toronto." Dale reads it aloud as the palace steamer approaches Ontario's capitol. Four pages are consumed, these being the middle two:

Cliquez pour agrandir.

A Romance of Toronto is not a long novel but it demands a good amount of time and a great deal of concentration and patience. The reader may feel lost in the early chapters, but will eventually come upon a path. That same path will split in two, and then come together in the final pages.

In her introductory note, Mrs Savigny describes A Romance of Toronto as a novel consisting of two plots.

Dale and Buckingham have nothing to do with either.

The first involves young Charles Babbington-Cole. He knows Mrs Gower through his father, Hugh Babbington-Cole. A widower in frail health, Babbington-Cole père was once engaged to a wealthy Englishwoman. Tragically, the union was prevented through conniving and lies told the bride-elect by the sister of his late wife. The Englishwoman instead married her guardian with whom she had a daughter. When the sister-in-law's malfeasance was exposed Hugh Babbington-Cole and the Englishwoman – identified only as "Pearl" – vow that their offspring will one day wed and together inherit her riches.

And so, Charles Babbington-Cole bids Mrs Gower adieu, embarking for England and a storyline that reads like a very bad imitation of May Agnes Fleming; kidnapping, false identity, forced marriage, and a gothic manor house will figure.

The second plot – much more absurd, yet somehow less interesting – concerns Mrs Gower herself. A woman who has has twice worn the black robes of widowhood, she is cornered into accepting a marriage proposal from Mr Cobbe, by far the most repellent of her social set. Mrs Gower tells Mrs Drew how this came to be in 'The Oath in the Tower of Toronto University,' the novel's sixteenth chapter. This is its beginning:

Cliquez pour agrandir.

Several more pages pass in Mrs Gower's telling, but it comes down to this: Cobbe, who has been pestering Mrs Gower to marry him, fools her into believing that they've become locked in the tower overnight. Fearing scandal, Mrs Gower promises to marry Cobbe if he can only find a way out of their situation. The two descend only to find that the tower door isn't locked, and yet she holds herself to the oath.

Is Mrs Gower doomed to marry Cobbe? Is there not a means through which she can be released from her promise? Might the mysterious woman who has been haunting the grounds of Mrs Gower's home hold the key? The situation is made all the more dire when she meets and falls in love with Alexander Blair, a barrister newly arrived from Scotland.

Nothing is spoiled in reporting that all ends happily; the first of the novel's two epigraphs suggests as much.

Mrs Savigny's note makes it plain that A Romance of Toronto (Founded on Fact) is a roman à clef. but who are its models? Her two plots – "one of which was told to me by an actor therein; the other I have myself watched" – are "living facts." Who are the originals?  

A Montrealer, I hope to hear the answer from one of Toronto's fair children.

Trivia: The epigraph attributed to Charles Darwin – "I would like the Government to forbid the publication of all novels that did not end well." – is a false quote. Sleuthing led to the December 3, 1887 number of The Illustrated London News, which cites "Darwin's delightful biography [sic]" as the source. In The Autobiography of Charles Darwin (1887), the naturalist writes of the pleasure he receives from novels, adding: "A surprising number have been read aloud to me, and I like all if moderately good, and if they do not end unhappily—against which a law ought to be passed."

Mrs Savigny attributes her second epigraph – "What would the world do without story-books" – to Charles Dickens. I've not been able to find this quote or anything resembling it outside the pages of her novel.

Trivia II: The University of Toronto is referred to only once as such; "Toronto University" is used throughout the rest of the novel. I asked Amy Lavender Harris, author of Imagining Toronto, about this. She suggests that "Toronto University" might have been used to connote familiarity.

Bloomers: There are two, both expressed by Mrs Gower. The first is upon learning of Charles Babbington-Cole's departure for England:

"Don't you think, Lilian, that the opposite sex is usually chosen to lend an ear?" she said, carelessly, to conceal a feeling of sadness at the out-going of her friend; for she is aware that the old friendly intercourse is broken, now that he has gone to his wedding.

In the second, Mrs Gower is speaking of the man she loves:

"I am so glad he has come into my life: I feel lonely at times; and he is so companionable, I know. What dependent creatures we are, after all—houses and lands, robes a la mode, even, don't suffice. Intercourse we must have."

Object and Access: A deceptively slim hardcover. Fifty years after publication, my copy was added to the library of the Department of the Secretary of State. One wonders why. Might it have something to do with the suggestion that A Romance of Toronto is a roman à clef? I'm guessing not, but like to imagine otherwise. 

I don't know what to make of the binding, which is markedly different than Harvard University's copy:

I purchased A Romance of Toronto three years ago. As I write this just two copies are listed for sale online. The least expensive – $65 – is "good only." At $247, the alternative is "very fine." Take your pick.

A Romance of Toronto was reprinted in 1973 by the University of Toronto. If anything, that edition is even more rare. Long in the public domain, it continues to be picked over by print on demand vultures. This cover is my favourite by far:

Related post:

Susanna Moodie's Bloomers