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Sunshine Sketches of a Little Town
[Saved as a draft in September, 2016]
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From: The pioneers of old Ontario, by W. L. Smith
With illustrations drawn by M. McGillivray
(How small cities were run)
[Note: the link is for a public domain, open library, copy of the book]
I have been reunited with the lovely little book Sunshine Sketches of a Little Town by Stephen Leacock (which I've read before, but had misplaced my original copy) while searching around for "a book on Barrie" as I told the saleslady at the Chapters/Indigo bookstore. We found one in particular: A Chronicle of Magpies by Bruce Meyer. But there was a two-week wait for an order, and I wasn't sure about it, where Amazon describes it thus:
From my safe post overlooking
Mr. Smith, Hotelier
Illustrator: Cuneo, Cyrus (1879-1916)
Below is the first chapter of Sunshine Sketches of a Little Town. I laughed throughout. Please read this chapter as an introduction to the rest of the book. Many editions are available on Amazon.com.
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Sunshine Sketches of a Little Town
By: Stephen Leacock
(The book s available to read online here)
I. The Hostelry of Mr. Smith
I don't know whether you know Mariposa. If not, it is of no consequence, for if you know Canada at all, you are probably well acquainted with a dozen towns just like it.
There it lies in the sunlight, sloping up from the little lake that spreads out at the foot of the hillside on which the town is built. There is a wharf beside the lake, and lying alongside of it a steamer that is tied to the wharf with two ropes of about the same size as they use on the Lusitania. The steamer goes nowhere in particular, for the lake is landlocked and there is no navigation for the Mariposa Belle except to "run trips" on the first of July and the Queen's Birthday, and to take excursions of the Knights of Pythias and the Sons of Temperance to and from the Local Option Townships.
In point of geography the lake is called Lake Wissanotti and the river running out of it the Ossawippi, just as the main street of Mariposa is called Missinaba Street and the county Missinaba County. But these names do not really matter. Nobody uses them. People simply speak of the "lake" and the "river" and the "main street," much in the same way as they always call the Continental Hotel, "Pete Robinson's" and the Pharmaceutical Hall, "Eliot's Drug Store." But I suppose this is just the same in every one else's town as in mine, so I need lay no stress on it.
The town, I say, has one broad street that runs up from the lake, commonly called the Main Street. There is no doubt about its width. When Mariposa was laid out there was none of that shortsightedness which is seen in the cramped dimensions of Wall Street and Piccadilly. Missinaba street is so wide that if you were to roll Jeff Thorpe's barber shop over on its face it wouldn't reach half way across. Up and down the Main Street are telegraph poles of cedar of colossal thickness, standing at a variety of angles and carrying rather more wires than are commonly seen at a transatlantic cable station.
On the Main Street itself are a number of buildings of extraordinary importance,—Smith's Hotel and the Continental and the Mariposa House, and the two banks (the Commercial and the Exchange), to say nothing of McCarthy's Block (erected in 1878), and Glover's Hardware Store with the Oddfellows' Hall above it. Then on the "cross" street that intersects Missinaba Street at the main corner there is the Post Office and the Fire Hall and the Young Men's Christian Association and the office of the Mariposa Newspacket,—in fact, to the eye of discernment a perfect jostle of public institutions comparable only to Threadneedle Street or Lower Broadway. On all the side streets there are maple trees and broad sidewalks, trim gardens with upright calla lilies, houses with verandahs, which are here and there being replaced by residences with piazzas.
To the careless eye the scene on the Main Street of a summer afternoon is one of deep and unbroken peace. The empty street sleeps in the sunshine. There is a horse and buggy tied to the hitching post in front of Glover's hardware store. There is, usually and commonly, the burly figure of Mr. Smith, proprietor of Smith's Hotel, standing in his chequered waistcoat on the steps of his hostelry, and perhaps, further up the street, Lawyer Macartney going for his afternoon mail, or the Rev. Mr. Drone, the Rural Dean of the Church of England Church, going home to get his fishing rod after a mothers' auxiliary meeting.
But this quiet is mere appearance. In reality, and to those who know it, the place is a perfect hive of activity. Why, at Netley's butcher shop (established in 1882) there are no less than four men working on the sausage machines in the basement; at the Newspacket office there are as many more job-printing; there is a long distance telephone with four distracting girls on high stools wearing steel caps and talking incessantly; in the offices in McCarthy's block are dentists and lawyers, with their coats off, ready to work at any moment; and from the big planing factory down beside the lake where the railroad siding is, you may hear all through the hours of the summer afternoon the long-drawn music of the running saw.
Busy—well, I should think so! Ask any of its inhabitants if Mariposa isn't a busy, hustling, thriving town. Ask Mullins, the manager of the Exchange Bank, who comes hustling over to his office from the Mariposa House every day at 10.30 and has scarcely time all morning to go out and take a drink with the manager of the Commercial; or ask—well, for the matter of that, ask any of them if they ever knew a more rushing go-a-head town than Mariposa.
Of course if you come to the place fresh from New York, you are deceived. Your standard of vision is all astray. You do think the place is quiet. You do imagine that Mr. Smith is asleep merely because he closes his eyes as he stands. But live in Mariposa for six months or a year and then you will begin to understand it better; the buildings get higher and higher; the Mariposa House grows more and more luxurious; McCarthy's block towers to the sky; the 'buses roar and hum to the station; the trains shriek; the traffic multiplies; the people move faster and faster; a dense crowd swirls to and fro in the post-office and the five and ten cent store—and amusements! well, now! lacrosse, baseball, excursions, dances, the Firemen's Ball every winter and the Catholic picnic every summer; and music—the town band in the park every Wednesday evening, and the Oddfellows' brass band on the street every other Friday; the Mariposa Quartette, the Salvation Army—why, after a few months' residence you begin to realize that the place is a mere mad round of gaiety.
In point of population, if one must come down to figures the Canadian census puts the numbers every time at something round five thousand. But it is very generally understood in Mariposa that the census is largely the outcome of malicious jealousy. It is usual that after the census the editor of the Mariposa Newspacket makes a careful re-estimate (based on the data of relative non-payment of subscriptions), and brings the population up to 6,000. After that the Mariposa Times-Herald makes an estimate that runs the figures up to 6,500. Then Mr. Gingham, the undertaker, who collects the vital statistics for the provincial government, makes an estimate from the number of what he calls the "demised" as compared with the less interesting persons who are still alive, and brings the population to 7,000. After that somebody else works it out that it's 7,500; then the man behind the bar of the Mariposa House offers to bet the whole room that there are 9,000 people in Mariposa. That settles it, and the population is well on the way to 10,000, when down swoops the federal census taker on his next round and the town has to begin all over again.
Still, it is a thriving town and there is no doubt of it. Even the transcontinental railways, as any townsman will tell you, run through Mariposa. It is true that the trains mostly go through at night and don't stop. But in the wakeful silence of the summer night you may hear the long whistle of the through train for the west as it tears through Mariposa, rattling over the switches and past the semaphores and ending in a long, sullen roar as it takes the trestle bridge over the Ossawippi. Or, better still, on a winter evening about eight o'clock you will see the long row of the Pullmans and diners of the night express going north to the mining country, the windows flashing with brilliant light, and within them a vista of cut glass and snow-white table linen, smiling negroes and millionaires with napkins at their chins whirling past in the driving snowstorm.
I can tell you the people of Mariposa are proud of the trains, even if they don't stop! The joy of being on the main line lifts the Mariposa people above the level of their neighbours in such places as Tecumseh and Nichols Corners into the cosmopolitan atmosphere of through traffic and the larger life. Of course, they have their own train, too—the Mariposa Local, made up right there in the station yard, and running south to the city a hundred miles away. That, of course, is a real train, with a box stove on end in the passenger car, fed with cordwood upside down, and with seventeen flat cars of pine lumber set between the passenger car and the locomotive so as to give the train its full impact when shunting.
Outside of Mariposa there are farms that begin well but get thinner and meaner as you go on, and end sooner or later in bush and swamp and the rock of the north country. And beyond that again, as the background of it all, though it's far away, you are somehow aware of the great pine woods of the lumber country reaching endlessly into the north.
Not that the little town is always gay or always bright in the sunshine. There never was such a place for changing its character with the season. Dark enough and dull it seems of a winter night, the wooden sidewalks creaking with the frost, and the lights burning dim behind the shop windows. In olden times the lights were coal oil lamps; now, of course, they are, or are supposed to be, electricity,—brought from the power house on the lower Ossawippi nineteen miles away. But, somehow, though it starts off as electricity from the Ossawippi rapids, by the time it gets to Mariposa and filters into the little bulbs behind the frosty windows of the shops, it has turned into coal oil again, as yellow and bleared as ever.
After the winter, the snow melts and the ice goes out of the lake, the sun shines high and the shanty-men come down from the lumber woods and lie round drunk on the sidewalk outside of Smith's Hotel—and that's spring time. Mariposa is then a fierce, dangerous lumber town, calculated to terrorize the soul of a newcomer who does not understand that this also is only an appearance and that presently the rough-looking shanty-men will change their clothes and turn back again into farmers.
Then the sun shines warmer and the maple trees come out and Lawyer Macartney puts on his tennis trousers, and that's summer time. The little town changes to a sort of summer resort. There are visitors up from the city. Every one of the seven cottages along the lake is full. The Mariposa Belle churns the waters of the Wissanotti into foam as she sails out from the wharf, in a cloud of flags, the band playing and the daughters and sisters of the Knights of Pythias dancing gaily on the deck.
That changes too. The days shorten. The visitors disappear. The golden rod beside the meadow droops and withers on its stem. The maples blaze in glory and die. The evening closes dark and chill, and in the gloom of the main corner of Mariposa the Salvation Army around a naphtha lamp lift up the confession of their sins—and that is autumn. Thus the year runs its round, moving and changing in Mariposa, much as it does in other places.
If, then, you feel that you know the town well enough to be admitted into the inner life and movement of it, walk down this June afternoon half way down the Main Street—or, if you like, half way up from the wharf—to where Mr. Smith is standing at the door of his hostelry. You will feel as you draw near that it is no ordinary man that you approach. It is not alone the huge bulk of Mr. Smith (two hundred and eighty pounds as tested on Netley's scales). It is not merely his costume, though the chequered waistcoat of dark blue with a flowered pattern forms, with his shepherd's plaid trousers, his grey spats and patent-leather boots, a colour scheme of no mean order. Nor is it merely Mr. Smith's finely mottled face. The face, no doubt, is a notable one,—solemn, inexpressible, unreadable, the face of the heaven-born hotel keeper. It is more than that. It is the strange dominating personality of the man that somehow holds you captive. I know nothing in history to compare with the position of Mr. Smith among those who drink over his bar, except, though in a lesser degree, the relation of the Emperor Napoleon to the Imperial Guard.
When you meet Mr. Smith first you think he looks like an over-dressed pirate. Then you begin to think him a character. You wonder at his enormous bulk. Then the utter hopelessness of knowing what Smith is thinking by merely looking at his features gets on your mind and makes the Mona Lisa seem an open book and the ordinary human countenance as superficial as a puddle in the sunlight. After you have had a drink in Mr. Smith's bar, and he has called you by your Christian name, you realize that you are dealing with one of the greatest minds in the hotel business.
Take, for instance, the big sign that sticks out into the street above Mr. Smith's head as he stands. What is on it? Simply: "JOS. SMITH, PROP." Nothing more, and yet the thing was a flash of genius. Other men who had had the hotel before Mr. Smith had called it by such feeble names as the Royal Hotel and the Queen's and the Alexandria. Every one of them failed. When Mr. Smith took over the hotel he simply put up the sign with "JOS. SMITH, PROP.," and then stood underneath in the sunshine as a living proof that a man who weighs nearly three hundred pounds is the natural king of the hotel business.
But on this particular afternoon, in spite of the sunshine and deep peace, there was something as near to profound concern and anxiety as the features of Mr. Smith were ever known to express.
The moment was indeed an anxious one. Mr. Smith was awaiting a telegram from his legal adviser who had that day journeyed to the county town to represent the proprietor's interest before the assembled License Commissioners. If you know anything of the hotel business at all, you will understand that as beside the decisions of the License Commissioners of Missinaba County, the opinions of the Lords of the Privy Council are mere trifles.
The matter in question was very grave. The Mariposa Court had just fined Mr. Smith for the second time for selling liquors after hours. The Commissioners, therefore, were entitled to cancel the license.
Mr. Smith knew his fault and acknowledged it. He had broken the law. How he had come to do so, it passed his imagination to recall. Crime always seems impossible in retrospect. By what sheer madness of the moment could he have shut up the bar on the night in question, and shut Judge Pepperleigh, the district judge of Missinaba County, outside of it? The more so inasmuch as the closing up of the bar under the rigid license law of the province was a matter that the proprietor never trusted to any hands but his own. Punctually every night at 11 o'clock Mr. Smith strolled from the desk of the "rotunda" to the door of the bar. If it seemed properly full of people and all was bright and cheerful, then he closed it. If not, he kept it open a few minutes longer till he had enough people inside to warrant closing. But never, never unless he was assured that Pepperleigh, the judge of the court, and Macartney, the prosecuting attorney, were both safely in the bar, or the bar parlour, did the proprietor venture to close up. Yet on this fatal night Pepperleigh and Macartney had been shut out—actually left on the street without a drink, and compelled to hammer and beat at the street door of the bar to gain admittance.
This was the kind of thing not to be tolerated. Either a hotel must be run decently or quit. An information was laid next day and Mr. Smith convicted in four minutes, his lawyers practically refusing to plead. The Mariposa court, when the presiding judge was cold sober, and it had the force of public opinion behind it, was a terrible engine of retributive justice.
So no wonder that Mr. Smith awaited with anxiety the message of his legal adviser.
He looked alternately up the street and down it again, hauled out his watch from the depths of his embroidered pocket, and examined the hour hand and the minute hand and the second hand with frowning scrutiny.
Then wearily, and as one mindful that a hotel man is ever the servant of the public, he turned back into the hotel.
"Billy," he said to the desk clerk, "if a wire comes bring it into the bar parlour."
The voice of Mr. Smith is of a deep guttural such as Plancon or Edouard de Reske might have obtained had they had the advantages of the hotel business. And with that, Mr. Smith, as was his custom in off moments, joined his guests in the back room. His appearance, to the untrained eye, was merely that of an extremely stout hotel-keeper walking from the rotunda to the back bar. In reality, Mr. Smith was on the eve of one of the most brilliant and daring strokes ever effected in the history of licensed liquor. When I say that it was out of the agitation of this situation that Smith's Ladies' and Gent's Café originated, anybody who knows Mariposa will understand the magnitude of the moment.
Mr. Smith, then, moved slowly from the doorway of the hotel through the "rotunda," or more simply the front room with the desk and the cigar case in it, and so to the bar and thence to the little room or back bar behind it. In this room, as I have said, the brightest minds of Mariposa might commonly be found in the quieter part of a summer afternoon.
To-day there was a group of four who looked up as Mr. Smith entered, somewhat sympathetically, and evidently aware of the perplexities of the moment.
Henry Mullins and George Duff, the two bank managers, were both present. Mullins is a rather short, rather round, smooth-shaven man of less than forty, wearing one of those round banking suits of pepper and salt, with a round banking hat of hard straw, and with the kind of gold tie-pin and heavy watch-chain and seals necessary to inspire confidence in matters of foreign exchange. Duff is just as round and just as short, and equally smoothly shaven, while his seals and straw hat are calculated to prove that the Commercial is just as sound a bank as the Exchange. From the technical point of view of the banking business, neither of them had any objection to being in Smith's Hotel or to taking a drink as long as the other was present. This, of course, was one of the cardinal principles of Mariposa banking.
Then there was Mr. Diston, the high school teacher, commonly known as the "one who drank." None of the other teachers ever entered a hotel unless accompanied by a lady or protected by a child. But as Mr. Diston was known to drink beer on occasions and to go in and out of the Mariposa House and Smith's Hotel, he was looked upon as a man whose life was a mere wreck. Whenever the School Board raised the salaries of the other teachers, fifty or sixty dollars per annum at one lift, it was well understood that public morality wouldn't permit of an increase for Mr. Diston.
Still more noticeable, perhaps, was the quiet, sallow looking man dressed in black, with black gloves and with black silk hat heavily craped and placed hollow-side-up on a chair. This was Mr. Golgotha Gingham, the undertaker of Mariposa, and his dress was due to the fact that he had just come from what he called an "interment." Mr. Gingham had the true spirit of his profession, and such words as "funeral" or "coffin" or "hearse" never passed his lips. He spoke always of "interments," of "caskets," and "coaches," using terms that were calculated rather to bring out the majesty and sublimity of death than to parade its horrors.
To be present at the hotel was in accord with Mr. Gingham's general conception of his business. No man had ever grasped the true principles of undertaking more thoroughly than Mr. Gingham. I have often heard him explain that to associate with the living, uninteresting though they appear, is the only way to secure the custom of the dead.
"Get to know people really well while they are alive," said Mr. Gingham; "be friends with them, close friends, and then when they die you don't need to worry. You'll get the order every time."
So, naturally, as the moment was one of sympathy, it was Mr. Gingham who spoke first.
"What'll you do, Josh," he said, "if the Commissioners go against you?"
"Boys," said Mr. Smith, "I don't rightly know. If I have to quit, the next move is to the city. But I don't reckon that I will have to quit. I've got an idee that I think's good every time."
"Could you run a hotel in the city?" asked Mullins.
"I could," said Mr. Smith. "I'll tell you. There's big things doin' in the hotel business right now, big chances if you go into it right. Hotels in the city is branching out. Why, you take the dining-room side of it," continued Mr. Smith, looking round at the group, "there's thousands in it. The old plan's all gone. Folks won't eat now in an ordinary dining-room with a high ceiling and windows. You have to get 'em down underground in a room with no windows and lots of sawdust round and waiters that can't speak English. I seen them places last time I was in the city. They call 'em Rats' Coolers. And for light meals they want a Caff, a real French Caff, and for folks that come in late another place that they call a Girl Room that don't shut up at all. If I go to the city that's the kind of place I mean to run. What's yours, Gol? It's on the house?"
And it was just at the moment when Mr. Smith said this that Billy, the desk clerk, entered the room with the telegram in his hand.
But stop—it is impossible for you to understand the anxiety with which Mr. Smith and his associates awaited the news from the Commissioners, without first realizing the astounding progress of Mr. Smith in the three past years, and the pinnacle of public eminence to which he had attained.
Mr. Smith had come down from the lumber country of the Spanish River, where the divide is toward the Hudson Bay,—"back north" as they called it in Mariposa.
He had been, it was said, a cook in the lumber shanties. To this day Mr. Smith can fry an egg on both sides with a lightness of touch that is the despair of his own "help."
After that, he had run a river driver's boarding-house.
After that, he had taken a food contract for a gang of railroad navvies on the transcontinental.
After that, of course, the whole world was open to him.
He came down to Mariposa and bought out the "inside" of what had been the Royal Hotel.
Those who are educated understand that by the "inside" of a hotel is meant everything except the four outer walls of it—the fittings, the furniture, the bar, Billy the desk-clerk, the three dining-room girls, and above all the license granted by King Edward VII., and ratified further by King George, for the sale of intoxicating liquors.
Till then the Royal had been a mere nothing. As "Smith's Hotel" it broke into a blaze of effulgence.
From the first, Mr. Smith, as a proprietor, was a wild, rapturous success.
He had all the qualifications.
He weighed two hundred and eighty pounds.
He could haul two drunken men out of the bar each by the scruff of the neck without the faintest anger or excitement.
He carried money enough in his trousers pockets to start a bank, and spent it on anything, bet it on anything, and gave it away in handfuls.
He was never drunk, and, as a point of chivalry to his customers, never quite sober. Anybody was free of the hotel who cared to come in. Anybody who didn't like it could go out. Drinks of all kinds cost five cents, or six for a quarter. Meals and beds were practically free. Any persons foolish enough to go to the desk and pay for them, Mr. Smith charged according to the expression of their faces.
At first the loafers and the shanty men settled down on the place in a shower. But that was not the "trade" that Mr. Smith wanted. He knew how to get rid of them. An army of charwomen, turned into the hotel, scrubbed it from top to bottom. A vacuum cleaner, the first seen in Mariposa, hissed and screamed in the corridors. Forty brass beds were imported from the city, not, of course, for the guests to sleep in, but to keep them out. A bar-tender with a starched coat and wicker sleeves was put behind the bar.
The loafers were put out of business. The place had become too "high toned" for them.
To get the high class trade, Mr. Smith set himself to dress the part. He wore wide cut coats of filmy serge, light as gossamer; chequered waistcoats with a pattern for every day in the week; fedora hats light as autumn leaves; four-in-hand ties of saffron and myrtle green with a diamond pin the size of a hazel nut. On his fingers there were as many gems as would grace a native prince of India; across his waistcoat lay a gold watch-chain in huge square links and in his pocket a gold watch that weighed a pound and a half and marked minutes, seconds and quarter seconds. Just to look at Josh Smith's watch brought at least ten men to the bar every evening.
Every morning Mr. Smith was shaved by Jefferson Thorpe, across the way. All that art could do, all that Florida water could effect, was lavished on his person.
Mr. Smith became a local character. Mariposa was at his feet. All the reputable business-men drank at Mr. Smith's bar, and in the little parlour behind it you might find at any time a group of the brightest intellects in the town.
Not but what there was opposition at first. The clergy, for example, who accepted the Mariposa House and the Continental as a necessary and useful evil, looked askance at the blazing lights and the surging crowd of Mr. Smith's saloon. They preached against him. When the Rev. Dean Drone led off with a sermon on the text "Lord be merciful even unto this publican Matthew Six," it was generally understood as an invitation to strike Mr. Smith dead. In the same way the sermon at the Presbyterian church the week after was on the text "Lo what now doeth Abiram in the land of Melchisideck Kings Eight and Nine?" and it was perfectly plain that what was meant was, "Lo, what is Josh Smith doing in Mariposa?"
But this opposition had been countered by a wide and sagacious philanthropy. I think Mr. Smith first got the idea of that on the night when the steam merry-go-round came to Mariposa. Just below the hostelry, on an empty lot, it whirled and whistled, steaming forth its tunes on the summer evening while the children crowded round it in hundreds. Down the street strolled Mr. Smith, wearing a soft fedora to indicate that it was evening.
"What d'you charge for a ride, boss?" said Mr. Smith.
"Two for a nickel," said the man.
"Take that," said Mr. Smith, handing out a ten-dollar bill from a roll of money, "and ride the little folks free all evening."
That night the merry-go-round whirled madly till after midnight, freighted to capacity with Mariposa children, while up in Smith's Hotel, parents, friends and admirers, as the news spread, were standing four deep along the bar. They sold forty dollars' worth of lager alone that night, and Mr. Smith learned, if he had not already suspected it, the blessedness of giving.
The uses of philanthropy went further. Mr. Smith subscribed to everything, joined everything, gave to everything. He became an Oddfellow, a Forester, a Knight of Pythias and a Workman. He gave a hundred dollars to the Mariposa Hospital and a hundred dollars to the Young Men's Christian Association.
He subscribed to the Ball Club, the Lacrosse Club, the Curling Club, to anything, in fact, and especially to all those things which needed premises to meet in and grew thirsty in their discussions.
As a consequence the Oddfellows held their annual banquet at Smith's Hotel and the Oyster Supper of the Knights of Pythias was celebrated in Mr. Smith's dining-room.
Even more effective, perhaps, were Mr. Smith's secret benefactions, the kind of giving done by stealth of which not a soul in town knew anything, often, for a week after it was done. It was in this way that Mr. Smith put the new font in Dean Drone's church, and handed over a hundred dollars to Judge Pepperleigh for the unrestrained use of the Conservative party.
So it came about that, little by little, the antagonism had died down. Smith's Hotel became an accepted institution in Mariposa. Even the temperance people were proud of Mr. Smith as a sort of character who added distinction to the town. There were moments, in the earlier quiet of the morning, when Dean Drone would go so far as to step in to the "rotunda" and collect a subscription. As for the Salvation Army, they ran in and out all the time unreproved.
On only one point difficulty still remained. That was the closing of the bar. Mr. Smith could never bring his mind to it,—not as a matter of profit, but as a point of honour. It was too much for him to feel that Judge Pepperleigh might be out on the sidewalk thirsty at midnight, that the night hands of the Times-Herald on Wednesday might be compelled to go home dry. On this point Mr. Smith's moral code was simplicity itself,—do what is right and take the consequences. So the bar stayed open.
Every town, I suppose, has its meaner spirits. In every genial bosom some snake is warmed,—or, as Mr. Smith put it to Golgotha Gingham—"there are some fellers even in this town skunks enough to inform."
At first the Mariposa court quashed all indictments. The presiding judge, with his spectacles on and a pile of books in front of him, threatened the informer with the penitentiary. The whole bar of Mariposa was with Mr. Smith. But by sheer iteration the informations had proved successful. Judge Pepperleigh learned that Mr. Smith had subscribed a hundred dollars for the Liberal party and at once fined him for keeping open after hours. That made one conviction. On the top of this had come the untoward incident just mentioned and that made two. Beyond that was the deluge. This then was the exact situation when Billy, the desk clerk, entered the back bar with the telegram in his hand.
"Here's your wire, sir," he said.
"What does it say?" said Mr. Smith.
He always dealt with written documents with a fine air of detachment. I don't suppose there were ten people in Mariposa who knew that Mr. Smith couldn't read.
Billy opened the message and read, "Commissioners give you three months to close down."
"Let me read it," said Mr. Smith, "that's right, three months to close down."
There was dead silence when the message was read. Everybody waited for Mr. Smith to speak. Mr. Gingham instinctively assumed the professional air of hopeless melancholy.
As it was afterwards recorded, Mr. Smith stood and "studied" with the tray in his hand for at least four minutes. Then he spoke.
"Boys," he said, "I'll be darned if I close down till I'm ready to close down. I've got an idee. You wait and I'll show you."
And beyond that, not another word did Mr. Smith say on the subject.
But within forty-eight hours the whole town knew that something was doing. The hotel swarmed with carpenters, bricklayers and painters. There was an architect up from the city with a bundle of blue prints in his hand. There was an engineer taking the street level with a theodolite, and a gang of navvies with shovels digging like fury as if to dig out the back foundations of the hotel.
"That'll fool 'em," said Mr. Smith.
Half the town was gathered round the hotel crazy with excitement. But not a word would the proprietor say.
Great dray loads of square timber, and two-by-eight pine joists kept arriving from the planing mill. There was a pile of matched spruce sixteen feet high lying by the sidewalk.
Then the excavation deepened and the dirt flew, and the beams went up and the joists across, and all the day from dawn till dusk the hammers of the carpenters clattered away, working overtime at time and a half.
"It don't matter what it costs," said Mr. Smith; "get it done."
Rapidly the structure took form. It extended down the side street, joining the hotel at a right angle. Spacious and graceful it looked as it reared its uprights into the air.
Already you could see the place where the row of windows was to come, a veritable palace of glass, it must be, so wide and commodious were they. Below it, you could see the basement shaping itself, with a low ceiling like a vault and big beams running across, dressed, smoothed, and ready for staining. Already in the street there were seven crates of red and white awning.
And even then nobody knew what it was, and it was not till the seventeenth day that Mr. Smith, in the privacy of the back bar, broke the silence and explained.
"I tell you, boys," he says, "it's a caff—like what they have in the city—a ladies' and gent's caff, and that underneath (what's yours, Mr. Mullins?) is a Rats' Cooler. And when I get her started, I'll hire a French Chief to do the cooking, and for the winter I will put in a 'girl room,' like what they have in the city hotels. And I'd like to see who's going to close her up then."
Within two more weeks the plan was in operation. Not only was the caff built but the very hotel was transformed. Awnings had broken out in a red and white cloud upon its face, its every window carried a box of hanging plants, and above in glory floated the Union Jack. The very stationery was changed. The place was now Smith's Summer Pavilion. It was advertised in the city as Smith's Tourists' Emporium, and Smith's Northern Health Resort. Mr. Smith got the editor of the Times-Herald to write up a circular all about ozone and the Mariposa pine woods, with illustrations of the maskinonge (piscis mariposis) of Lake Wissanotti.
The Saturday after that circular hit the city in July, there were men with fishing rods and landing nets pouring in on every train, almost too fast to register. And if, in the face of that, a few little drops of whiskey were sold over the bar, who thought of it?
But the caff! that, of course, was the crowning glory of the thing, that and the Rats' Cooler below.
Light and cool, with swinging windows open to the air, tables with marble tops, palms, waiters in white coats—it was the standing marvel of Mariposa. Not a soul in the town except Mr. Smith, who knew it by instinct, ever guessed that waiters and palms and marble tables can be rented over the long distance telephone.
Mr. Smith was as good as his word. He got a French Chief with an aristocratic saturnine countenance, and a moustache and imperial that recalled the late Napoleon III. No one knew where Mr. Smith got him. Some people in the town said he was a French marquis. Others said he was a count and explained the difference.
No one in Mariposa had ever seen anything like the caff. All down the side of it were the grill fires, with great pewter dish covers that went up and down on a chain, and you could walk along the row and actually pick out your own cutlet and then see the French marquis throw it on to the broiling iron; you could watch a buckwheat pancake whirled into existence under your eyes and see fowls' legs devilled, peppered, grilled, and tormented till they lost all semblance of the original Mariposa chicken.
Mr. Smith, of course, was in his glory.
"What have you got to-day, Alf?" he would say, as he strolled over to the marquis. The name of the Chief was, I believe, Alphonse, but "Alf" was near enough for Mr. Smith.
The marquis would extend to the proprietor the menu, "Voilà, m'sieu, la carte du jour."
Mr. Smith, by the way, encouraged the use of the French language in the caff. He viewed it, of course, solely in its relation to the hotel business, and, I think, regarded it as a recent invention.
"It's comin' in all the time in the city," he said, "and y'aint expected to understand it."
Mr. Smith would take the carte between his finger and thumb and stare at it. It was all covered with such devices as Potage à la Mariposa—Filet Mignon à la proprietaire—Côtelette à la Smith, and so on.
But the greatest thing about the caff were the prices. Therein lay, as everybody saw at once, the hopeless simplicity of Mr. Smith.
The prices stood fast at 25 cents a meal. You could come in and eat all they had in the caff for a quarter.
"No, sir," Mr. Smith said stoutly, "I ain't going to try to raise no prices on the public. The hotel's always been a quarter and the caff's a quarter."
Full? Full of people?
Well, I should think so! From the time the caff opened at 11 till it closed at 8.30, you could hardly find a table. Tourists, visitors, travellers, and half the people of Mariposa crowded at the little tables; crockery rattling, glasses tinkling on trays, corks popping, the waiters in their white coats flying to and fro, Alphonse whirling the cutlets and pancakes into the air, and in and through it all, Mr. Smith, in a white flannel suit and a broad crimson sash about his waist. Crowded and gay from morning to night, and even noisy in its hilarity.
Noisy, yes; but if you wanted deep quiet and cool, if you wanted to step from the glare of a Canadian August to the deep shadow of an enchanted glade,—walk down below into the Rats' Cooler. There you had it; dark old beams (who could believe they were put there a month ago?), great casks set on end with legends such as Amontillado Fino done in gilt on a black ground, tall steins filled with German beer soft as moss, and a German waiter noiseless as moving foam. He who entered the Rats' Cooler at three of a summer afternoon was buried there for the day. Mr. Golgotha Gingham spent anything from four to seven hours there of every day. In his mind the place had all the quiet charm of an interment, with none of its sorrows.
But at night, when Mr. Smith and Billy, the desk clerk, opened up the cash register and figured out the combined losses of the caff and the Rats' Cooler, Mr. Smith would say:
"Billy, just wait till I get the license renood, and I'll close up this damn caff so tight they'll never know what hit her. What did that lamb cost? Fifty cents a pound, was it? I figure it, Billy, that every one of them hogs eats about a dollar's worth a grub for every twenty-five cents they pay on it. As for Alf—by gosh, I'm through with him."
But that, of course, was only a confidential matter as between Mr. Smith and Billy.
I don't know at what precise period it was that the idea of a petition to the License Commissioners first got about the town. No one seemed to know just who suggested it. But certain it was that public opinion began to swing strongly towards the support of Mr. Smith. I think it was perhaps on the day after the big fish dinner that Alphonse cooked for the Mariposa Canoe Club (at twenty cents a head) that the feeling began to find open expression. People said it was a shame that a man like Josh Smith should be run out of Mariposa by three license commissioners. Who were the license commissioners, anyway? Why, look at the license system they had in Sweden; yes, and in Finland and in South America. Or, for the matter of that, look at the French and Italians, who drink all day and all night. Aren't they all right? Aren't they a musical people? Take Napoleon, and Victor Hugo; drunk half the time, and yet look what they did.
I quote these arguments not for their own sake, but merely to indicate the changing temper of public opinion in Mariposa. Men would sit in the caff at lunch perhaps for an hour and a half and talk about the license question in general, and then go down into the Rats' Cooler and talk about it for two hours more.
It was amazing the way the light broke in in the case of particular individuals, often the most unlikely, and quelled their opposition.
Take, for example, the editor of the Newspacket. I suppose there wasn't a greater temperance advocate in town. Yet Alphonse queered him with an Omelette à la License in one meal.
Or take Pepperleigh himself, the judge of the Mariposa court. He was put to the bad with a game pie,—pâté normand aux fines herbes—the real thing, as good as a trip to Paris in itself. After eating it, Pepperleigh had the common sense to realize that it was sheer madness to destroy a hotel that could cook a thing like that.
In the same way, the secretary of the School Board was silenced with a stuffed duck à la Ossawippi.
Three members of the town council were converted with a Dindon farci à la Josh Smith.
And then, finally, Mr. Diston persuaded Dean Drone to come, and as soon as Mr. Smith and Alphonse saw him they landed him with a fried flounder that even the apostles would have appreciated.
After that, every one knew that the license question was practically settled. The petition was all over the town. It was printed in duplicate at the Newspacket and you could see it lying on the counter of every shop in Mariposa. Some of the people signed it twenty or thirty times.
It was the right kind of document too. It began—"Whereas in the bounty of providence the earth putteth forth her luscious fruits and her vineyards for the delight and enjoyment of mankind——" It made you thirsty just to read it. Any man who read that petition over was wild to get to the Rats' Cooler.
When it was all signed up they had nearly three thousand names on it.
Then Nivens, the lawyer, and Mr. Gingham (as a provincial official) took it down to the county town, and by three o'clock that afternoon the news had gone out from the long distance telephone office that Smith's license was renewed for three years.
Rejoicings! Well, I should think so! Everybody was down wanting to shake hands with Mr. Smith. They told him that he had done more to boom Mariposa than any ten men in town. Some of them said he ought to run for the town council, and others wanted to make him the Conservative candidate for the next Dominion election. The caff was a mere babel of voices, and even the Rats' Cooler was almost floated away from its moorings.
And in the middle of it all, Mr. Smith found time to say to Billy, the desk clerk: "Take the cash registers out of the caff and the Rats' Cooler and start counting up the books."
And Billy said: "Will I write the letters for the palms and the tables and the stuff to go back?"
And Mr. Smith said: "Get 'em written right away."
So all evening the laughter and the chatter and the congratulations went on, and it wasn't till long after midnight that Mr. Smith was able to join Billy in the private room behind the "rotunda." Even when he did, there was a quiet and a dignity about his manner that had never been there before. I think it must have been the new halo of the Conservative candidacy that already radiated from his brow. It was, I imagine, at this very moment that Mr. Smith first realised that the hotel business formed the natural and proper threshold of the national legislature.
"Here's the account of the cash registers," said Billy.
"Let me see it," said Mr. Smith. And he studied the figures without a word.
"And here's the letters about the palms, and here's Alphonse up to yesterday——"
And then an amazing thing happened.
"Billy," said Mr. Smith, "tear 'em up. I ain't going to do it. It ain't right and I won't do it. They got me the license for to keep the caff and I'm going to keep the caff. I don't need to close her. The bar's good for anything from forty to a hundred a day now, with the Rats' Cooler going good, and that caff will stay right here."
And stay it did.
There it stands, mind you, to this day. You've only to step round the corner of Smith's Hotel on the side street and read the sign: LADIES' AND GENT'S CAFÉ, just as large and as imposing as ever.
Mr. Smith said that he'd keep the caff, and when he said a thing he meant it!
Of course there were changes, small changes.
I don't say, mind you, that the fillet de beef that you get there now is perhaps quite up to the level of the filet de boeufs aux champignons of the days of glory.
No doubt the lamb chops in Smith's Caff are often very much the same, nowadays, as the lamb chops of the Mariposa House or the Continental.
Of course, things like Omelette aux Trufles practically died out when Alphonse went. And, naturally, the leaving of Alphonse was inevitable. No one knew just when he went, or why. But one morning he was gone. Mr. Smith said that "Alf had to go back to his folks in the old country."
So, too, when Alf left, the use of the French language, as such, fell off tremendously in the caff. Even now they use it to some extent. You can still get fillet de beef, and saucisson au juice, but Billy the desk clerk has considerable trouble with the spelling.
The Rats' Cooler, of course, closed down, or rather Mr. Smith closed it for repairs, and there is every likelihood that it will hardly open for three years. But the caff is there. They don't use the grills, because there's no need to, with the hotel kitchen so handy.
The "girl room," I may say, was never opened. Mr. Smith promised it, it is true, for the winter, and still talks of it. But somehow there's been a sort of feeling against it. Everyone in town admits that every big hotel in the city has a "girl room" and that it must be all right. Still, there's a certain—well, you know how sensitive opinion is in a place like Mariposa.
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Lawren Stewart Harris (Canadian, 1885–1970)
Street in Barrie, Ont , 1919–1920
Oil on canvas
36.2 x 44.3 in
I first thought this painting was "under" saturated, and looked for better copies online. But it is actually how Harris painted this street scene. Group of Seven, of whom Harris was a member, were the avant-garde of the Canadian artists. Their depictions over-emphasized size, color, shape and other forms of paintings. They could be viewed as the "impressionists" of Canada.
Harris painted several scenes of Barrie's streets. The Art Gallery of Ontario in Toronto currently has an exhibition of Harris's works, titled The Idea of North, which includes the above Harris painting.
The "street in Barrie" could be Collier Street.
Lake View from Collier Street
[Photo By: KPA, 2016]
Not that much has changed [KPA: link updated March 2023], it seems.
I have been reunited with the lovely little book Sunshine Sketches of a Little Town by Stephen Leacock (which I've read before, but had misplaced my original copy) while searching around for "a book on Barrie" as I told the saleslady at the Chapters/Indigo bookstore. We found one in particular: A Chronicle of Magpies by Bruce Meyer. But there was a two-week wait for an order, and I wasn't sure about it, where Amazon describes it thus:
This collection examines the serendipity and spontaneity of history through stories about love, family, and art. Bruce Meyers offers a view that is both personal and panoramic in these heartfelt and surprising stories. The book features the post–WWI novella “A Chronicle of Magpies,” which tells the story of one family’s struggle to build their own paradise, a home and lakeside resort, in the gothic Canadian wilderness. The engrossing novella is the centerpiece to a rich collection of shorter narratives, which are told with the same keen eye and subtle lyricism..Why the "gothic Canadian wilderness?" It's a resort to the same old cliches about the "Canadian North," dark and uninviting. But that's way up "North." And even there, towns and cities have thrived, and people have lived and survived.
From my safe post overlooking
the St. Lawrence River
I wanted a book on the small towns I have passed through on my way to Ottawa where I used to travel upto several times a year. And a book that describes the small town bus stops where I would transfer onto local buses on the way to Wasaga Beach for a day at a quiet beach that I found by chance (from a bus transfer depot). These are towns not more than an hour and a half from Toronto, but which have a neat, compact, self-sufficient air. They are wary of those "big city" people whom they watch as they march through their beloved streets. They are not easily fooled. What have bright lights done for big cities other than attract all that moth? They do not want that.
As I browsed through the bookstore's extensive database, I was suddenly reminded of Leacock, and I typed in his name. "Sunshine Sketches of a Little Town - One Copy Available in-store" informed me the computer. I almost shouted "Great!" and proceeded to the "Humour" section to find this one copy. I looked, and looked. It wasn't there! It must have been mis-shelved. I looked around for my favorite book lady, but she must have been on her day off. A couple of staff came to help. I didn't trust their help. The multi-culti world of Mississauga puts all kinds of people in charge of books, and what would these two, both "South Asians," know about Leacock? They are part of the crowd (the growing, domineering group) that reads books by "Indian" writers, and "Chinese" writers, who win book prizes and awards as "Canadian" writers. And black writers who win their stories based on their Caribbean "heritage." Or white writers who tell tales of "oppression and discrimination" with their own white heritage as the guilty party. I ignored them, and proceeded with my search, systematically going through each shelf of the "Humour" section. "Great!" I had found it! I took the book to the cashier and pulled out the $21 due. "I should have collected enough points by now," I told the cashier. I get points with each book purchase, which adds funds towards another book (eventually, possibly, getting one for "free.")
I had accumulated $5. "Great!"
"I'll just go over and buy a magazine," I told the cashier.
For all the "humour" categorization, Sunshine Sketches of a Little Town is a tough little book, in keeping with that "Northern Spirit," where the characters show us how able they are to battle the elements (human and everything else). We are introduced to Mr. Smith from the very first chapter, who is one of many residents of Mariposa.
Half in jest, Leacock describes Mr. Smith thus:
I wanted a book on the small towns I have passed through on my way to Ottawa where I used to travel upto several times a year. And a book that describes the small town bus stops where I would transfer onto local buses on the way to Wasaga Beach for a day at a quiet beach that I found by chance (from a bus transfer depot). These are towns not more than an hour and a half from Toronto, but which have a neat, compact, self-sufficient air. They are wary of those "big city" people whom they watch as they march through their beloved streets. They are not easily fooled. What have bright lights done for big cities other than attract all that moth? They do not want that.
As I browsed through the bookstore's extensive database, I was suddenly reminded of Leacock, and I typed in his name. "Sunshine Sketches of a Little Town - One Copy Available in-store" informed me the computer. I almost shouted "Great!" and proceeded to the "Humour" section to find this one copy. I looked, and looked. It wasn't there! It must have been mis-shelved. I looked around for my favorite book lady, but she must have been on her day off. A couple of staff came to help. I didn't trust their help. The multi-culti world of Mississauga puts all kinds of people in charge of books, and what would these two, both "South Asians," know about Leacock? They are part of the crowd (the growing, domineering group) that reads books by "Indian" writers, and "Chinese" writers, who win book prizes and awards as "Canadian" writers. And black writers who win their stories based on their Caribbean "heritage." Or white writers who tell tales of "oppression and discrimination" with their own white heritage as the guilty party. I ignored them, and proceeded with my search, systematically going through each shelf of the "Humour" section. "Great!" I had found it! I took the book to the cashier and pulled out the $21 due. "I should have collected enough points by now," I told the cashier. I get points with each book purchase, which adds funds towards another book (eventually, possibly, getting one for "free.")
I had accumulated $5. "Great!"
"I'll just go over and buy a magazine," I told the cashier.
For all the "humour" categorization, Sunshine Sketches of a Little Town is a tough little book, in keeping with that "Northern Spirit," where the characters show us how able they are to battle the elements (human and everything else). We are introduced to Mr. Smith from the very first chapter, who is one of many residents of Mariposa.
Half in jest, Leacock describes Mr. Smith thus:
When you meet Mr. Smith first you think he looks like an over-dressed pirate. Then you begin to think him a character. You wonder at his enormous bulk. Then the utter hopelessness of knowing what Smith is thinking by merely looking at his features gets on your mind and makes the Mona Lisa seem an open book and the ordinary human countenance as superficial as a puddle in the sunlight. After you have had a drink in Mr. Smith's bar, and he has called you by your Christian name, you realize that you are dealing with one of the greatest minds in the hotel business.Mariposa, I should add, is the fictional name Leacock used, based on another little town in this country north of the big city called Orilla, which is about an hour north of Barrie, and not much different. Orilla holds an annual folk festival titled The Mariposa Folk Festival and which its website describes as: "A celebration of music, dance, story and craft, and so much more." The Mariposa Folk Festival is, of course after the book which placed it on the Toronto Map and which begrudgingly hosts folksy Torontonians (and others) during this annual hip fest.
Mr. Smith, Hotelier
Illustrator: Cuneo, Cyrus (1879-1916)
Below is the first chapter of Sunshine Sketches of a Little Town. I laughed throughout. Please read this chapter as an introduction to the rest of the book. Many editions are available on Amazon.com.
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Sunshine Sketches of a Little Town
By: Stephen Leacock
(The book s available to read online here)
I. The Hostelry of Mr. Smith
I don't know whether you know Mariposa. If not, it is of no consequence, for if you know Canada at all, you are probably well acquainted with a dozen towns just like it.
There it lies in the sunlight, sloping up from the little lake that spreads out at the foot of the hillside on which the town is built. There is a wharf beside the lake, and lying alongside of it a steamer that is tied to the wharf with two ropes of about the same size as they use on the Lusitania. The steamer goes nowhere in particular, for the lake is landlocked and there is no navigation for the Mariposa Belle except to "run trips" on the first of July and the Queen's Birthday, and to take excursions of the Knights of Pythias and the Sons of Temperance to and from the Local Option Townships.
In point of geography the lake is called Lake Wissanotti and the river running out of it the Ossawippi, just as the main street of Mariposa is called Missinaba Street and the county Missinaba County. But these names do not really matter. Nobody uses them. People simply speak of the "lake" and the "river" and the "main street," much in the same way as they always call the Continental Hotel, "Pete Robinson's" and the Pharmaceutical Hall, "Eliot's Drug Store." But I suppose this is just the same in every one else's town as in mine, so I need lay no stress on it.
The town, I say, has one broad street that runs up from the lake, commonly called the Main Street. There is no doubt about its width. When Mariposa was laid out there was none of that shortsightedness which is seen in the cramped dimensions of Wall Street and Piccadilly. Missinaba street is so wide that if you were to roll Jeff Thorpe's barber shop over on its face it wouldn't reach half way across. Up and down the Main Street are telegraph poles of cedar of colossal thickness, standing at a variety of angles and carrying rather more wires than are commonly seen at a transatlantic cable station.
On the Main Street itself are a number of buildings of extraordinary importance,—Smith's Hotel and the Continental and the Mariposa House, and the two banks (the Commercial and the Exchange), to say nothing of McCarthy's Block (erected in 1878), and Glover's Hardware Store with the Oddfellows' Hall above it. Then on the "cross" street that intersects Missinaba Street at the main corner there is the Post Office and the Fire Hall and the Young Men's Christian Association and the office of the Mariposa Newspacket,—in fact, to the eye of discernment a perfect jostle of public institutions comparable only to Threadneedle Street or Lower Broadway. On all the side streets there are maple trees and broad sidewalks, trim gardens with upright calla lilies, houses with verandahs, which are here and there being replaced by residences with piazzas.
To the careless eye the scene on the Main Street of a summer afternoon is one of deep and unbroken peace. The empty street sleeps in the sunshine. There is a horse and buggy tied to the hitching post in front of Glover's hardware store. There is, usually and commonly, the burly figure of Mr. Smith, proprietor of Smith's Hotel, standing in his chequered waistcoat on the steps of his hostelry, and perhaps, further up the street, Lawyer Macartney going for his afternoon mail, or the Rev. Mr. Drone, the Rural Dean of the Church of England Church, going home to get his fishing rod after a mothers' auxiliary meeting.
But this quiet is mere appearance. In reality, and to those who know it, the place is a perfect hive of activity. Why, at Netley's butcher shop (established in 1882) there are no less than four men working on the sausage machines in the basement; at the Newspacket office there are as many more job-printing; there is a long distance telephone with four distracting girls on high stools wearing steel caps and talking incessantly; in the offices in McCarthy's block are dentists and lawyers, with their coats off, ready to work at any moment; and from the big planing factory down beside the lake where the railroad siding is, you may hear all through the hours of the summer afternoon the long-drawn music of the running saw.
Busy—well, I should think so! Ask any of its inhabitants if Mariposa isn't a busy, hustling, thriving town. Ask Mullins, the manager of the Exchange Bank, who comes hustling over to his office from the Mariposa House every day at 10.30 and has scarcely time all morning to go out and take a drink with the manager of the Commercial; or ask—well, for the matter of that, ask any of them if they ever knew a more rushing go-a-head town than Mariposa.
Of course if you come to the place fresh from New York, you are deceived. Your standard of vision is all astray. You do think the place is quiet. You do imagine that Mr. Smith is asleep merely because he closes his eyes as he stands. But live in Mariposa for six months or a year and then you will begin to understand it better; the buildings get higher and higher; the Mariposa House grows more and more luxurious; McCarthy's block towers to the sky; the 'buses roar and hum to the station; the trains shriek; the traffic multiplies; the people move faster and faster; a dense crowd swirls to and fro in the post-office and the five and ten cent store—and amusements! well, now! lacrosse, baseball, excursions, dances, the Firemen's Ball every winter and the Catholic picnic every summer; and music—the town band in the park every Wednesday evening, and the Oddfellows' brass band on the street every other Friday; the Mariposa Quartette, the Salvation Army—why, after a few months' residence you begin to realize that the place is a mere mad round of gaiety.
In point of population, if one must come down to figures the Canadian census puts the numbers every time at something round five thousand. But it is very generally understood in Mariposa that the census is largely the outcome of malicious jealousy. It is usual that after the census the editor of the Mariposa Newspacket makes a careful re-estimate (based on the data of relative non-payment of subscriptions), and brings the population up to 6,000. After that the Mariposa Times-Herald makes an estimate that runs the figures up to 6,500. Then Mr. Gingham, the undertaker, who collects the vital statistics for the provincial government, makes an estimate from the number of what he calls the "demised" as compared with the less interesting persons who are still alive, and brings the population to 7,000. After that somebody else works it out that it's 7,500; then the man behind the bar of the Mariposa House offers to bet the whole room that there are 9,000 people in Mariposa. That settles it, and the population is well on the way to 10,000, when down swoops the federal census taker on his next round and the town has to begin all over again.
Still, it is a thriving town and there is no doubt of it. Even the transcontinental railways, as any townsman will tell you, run through Mariposa. It is true that the trains mostly go through at night and don't stop. But in the wakeful silence of the summer night you may hear the long whistle of the through train for the west as it tears through Mariposa, rattling over the switches and past the semaphores and ending in a long, sullen roar as it takes the trestle bridge over the Ossawippi. Or, better still, on a winter evening about eight o'clock you will see the long row of the Pullmans and diners of the night express going north to the mining country, the windows flashing with brilliant light, and within them a vista of cut glass and snow-white table linen, smiling negroes and millionaires with napkins at their chins whirling past in the driving snowstorm.
I can tell you the people of Mariposa are proud of the trains, even if they don't stop! The joy of being on the main line lifts the Mariposa people above the level of their neighbours in such places as Tecumseh and Nichols Corners into the cosmopolitan atmosphere of through traffic and the larger life. Of course, they have their own train, too—the Mariposa Local, made up right there in the station yard, and running south to the city a hundred miles away. That, of course, is a real train, with a box stove on end in the passenger car, fed with cordwood upside down, and with seventeen flat cars of pine lumber set between the passenger car and the locomotive so as to give the train its full impact when shunting.
Outside of Mariposa there are farms that begin well but get thinner and meaner as you go on, and end sooner or later in bush and swamp and the rock of the north country. And beyond that again, as the background of it all, though it's far away, you are somehow aware of the great pine woods of the lumber country reaching endlessly into the north.
Not that the little town is always gay or always bright in the sunshine. There never was such a place for changing its character with the season. Dark enough and dull it seems of a winter night, the wooden sidewalks creaking with the frost, and the lights burning dim behind the shop windows. In olden times the lights were coal oil lamps; now, of course, they are, or are supposed to be, electricity,—brought from the power house on the lower Ossawippi nineteen miles away. But, somehow, though it starts off as electricity from the Ossawippi rapids, by the time it gets to Mariposa and filters into the little bulbs behind the frosty windows of the shops, it has turned into coal oil again, as yellow and bleared as ever.
After the winter, the snow melts and the ice goes out of the lake, the sun shines high and the shanty-men come down from the lumber woods and lie round drunk on the sidewalk outside of Smith's Hotel—and that's spring time. Mariposa is then a fierce, dangerous lumber town, calculated to terrorize the soul of a newcomer who does not understand that this also is only an appearance and that presently the rough-looking shanty-men will change their clothes and turn back again into farmers.
Then the sun shines warmer and the maple trees come out and Lawyer Macartney puts on his tennis trousers, and that's summer time. The little town changes to a sort of summer resort. There are visitors up from the city. Every one of the seven cottages along the lake is full. The Mariposa Belle churns the waters of the Wissanotti into foam as she sails out from the wharf, in a cloud of flags, the band playing and the daughters and sisters of the Knights of Pythias dancing gaily on the deck.
That changes too. The days shorten. The visitors disappear. The golden rod beside the meadow droops and withers on its stem. The maples blaze in glory and die. The evening closes dark and chill, and in the gloom of the main corner of Mariposa the Salvation Army around a naphtha lamp lift up the confession of their sins—and that is autumn. Thus the year runs its round, moving and changing in Mariposa, much as it does in other places.
If, then, you feel that you know the town well enough to be admitted into the inner life and movement of it, walk down this June afternoon half way down the Main Street—or, if you like, half way up from the wharf—to where Mr. Smith is standing at the door of his hostelry. You will feel as you draw near that it is no ordinary man that you approach. It is not alone the huge bulk of Mr. Smith (two hundred and eighty pounds as tested on Netley's scales). It is not merely his costume, though the chequered waistcoat of dark blue with a flowered pattern forms, with his shepherd's plaid trousers, his grey spats and patent-leather boots, a colour scheme of no mean order. Nor is it merely Mr. Smith's finely mottled face. The face, no doubt, is a notable one,—solemn, inexpressible, unreadable, the face of the heaven-born hotel keeper. It is more than that. It is the strange dominating personality of the man that somehow holds you captive. I know nothing in history to compare with the position of Mr. Smith among those who drink over his bar, except, though in a lesser degree, the relation of the Emperor Napoleon to the Imperial Guard.
When you meet Mr. Smith first you think he looks like an over-dressed pirate. Then you begin to think him a character. You wonder at his enormous bulk. Then the utter hopelessness of knowing what Smith is thinking by merely looking at his features gets on your mind and makes the Mona Lisa seem an open book and the ordinary human countenance as superficial as a puddle in the sunlight. After you have had a drink in Mr. Smith's bar, and he has called you by your Christian name, you realize that you are dealing with one of the greatest minds in the hotel business.
Take, for instance, the big sign that sticks out into the street above Mr. Smith's head as he stands. What is on it? Simply: "JOS. SMITH, PROP." Nothing more, and yet the thing was a flash of genius. Other men who had had the hotel before Mr. Smith had called it by such feeble names as the Royal Hotel and the Queen's and the Alexandria. Every one of them failed. When Mr. Smith took over the hotel he simply put up the sign with "JOS. SMITH, PROP.," and then stood underneath in the sunshine as a living proof that a man who weighs nearly three hundred pounds is the natural king of the hotel business.
But on this particular afternoon, in spite of the sunshine and deep peace, there was something as near to profound concern and anxiety as the features of Mr. Smith were ever known to express.
The moment was indeed an anxious one. Mr. Smith was awaiting a telegram from his legal adviser who had that day journeyed to the county town to represent the proprietor's interest before the assembled License Commissioners. If you know anything of the hotel business at all, you will understand that as beside the decisions of the License Commissioners of Missinaba County, the opinions of the Lords of the Privy Council are mere trifles.
The matter in question was very grave. The Mariposa Court had just fined Mr. Smith for the second time for selling liquors after hours. The Commissioners, therefore, were entitled to cancel the license.
Mr. Smith knew his fault and acknowledged it. He had broken the law. How he had come to do so, it passed his imagination to recall. Crime always seems impossible in retrospect. By what sheer madness of the moment could he have shut up the bar on the night in question, and shut Judge Pepperleigh, the district judge of Missinaba County, outside of it? The more so inasmuch as the closing up of the bar under the rigid license law of the province was a matter that the proprietor never trusted to any hands but his own. Punctually every night at 11 o'clock Mr. Smith strolled from the desk of the "rotunda" to the door of the bar. If it seemed properly full of people and all was bright and cheerful, then he closed it. If not, he kept it open a few minutes longer till he had enough people inside to warrant closing. But never, never unless he was assured that Pepperleigh, the judge of the court, and Macartney, the prosecuting attorney, were both safely in the bar, or the bar parlour, did the proprietor venture to close up. Yet on this fatal night Pepperleigh and Macartney had been shut out—actually left on the street without a drink, and compelled to hammer and beat at the street door of the bar to gain admittance.
This was the kind of thing not to be tolerated. Either a hotel must be run decently or quit. An information was laid next day and Mr. Smith convicted in four minutes, his lawyers practically refusing to plead. The Mariposa court, when the presiding judge was cold sober, and it had the force of public opinion behind it, was a terrible engine of retributive justice.
So no wonder that Mr. Smith awaited with anxiety the message of his legal adviser.
He looked alternately up the street and down it again, hauled out his watch from the depths of his embroidered pocket, and examined the hour hand and the minute hand and the second hand with frowning scrutiny.
Then wearily, and as one mindful that a hotel man is ever the servant of the public, he turned back into the hotel.
"Billy," he said to the desk clerk, "if a wire comes bring it into the bar parlour."
The voice of Mr. Smith is of a deep guttural such as Plancon or Edouard de Reske might have obtained had they had the advantages of the hotel business. And with that, Mr. Smith, as was his custom in off moments, joined his guests in the back room. His appearance, to the untrained eye, was merely that of an extremely stout hotel-keeper walking from the rotunda to the back bar. In reality, Mr. Smith was on the eve of one of the most brilliant and daring strokes ever effected in the history of licensed liquor. When I say that it was out of the agitation of this situation that Smith's Ladies' and Gent's Café originated, anybody who knows Mariposa will understand the magnitude of the moment.
Mr. Smith, then, moved slowly from the doorway of the hotel through the "rotunda," or more simply the front room with the desk and the cigar case in it, and so to the bar and thence to the little room or back bar behind it. In this room, as I have said, the brightest minds of Mariposa might commonly be found in the quieter part of a summer afternoon.
To-day there was a group of four who looked up as Mr. Smith entered, somewhat sympathetically, and evidently aware of the perplexities of the moment.
Henry Mullins and George Duff, the two bank managers, were both present. Mullins is a rather short, rather round, smooth-shaven man of less than forty, wearing one of those round banking suits of pepper and salt, with a round banking hat of hard straw, and with the kind of gold tie-pin and heavy watch-chain and seals necessary to inspire confidence in matters of foreign exchange. Duff is just as round and just as short, and equally smoothly shaven, while his seals and straw hat are calculated to prove that the Commercial is just as sound a bank as the Exchange. From the technical point of view of the banking business, neither of them had any objection to being in Smith's Hotel or to taking a drink as long as the other was present. This, of course, was one of the cardinal principles of Mariposa banking.
Then there was Mr. Diston, the high school teacher, commonly known as the "one who drank." None of the other teachers ever entered a hotel unless accompanied by a lady or protected by a child. But as Mr. Diston was known to drink beer on occasions and to go in and out of the Mariposa House and Smith's Hotel, he was looked upon as a man whose life was a mere wreck. Whenever the School Board raised the salaries of the other teachers, fifty or sixty dollars per annum at one lift, it was well understood that public morality wouldn't permit of an increase for Mr. Diston.
Still more noticeable, perhaps, was the quiet, sallow looking man dressed in black, with black gloves and with black silk hat heavily craped and placed hollow-side-up on a chair. This was Mr. Golgotha Gingham, the undertaker of Mariposa, and his dress was due to the fact that he had just come from what he called an "interment." Mr. Gingham had the true spirit of his profession, and such words as "funeral" or "coffin" or "hearse" never passed his lips. He spoke always of "interments," of "caskets," and "coaches," using terms that were calculated rather to bring out the majesty and sublimity of death than to parade its horrors.
To be present at the hotel was in accord with Mr. Gingham's general conception of his business. No man had ever grasped the true principles of undertaking more thoroughly than Mr. Gingham. I have often heard him explain that to associate with the living, uninteresting though they appear, is the only way to secure the custom of the dead.
"Get to know people really well while they are alive," said Mr. Gingham; "be friends with them, close friends, and then when they die you don't need to worry. You'll get the order every time."
So, naturally, as the moment was one of sympathy, it was Mr. Gingham who spoke first.
"What'll you do, Josh," he said, "if the Commissioners go against you?"
"Boys," said Mr. Smith, "I don't rightly know. If I have to quit, the next move is to the city. But I don't reckon that I will have to quit. I've got an idee that I think's good every time."
"Could you run a hotel in the city?" asked Mullins.
"I could," said Mr. Smith. "I'll tell you. There's big things doin' in the hotel business right now, big chances if you go into it right. Hotels in the city is branching out. Why, you take the dining-room side of it," continued Mr. Smith, looking round at the group, "there's thousands in it. The old plan's all gone. Folks won't eat now in an ordinary dining-room with a high ceiling and windows. You have to get 'em down underground in a room with no windows and lots of sawdust round and waiters that can't speak English. I seen them places last time I was in the city. They call 'em Rats' Coolers. And for light meals they want a Caff, a real French Caff, and for folks that come in late another place that they call a Girl Room that don't shut up at all. If I go to the city that's the kind of place I mean to run. What's yours, Gol? It's on the house?"
And it was just at the moment when Mr. Smith said this that Billy, the desk clerk, entered the room with the telegram in his hand.
But stop—it is impossible for you to understand the anxiety with which Mr. Smith and his associates awaited the news from the Commissioners, without first realizing the astounding progress of Mr. Smith in the three past years, and the pinnacle of public eminence to which he had attained.
Mr. Smith had come down from the lumber country of the Spanish River, where the divide is toward the Hudson Bay,—"back north" as they called it in Mariposa.
He had been, it was said, a cook in the lumber shanties. To this day Mr. Smith can fry an egg on both sides with a lightness of touch that is the despair of his own "help."
After that, he had run a river driver's boarding-house.
After that, he had taken a food contract for a gang of railroad navvies on the transcontinental.
After that, of course, the whole world was open to him.
He came down to Mariposa and bought out the "inside" of what had been the Royal Hotel.
Those who are educated understand that by the "inside" of a hotel is meant everything except the four outer walls of it—the fittings, the furniture, the bar, Billy the desk-clerk, the three dining-room girls, and above all the license granted by King Edward VII., and ratified further by King George, for the sale of intoxicating liquors.
Till then the Royal had been a mere nothing. As "Smith's Hotel" it broke into a blaze of effulgence.
From the first, Mr. Smith, as a proprietor, was a wild, rapturous success.
He had all the qualifications.
He weighed two hundred and eighty pounds.
He could haul two drunken men out of the bar each by the scruff of the neck without the faintest anger or excitement.
He carried money enough in his trousers pockets to start a bank, and spent it on anything, bet it on anything, and gave it away in handfuls.
He was never drunk, and, as a point of chivalry to his customers, never quite sober. Anybody was free of the hotel who cared to come in. Anybody who didn't like it could go out. Drinks of all kinds cost five cents, or six for a quarter. Meals and beds were practically free. Any persons foolish enough to go to the desk and pay for them, Mr. Smith charged according to the expression of their faces.
At first the loafers and the shanty men settled down on the place in a shower. But that was not the "trade" that Mr. Smith wanted. He knew how to get rid of them. An army of charwomen, turned into the hotel, scrubbed it from top to bottom. A vacuum cleaner, the first seen in Mariposa, hissed and screamed in the corridors. Forty brass beds were imported from the city, not, of course, for the guests to sleep in, but to keep them out. A bar-tender with a starched coat and wicker sleeves was put behind the bar.
The loafers were put out of business. The place had become too "high toned" for them.
To get the high class trade, Mr. Smith set himself to dress the part. He wore wide cut coats of filmy serge, light as gossamer; chequered waistcoats with a pattern for every day in the week; fedora hats light as autumn leaves; four-in-hand ties of saffron and myrtle green with a diamond pin the size of a hazel nut. On his fingers there were as many gems as would grace a native prince of India; across his waistcoat lay a gold watch-chain in huge square links and in his pocket a gold watch that weighed a pound and a half and marked minutes, seconds and quarter seconds. Just to look at Josh Smith's watch brought at least ten men to the bar every evening.
Every morning Mr. Smith was shaved by Jefferson Thorpe, across the way. All that art could do, all that Florida water could effect, was lavished on his person.
Mr. Smith became a local character. Mariposa was at his feet. All the reputable business-men drank at Mr. Smith's bar, and in the little parlour behind it you might find at any time a group of the brightest intellects in the town.
Not but what there was opposition at first. The clergy, for example, who accepted the Mariposa House and the Continental as a necessary and useful evil, looked askance at the blazing lights and the surging crowd of Mr. Smith's saloon. They preached against him. When the Rev. Dean Drone led off with a sermon on the text "Lord be merciful even unto this publican Matthew Six," it was generally understood as an invitation to strike Mr. Smith dead. In the same way the sermon at the Presbyterian church the week after was on the text "Lo what now doeth Abiram in the land of Melchisideck Kings Eight and Nine?" and it was perfectly plain that what was meant was, "Lo, what is Josh Smith doing in Mariposa?"
But this opposition had been countered by a wide and sagacious philanthropy. I think Mr. Smith first got the idea of that on the night when the steam merry-go-round came to Mariposa. Just below the hostelry, on an empty lot, it whirled and whistled, steaming forth its tunes on the summer evening while the children crowded round it in hundreds. Down the street strolled Mr. Smith, wearing a soft fedora to indicate that it was evening.
"What d'you charge for a ride, boss?" said Mr. Smith.
"Two for a nickel," said the man.
"Take that," said Mr. Smith, handing out a ten-dollar bill from a roll of money, "and ride the little folks free all evening."
That night the merry-go-round whirled madly till after midnight, freighted to capacity with Mariposa children, while up in Smith's Hotel, parents, friends and admirers, as the news spread, were standing four deep along the bar. They sold forty dollars' worth of lager alone that night, and Mr. Smith learned, if he had not already suspected it, the blessedness of giving.
The uses of philanthropy went further. Mr. Smith subscribed to everything, joined everything, gave to everything. He became an Oddfellow, a Forester, a Knight of Pythias and a Workman. He gave a hundred dollars to the Mariposa Hospital and a hundred dollars to the Young Men's Christian Association.
He subscribed to the Ball Club, the Lacrosse Club, the Curling Club, to anything, in fact, and especially to all those things which needed premises to meet in and grew thirsty in their discussions.
As a consequence the Oddfellows held their annual banquet at Smith's Hotel and the Oyster Supper of the Knights of Pythias was celebrated in Mr. Smith's dining-room.
Even more effective, perhaps, were Mr. Smith's secret benefactions, the kind of giving done by stealth of which not a soul in town knew anything, often, for a week after it was done. It was in this way that Mr. Smith put the new font in Dean Drone's church, and handed over a hundred dollars to Judge Pepperleigh for the unrestrained use of the Conservative party.
So it came about that, little by little, the antagonism had died down. Smith's Hotel became an accepted institution in Mariposa. Even the temperance people were proud of Mr. Smith as a sort of character who added distinction to the town. There were moments, in the earlier quiet of the morning, when Dean Drone would go so far as to step in to the "rotunda" and collect a subscription. As for the Salvation Army, they ran in and out all the time unreproved.
On only one point difficulty still remained. That was the closing of the bar. Mr. Smith could never bring his mind to it,—not as a matter of profit, but as a point of honour. It was too much for him to feel that Judge Pepperleigh might be out on the sidewalk thirsty at midnight, that the night hands of the Times-Herald on Wednesday might be compelled to go home dry. On this point Mr. Smith's moral code was simplicity itself,—do what is right and take the consequences. So the bar stayed open.
Every town, I suppose, has its meaner spirits. In every genial bosom some snake is warmed,—or, as Mr. Smith put it to Golgotha Gingham—"there are some fellers even in this town skunks enough to inform."
At first the Mariposa court quashed all indictments. The presiding judge, with his spectacles on and a pile of books in front of him, threatened the informer with the penitentiary. The whole bar of Mariposa was with Mr. Smith. But by sheer iteration the informations had proved successful. Judge Pepperleigh learned that Mr. Smith had subscribed a hundred dollars for the Liberal party and at once fined him for keeping open after hours. That made one conviction. On the top of this had come the untoward incident just mentioned and that made two. Beyond that was the deluge. This then was the exact situation when Billy, the desk clerk, entered the back bar with the telegram in his hand.
"Here's your wire, sir," he said.
"What does it say?" said Mr. Smith.
He always dealt with written documents with a fine air of detachment. I don't suppose there were ten people in Mariposa who knew that Mr. Smith couldn't read.
Billy opened the message and read, "Commissioners give you three months to close down."
"Let me read it," said Mr. Smith, "that's right, three months to close down."
There was dead silence when the message was read. Everybody waited for Mr. Smith to speak. Mr. Gingham instinctively assumed the professional air of hopeless melancholy.
As it was afterwards recorded, Mr. Smith stood and "studied" with the tray in his hand for at least four minutes. Then he spoke.
"Boys," he said, "I'll be darned if I close down till I'm ready to close down. I've got an idee. You wait and I'll show you."
And beyond that, not another word did Mr. Smith say on the subject.
But within forty-eight hours the whole town knew that something was doing. The hotel swarmed with carpenters, bricklayers and painters. There was an architect up from the city with a bundle of blue prints in his hand. There was an engineer taking the street level with a theodolite, and a gang of navvies with shovels digging like fury as if to dig out the back foundations of the hotel.
"That'll fool 'em," said Mr. Smith.
Half the town was gathered round the hotel crazy with excitement. But not a word would the proprietor say.
Great dray loads of square timber, and two-by-eight pine joists kept arriving from the planing mill. There was a pile of matched spruce sixteen feet high lying by the sidewalk.
Then the excavation deepened and the dirt flew, and the beams went up and the joists across, and all the day from dawn till dusk the hammers of the carpenters clattered away, working overtime at time and a half.
"It don't matter what it costs," said Mr. Smith; "get it done."
Rapidly the structure took form. It extended down the side street, joining the hotel at a right angle. Spacious and graceful it looked as it reared its uprights into the air.
Already you could see the place where the row of windows was to come, a veritable palace of glass, it must be, so wide and commodious were they. Below it, you could see the basement shaping itself, with a low ceiling like a vault and big beams running across, dressed, smoothed, and ready for staining. Already in the street there were seven crates of red and white awning.
And even then nobody knew what it was, and it was not till the seventeenth day that Mr. Smith, in the privacy of the back bar, broke the silence and explained.
"I tell you, boys," he says, "it's a caff—like what they have in the city—a ladies' and gent's caff, and that underneath (what's yours, Mr. Mullins?) is a Rats' Cooler. And when I get her started, I'll hire a French Chief to do the cooking, and for the winter I will put in a 'girl room,' like what they have in the city hotels. And I'd like to see who's going to close her up then."
Within two more weeks the plan was in operation. Not only was the caff built but the very hotel was transformed. Awnings had broken out in a red and white cloud upon its face, its every window carried a box of hanging plants, and above in glory floated the Union Jack. The very stationery was changed. The place was now Smith's Summer Pavilion. It was advertised in the city as Smith's Tourists' Emporium, and Smith's Northern Health Resort. Mr. Smith got the editor of the Times-Herald to write up a circular all about ozone and the Mariposa pine woods, with illustrations of the maskinonge (piscis mariposis) of Lake Wissanotti.
The Saturday after that circular hit the city in July, there were men with fishing rods and landing nets pouring in on every train, almost too fast to register. And if, in the face of that, a few little drops of whiskey were sold over the bar, who thought of it?
But the caff! that, of course, was the crowning glory of the thing, that and the Rats' Cooler below.
Light and cool, with swinging windows open to the air, tables with marble tops, palms, waiters in white coats—it was the standing marvel of Mariposa. Not a soul in the town except Mr. Smith, who knew it by instinct, ever guessed that waiters and palms and marble tables can be rented over the long distance telephone.
Mr. Smith was as good as his word. He got a French Chief with an aristocratic saturnine countenance, and a moustache and imperial that recalled the late Napoleon III. No one knew where Mr. Smith got him. Some people in the town said he was a French marquis. Others said he was a count and explained the difference.
No one in Mariposa had ever seen anything like the caff. All down the side of it were the grill fires, with great pewter dish covers that went up and down on a chain, and you could walk along the row and actually pick out your own cutlet and then see the French marquis throw it on to the broiling iron; you could watch a buckwheat pancake whirled into existence under your eyes and see fowls' legs devilled, peppered, grilled, and tormented till they lost all semblance of the original Mariposa chicken.
Mr. Smith, of course, was in his glory.
"What have you got to-day, Alf?" he would say, as he strolled over to the marquis. The name of the Chief was, I believe, Alphonse, but "Alf" was near enough for Mr. Smith.
The marquis would extend to the proprietor the menu, "Voilà, m'sieu, la carte du jour."
Mr. Smith, by the way, encouraged the use of the French language in the caff. He viewed it, of course, solely in its relation to the hotel business, and, I think, regarded it as a recent invention.
"It's comin' in all the time in the city," he said, "and y'aint expected to understand it."
Mr. Smith would take the carte between his finger and thumb and stare at it. It was all covered with such devices as Potage à la Mariposa—Filet Mignon à la proprietaire—Côtelette à la Smith, and so on.
But the greatest thing about the caff were the prices. Therein lay, as everybody saw at once, the hopeless simplicity of Mr. Smith.
The prices stood fast at 25 cents a meal. You could come in and eat all they had in the caff for a quarter.
"No, sir," Mr. Smith said stoutly, "I ain't going to try to raise no prices on the public. The hotel's always been a quarter and the caff's a quarter."
Full? Full of people?
Well, I should think so! From the time the caff opened at 11 till it closed at 8.30, you could hardly find a table. Tourists, visitors, travellers, and half the people of Mariposa crowded at the little tables; crockery rattling, glasses tinkling on trays, corks popping, the waiters in their white coats flying to and fro, Alphonse whirling the cutlets and pancakes into the air, and in and through it all, Mr. Smith, in a white flannel suit and a broad crimson sash about his waist. Crowded and gay from morning to night, and even noisy in its hilarity.
Noisy, yes; but if you wanted deep quiet and cool, if you wanted to step from the glare of a Canadian August to the deep shadow of an enchanted glade,—walk down below into the Rats' Cooler. There you had it; dark old beams (who could believe they were put there a month ago?), great casks set on end with legends such as Amontillado Fino done in gilt on a black ground, tall steins filled with German beer soft as moss, and a German waiter noiseless as moving foam. He who entered the Rats' Cooler at three of a summer afternoon was buried there for the day. Mr. Golgotha Gingham spent anything from four to seven hours there of every day. In his mind the place had all the quiet charm of an interment, with none of its sorrows.
But at night, when Mr. Smith and Billy, the desk clerk, opened up the cash register and figured out the combined losses of the caff and the Rats' Cooler, Mr. Smith would say:
"Billy, just wait till I get the license renood, and I'll close up this damn caff so tight they'll never know what hit her. What did that lamb cost? Fifty cents a pound, was it? I figure it, Billy, that every one of them hogs eats about a dollar's worth a grub for every twenty-five cents they pay on it. As for Alf—by gosh, I'm through with him."
But that, of course, was only a confidential matter as between Mr. Smith and Billy.
I don't know at what precise period it was that the idea of a petition to the License Commissioners first got about the town. No one seemed to know just who suggested it. But certain it was that public opinion began to swing strongly towards the support of Mr. Smith. I think it was perhaps on the day after the big fish dinner that Alphonse cooked for the Mariposa Canoe Club (at twenty cents a head) that the feeling began to find open expression. People said it was a shame that a man like Josh Smith should be run out of Mariposa by three license commissioners. Who were the license commissioners, anyway? Why, look at the license system they had in Sweden; yes, and in Finland and in South America. Or, for the matter of that, look at the French and Italians, who drink all day and all night. Aren't they all right? Aren't they a musical people? Take Napoleon, and Victor Hugo; drunk half the time, and yet look what they did.
I quote these arguments not for their own sake, but merely to indicate the changing temper of public opinion in Mariposa. Men would sit in the caff at lunch perhaps for an hour and a half and talk about the license question in general, and then go down into the Rats' Cooler and talk about it for two hours more.
It was amazing the way the light broke in in the case of particular individuals, often the most unlikely, and quelled their opposition.
Take, for example, the editor of the Newspacket. I suppose there wasn't a greater temperance advocate in town. Yet Alphonse queered him with an Omelette à la License in one meal.
Or take Pepperleigh himself, the judge of the Mariposa court. He was put to the bad with a game pie,—pâté normand aux fines herbes—the real thing, as good as a trip to Paris in itself. After eating it, Pepperleigh had the common sense to realize that it was sheer madness to destroy a hotel that could cook a thing like that.
In the same way, the secretary of the School Board was silenced with a stuffed duck à la Ossawippi.
Three members of the town council were converted with a Dindon farci à la Josh Smith.
And then, finally, Mr. Diston persuaded Dean Drone to come, and as soon as Mr. Smith and Alphonse saw him they landed him with a fried flounder that even the apostles would have appreciated.
After that, every one knew that the license question was practically settled. The petition was all over the town. It was printed in duplicate at the Newspacket and you could see it lying on the counter of every shop in Mariposa. Some of the people signed it twenty or thirty times.
It was the right kind of document too. It began—"Whereas in the bounty of providence the earth putteth forth her luscious fruits and her vineyards for the delight and enjoyment of mankind——" It made you thirsty just to read it. Any man who read that petition over was wild to get to the Rats' Cooler.
When it was all signed up they had nearly three thousand names on it.
Then Nivens, the lawyer, and Mr. Gingham (as a provincial official) took it down to the county town, and by three o'clock that afternoon the news had gone out from the long distance telephone office that Smith's license was renewed for three years.
Rejoicings! Well, I should think so! Everybody was down wanting to shake hands with Mr. Smith. They told him that he had done more to boom Mariposa than any ten men in town. Some of them said he ought to run for the town council, and others wanted to make him the Conservative candidate for the next Dominion election. The caff was a mere babel of voices, and even the Rats' Cooler was almost floated away from its moorings.
And in the middle of it all, Mr. Smith found time to say to Billy, the desk clerk: "Take the cash registers out of the caff and the Rats' Cooler and start counting up the books."
And Billy said: "Will I write the letters for the palms and the tables and the stuff to go back?"
And Mr. Smith said: "Get 'em written right away."
So all evening the laughter and the chatter and the congratulations went on, and it wasn't till long after midnight that Mr. Smith was able to join Billy in the private room behind the "rotunda." Even when he did, there was a quiet and a dignity about his manner that had never been there before. I think it must have been the new halo of the Conservative candidacy that already radiated from his brow. It was, I imagine, at this very moment that Mr. Smith first realised that the hotel business formed the natural and proper threshold of the national legislature.
"Here's the account of the cash registers," said Billy.
"Let me see it," said Mr. Smith. And he studied the figures without a word.
"And here's the letters about the palms, and here's Alphonse up to yesterday——"
And then an amazing thing happened.
"Billy," said Mr. Smith, "tear 'em up. I ain't going to do it. It ain't right and I won't do it. They got me the license for to keep the caff and I'm going to keep the caff. I don't need to close her. The bar's good for anything from forty to a hundred a day now, with the Rats' Cooler going good, and that caff will stay right here."
And stay it did.
There it stands, mind you, to this day. You've only to step round the corner of Smith's Hotel on the side street and read the sign: LADIES' AND GENT'S CAFÉ, just as large and as imposing as ever.
Mr. Smith said that he'd keep the caff, and when he said a thing he meant it!
Of course there were changes, small changes.
I don't say, mind you, that the fillet de beef that you get there now is perhaps quite up to the level of the filet de boeufs aux champignons of the days of glory.
No doubt the lamb chops in Smith's Caff are often very much the same, nowadays, as the lamb chops of the Mariposa House or the Continental.
Of course, things like Omelette aux Trufles practically died out when Alphonse went. And, naturally, the leaving of Alphonse was inevitable. No one knew just when he went, or why. But one morning he was gone. Mr. Smith said that "Alf had to go back to his folks in the old country."
So, too, when Alf left, the use of the French language, as such, fell off tremendously in the caff. Even now they use it to some extent. You can still get fillet de beef, and saucisson au juice, but Billy the desk clerk has considerable trouble with the spelling.
The Rats' Cooler, of course, closed down, or rather Mr. Smith closed it for repairs, and there is every likelihood that it will hardly open for three years. But the caff is there. They don't use the grills, because there's no need to, with the hotel kitchen so handy.
The "girl room," I may say, was never opened. Mr. Smith promised it, it is true, for the winter, and still talks of it. But somehow there's been a sort of feeling against it. Everyone in town admits that every big hotel in the city has a "girl room" and that it must be all right. Still, there's a certain—well, you know how sensitive opinion is in a place like Mariposa.
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Lawren Stewart Harris (Canadian, 1885–1970)
Street in Barrie, Ont , 1919–1920
Oil on canvas
36.2 x 44.3 in
I first thought this painting was "under" saturated, and looked for better copies online. But it is actually how Harris painted this street scene. Group of Seven, of whom Harris was a member, were the avant-garde of the Canadian artists. Their depictions over-emphasized size, color, shape and other forms of paintings. They could be viewed as the "impressionists" of Canada.
Harris painted several scenes of Barrie's streets. The Art Gallery of Ontario in Toronto currently has an exhibition of Harris's works, titled The Idea of North, which includes the above Harris painting.
The "street in Barrie" could be Collier Street.
Lake View from Collier Street
[Photo By: KPA, 2016]
Not that much has changed [KPA: link updated March 2023], it seems.
Sunday, April 17, 2022
Happy Easter!
The Resurrection of Christ
Raphael
1499-1502
Oil on panel
20.47 in × 17.32 in
| John 11:25-26 |
| 25 ...I am the resurrection, and the life: |
| he that believeth in me, though he were dead, yet shall he live: |
| 26 And whosoever liveth and believeth in me shall never die... |
Posted By Kidist P. Asrat
Friday, January 7, 2022
Melkam Gena - መልካም ገና - Merry Christmas
Entoto Mariam Church, Near Addis Ababa
መልካም ገና
Melkam Gena
[Photo By: KPA]
_______________________________________________________
A Critique of the Film Faya Dayi
Article published at these online magazines around December 25, 2021:
Addis Insight, ZeHabesha, Borkena, Ethiopia 360
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Khat is the main protagonist in Jessica Beshir’s film Faya Dayi that leads and guides the direction of the film. But it is a protagonist which camouflages the truth of these Harari-Oromo youth of southern Ethiopia. And Faya Dayi is now a contender for the Oscars (1), shortlisted in the “Documentary Feature” category.
Beshir hides from us, the viewers, the content and reality of her film behind the stylistic cinematic metaphor of khat’s haze, and takes us for a trip. Her film, which appears at face value to be about the devastations that khat causes these southern Ethiopian communities, is in fact a film with a political agenda that is camouflaged behind khat’s shady smoke, a smoke that hooks the film’s audience into its spell.
As Nick Taylor, an astute reviewer at The Film Experience writes (2):
...the heavy monochromatic images cloak Ethiopia in a hazy, dreamlike aura that's foundational to the film's tone and point of view.
And asks:
Does the gorgeousness of the imagery actually serve the film, or is it too loaded down to carry its own weight? How much movie truly lies underneath all this black and silver? Well..
Beshir plays with the naivete of the average documentary film audience, who is primarily from a Western county, and who has little information on the socio-political landscape of Ethiopia.
Adiam Biare, an independent Eritrean businesswoman not affiliated with the film industry, and representing the POWer of Women film festival (POW Film Fest), asks Beshir(3):
I also noticed - and I was just curious about this - that some shots were body parts, like the hand and not the full person. Was there a thought behind that? Or was just...coincidence? Because I thought there was so much power in those...just watching the hand movements and there hearing the person talk and not seeing the whole person…
Beshir answers:
Of course that was thought of...There is a lot of power in the image, in which part, and what is it that you’re showing, and what is speaking to you at the moment. And where is that emotional response landing, at the time that I’m there shooting. So those are the body parts that were speaking to me the most when I was there...And I guess that becomes a little bit of a language of the film. A little bit of the perspective...And I was trying to understand what these different perspectives bring to the whole. If I were to shoot the whole, what is that communicating, as opposed to a part. And how that part can also speak volumes...More that the bigger pictures, per se. It was again, that “caller-response.”
And Selome Hailu, a writer from the Variety asks the all-important question (4):
“What does Faya Dayi mean?”
Answers Beshir:
“You know, I didn’t find out the meaning until about a year ago.”
And Beshir continues to elaborate her discovery of the meaning of this phrase, after she had already shot her documentary -
“The meaning is ‘giving birth to wellness,’ or ‘giving birth to health.’ I had no idea. It’s a hymnal chant that [farmers in Harar] chant when they’re harvesting. It’s a moving chant that has stayed with me. I felt like, ‘Okay, whatever comes out of this film - because I don’t know what it’s going to be - it’s going to be called Faya Dayi. I knew that from the get-go. Because they’re chanting, they’re giving each other morale and energy to continue to work…’
“Hazy aura” and “not seeing the whole person.” A chant with no explanation. What does all this mean? What is the purpose of Faya Dayi, if we cannot clearly view the images, see the whole body - the whole person - or understand the chant?
Beshir’s aim is to introduce her own perspective, which she solidifies into an agenda.
The London based filmmaker and Third World activist Ruhi Hamid tweeted (5) an exulting couple of lines on Faya Dayi in October 2021, just as the film was released into the film festival circuit, and in this case at the London Film Festival’s (LFF):
Just seen the most beautiful and powerful film at the #LFF Faya Dayi is an intimate observation of an Ethiopian Muslim community lovingly told by its Ethiopian director Jessica Beshir. Obs doc at its best. #Ethiopia#harrar#observational#Documentary:
I sent an email to Hamid:
Beshir got vague translations of the stories her subjects told her while she was on location in Harar, but didn't find out their exact words until much later. While putting the film together in New York, she would send selected sound bites to someone in Ethiopia who would translate Oromoo [Oromigna] to Amharic so she could translate the English subtitles herself [Source: Chanting at Sundance: Jessica Beshir on Faya Dayi]."
[...]
Isn’t one of the tenets of “anthropological” [i.e. Obs doc] filmmaking to know the culture? Beshir spent ten years making this film.
I spent two years in Mexico to perform rural health research. Within six months I was close to fluent in Spanish. By the end of my two years, people mistook me for a Mexican.
Hamid never replied. But she never followed up on this “most beautiful and powerful film” in further posts.
Other accolades and praises followed, with but a few cutting through the heavy smoke. The haze of Faya Dayi seems to have successfully covered the issues and agendas, intoxicating the film audience.
It is difficult to keep up with the times, and with the global times. And infinitely more difficult to understand all the nuances, back stories, and other stories to thread together the truth of the information we receive in our Brave New World.
Beshir was interviewed on Faya Dayi by a group that has a podcast platform called Free Oromia. The interview is recorded on episode 41 at their podcast (6). The group posted a tweet (7), which the elusive Beshir carefully managed through links, where she “liked” this post with both her @fayadayi (8) and @jessybeshir (9) twitter accounts, but retweets it only with her @fayadayi account, making it more difficult to pin down injurious associations [see links at the bottom of the tweet].
We’re so excited to announce our latest episode where we had the chance to discuss @FAYADAYI with the incredible @jessybeshir! #FayaDayi
This group, whose twitter location sign is set up as “Liberated Oromia,” is an Oromo secessionist organization, for the Oromo region to seceed from the Greater Ethiopia.
The Free Oromia podcast page links to the group’s Facebook (10), which then takes us to its website (11).
The group clarifies its Free Oromia platform in the main page of its website:
Welcome to Free Oromia
Envisioning an independent and sovereign Oromia
And links to their proclamation on: “Why we must free Oromia” where
...freedom in the form of independence and sovereignty is a conversation that must be normalized (12)
Their Facebook page is explicit and clear about “Why we must free Oromia”:
Welcome to Free Oromia. We envision an independent and sovereign Oromia in which the people of the nation determine its future.
Another, twitter-active secessionist, Marartuu Marartuu (13), posts on Faya Dayi, with a screen shot from the film. “All of this because we are #Oromo. Nothing new,” and “...our struggle continues.” This latter is a subtitle from the film (14). Marartuu links to the website olafightsforme.com in her introductory post.
The OLA (in the website’s name “olafightsforme.com) is the Oromo Liberation Army (15).
A November 8, 2021 article at Africa Report defines the OLA as (16):
The Oromo Liberation Army (OLA), is an ethnic Oromo armed group fighting the Ethiopian government alongside Tigrayan rebels. They (OLA) are based in Oromia, the largest region in the Ethiopia that encloses Addis Ababa.
It’s leader, Jaal Marroo, whose name the Free Oromiya podcast most likely uses as a pseudonym, says this, from a November 11, 2021 article in Africa Report (17):
Jaal Marroo, the Ethiopian military leader in charge of the Oromo Liberation Army (OLA), has warned Prime Minister Abiy Ahmed that his rebels are inching closer to victory, as the conflict in Ethiopia continues to escalate.
“What I am sure [of] is that it is going to end very soon. We are preparing to push for another launch, and for another attack. The government is just trying to buy time, and they are trying to instigate [a] civil war in this country, so they are calling for the nation to fight,” Marroo said in an interview with AFP on Sunday 7 November.
Beshir (in the back) with the Oromo Legacy Leadership & Advocacy Association
At a time of unprecedented reconciliation, when the Prime Minister of Ethiopia is a half-Oromo with a Muslim father (18), and who was re-elected through a nation-wide, transparent, world-viewed campaign, Jessica Beshir remains bitter and vindictive.
If Beshir is to count her gripes, then she should include a myriad of other ethnic groups, like the Tigray (19) from the north, who speak Tigrigna at home, but communicate in the official language of Amharic in their day-to-day interactions.
One important piece of information which Beshir rarely talks about is her Mexican mother (20). I wonder if this duality, Mexican and Ethiopian, caused her to go full-on with her Oromo “identity,” in order to establish for her self a psychological comfort of belonging “somewhere.”
Her film’s illusive, haze-filled atmosphere is a metaphor for her psyche, where truth and concrete images are camouflaged behind all-encompassing smoke.
On a practical level, something which Beshir never discusses, if she were to be of any help to these Oromo youth, on whose backs she made this film, her obligation is to provide them with educational and drug treatment centers: no more flickers on a cinema screen, but real, on the ground, centers of rehabilitation.
PM Abiy has been doing this for the past couple of years: helping the Oromo (21).
If Beshir were really up to it, and not in her mental cinematic mood, which apparently isn’t going away any time soon, she would contact these local Oromo centers, and why not, PM Abiy himself, to go ahead with putting her money where her mouth is.
Instead, Beshir lives in her smart Brooklyn apartment, plotting her next film against Ethiopia, and her false, distant, allegiance to the Oromo of Ethiopia.
Faya Dayi is shortlisted in the 94th Academy of Motion Picture Arts and Sciences for the Documentary Feature category, where the winner will be revealed in the March 2022 Oscars. Oscar nomination (or win) in an obscure category as Documentary Film will hardly raise the profile of Faya Dayi, which has essentially become a “film festival circuit” film, watched by loyal, almost cultish, followers. The audiences that watches it, and gives it the accolades I described above, will hardly put a dent in the financial gains, and general recognition, of the film, nor of Beshir.
Raell Ross, a black American documentary filmmaker best describes his life after his Oscar win, which he admits didn’t advance his profile much (22):
“There were people from several major companies that bought all these other films, who would tell me that they liked ‘Hale,’ but they didn’t know what to do with it,” Ross said. “The thing about my film is that it’s not so easily log-lined and it’s impossible to know what it is until you see it, but I still obviously want as many people to see it as possible.”
New York-based The Cinema Guild eventually acquired the film, giving it a limited theatrical run last fall. It opened to universal critical acclaim, and the documentary community mobilized around Ross’ achievement, which culminated in its Oscar nomination. But Ross said that outcome has had a negligible effect on him.
“It doesn’t really mean anything personally to me, and I don’t think about it unless someone mentions it,” he said. “Since then, I’ve had several inquiries from people about collaborating on film projects, but nothing has really come out of any conversations.” He added that the limited income potential of documentaries, his interests as a filmmaker, and his experimental style were all deterrents from the prospects of landing some major gig.
Perhaps Ross invested too much in politics, and less in practicalities.
Beshir’s film will probably receive the same fate. But, its recognition by the Oscars will set the stage for truth telling. When ordinary Ethiopians begin to see the film, or at least hear of its Oscar line-up, then they will begin to ask questions, and demand answers. Is Beshir really schilling for Ethiopia, or is she simply an anomaly, a Mexican-American-Oromo? Fringe film agencies and out-of-view cinema theaters can no longer hide behind their lazy ignorance, nor their blind support of a film with a clear political agenda. And serious artists, who have spent years studying contemporary film, will analyze it without the status quo breathing down their backs. I am such a critic.
References:
1. 94th Oscars Shortlist. https://www.oscars.org/oscars/94th-oscars-shortlists
2. Taylor, Nick. (2021, November 24) Gotham Nominees: Faya Dayi. The Film Experience. http://thefilmexperience.net/blog/2021/11/24/gotham-nominees-faya-dayi.html
3. POW Film Fest. (September 1, 2021) Jessica Beshir Talks About her Film Faya Dayi. http://fb.watch/a3ShJukahe
4. Hailu, Selome. ((2021, February 12) Chanting at Sundance: Jessica Beshir on Faya Dayi Letterboxed. https://letterboxd.com/festiville/story/chanting-at-sundance-jessica-beshir-on-faya/
5. Ruhi Hamid [@RuhiHamid]. (2021, October 10). Just seen the most beautiful and powerful film at the #LFF Faya Dayi is an intimate observation of an Ethiopian Muslim community. Twitter. https://twitter.com/RuhiHamid/status/1447257423052423171
6. Maroo, J., & Aangoo, J. (Hosts). (2021, September 16). Faya Dayi. [Audio Podcast episode]. https://freeoromia.buzzsprout.com/1447450/9207747-ep-41-faya-dayi
7. Free Oromia Podcast [@TeamFreeOromia]. (2021, September 16). We’re so excited to announce our latest episode where we had the chance to discuss @FAYADAYI with the incredible @jessybeshir! Twitter. https://mobile.twitter.com/TeamFreeOromia/status/1438659239094935555
8. Faya Dayi [@fayadayi] https://mobile.twitter.com/FayaDayi
9. Jessica Beshir [@jessybeshir] https://twitter.com/jessybeshir
10. Free Oromia. (n.d.) Home [Facebook page]. Facebook. Retrieved December 23, 2021 from https://www.facebook.com/TeamFreeOromia/
11. Free Oromia. https://www.freeoromia.org/
12. Free Oromia. Why We Must Free Oromia. https://www.freeoromia.org/why
13 Marartuu [@misskitila]. (2021, January 30) “All of this because we are #Oromo. Nothing new.” https://twitter.com/misskitila/status/1355633795790155778
14. Cinematheque Trailers (2021, August 25). Faya Dayi (2021) - Documentary [Trailer]. https://youtu.be/fPBrV9V1ylw
15. OLA Fights for Me. https://olafightsforme.com/
16. Africa Report. (2021, November 8) Redaction - African News. Ethiopia: Oromo Liberation Army (OLA), the Other Group Fighting Federal Forces. https://www.africanews.com/2021/11/08/ethiopia-oromo-liberation-army-ola-the-other-group-fighting-federal-forces//
17. Hanspal, Jaysim. (2021, November 11). Ethiopia: Who is Jaal Maroo, the Military Leader in Charge of the OLA? https://www.theafricareport.com/144673/ethiopia-who-is-jaal-marroo-the-military-leader-in-charge-of-the-ola/
18. Military Wiki. Abiy Ahmed. https://military-history.fandom.com/wiki/Abiy_Ahmed
19. Britannica. Tigrinya Language. https://www.britannica.com/topic/Tigrinya-language
20. Jardin de Ninos & Primaria. Quines Somos. https://www.serradell.edu.mx/about
21. Abiy Ahmed Ali [@AbiyAhmedAli]. (2021, March 13). Summer wheat cluster farming in Heben Arsi woreda of Oromia region. https://twitter.com/abiyahmedali/status/1370703479296102402
22. Obesen, Tambay. (2019, April 4). RaMell Ross’ Oscar Nomination Hasn’t Stopped His Experimental Career Plans. https://www.indiewire.com/2019/04/ramell-ross-hale-county-this-morning-this-evening-interview-1202055006/
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Faya Dayi: Critique of Jessica Beshir’s Documentary Film
December 23, 2021
Kidst Paulos Asrat
Writer and Artist
Art and Commentary by Kidist Paulos Asrat
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