# The Torrents of Spring - Ernest Hemingway (1987 reprint).pdf/Part 4

PART FOUR
The Passing of a Great Race and the Making and Marring of Americans
But perhaps it may be objected to me, that I have against my own rules introduced vices, and of a very black kind, into this work. To which I shall answer: first, that it is very difficult to pursue a series of human actions, and keep clear from them. Secondly, that the vices to be found here are rather the accidental consequences of some human frailty or foible, than causes habitually existing in the mind. Thirdly, that they are never set forth as the objects of ridicule, but detestation. Fourthly, that they are never the principle figure at that time on the scene: and lastly, they never produce the intended evil.
HENRY FIELDING
CHAPTER THIRTEEN
Yogi Johnson walking down the silent street with his arm around the little Indian's shoulder. The big Indian walking along beside them. The cold night. The shuttered houses of the town. The little Indian, who has lost his artificial arm. The big Indian, who was also in the war. Yogi Johnson, who was in the war too. The three of them walking, walking, walking. Where were they going? Where could they go? What was there left?
Suddenly under a street light that swung on its drooping wire above a street corner, casting its light down on the snow, the big Indian stopped. "Walking no get us nowhere," he grunted. "Walking no good. Let white chief speak. Where we go, white chief?"
Yogi Johnson did not know. Obviously, walking was not the solution of their problem. Walking was all right in its way. Coxey's Army. A horde of men, seeking work, pressing on toward Washington. Marching men, Yogi thought. Marching on and on and where were they getting? Nowhere. Yogi knew it only too well. Nowhere. No damn where at all.
"White chief speak up," the big Indian said.
"I don't know," Yogi said. "I don't know at all." Was this what they had fought the war for? Was this what it was all about? It looked like it. Yogi standing under the street light. Yogi thinking and wondering. The two Indi​ans in their mackinaw coats. One of the Indians with an empty sleeve. All of them wondering.
"White chief no speak?" the big Indian asked.
"No." What could Yogi say? What was there to say?
"Red brother speak?" asked the Indian.
"Speak out," Yogi said. He looked down at the snow. "One man's as good as another now."
"White chief ever go to the Brown's Beanery?" asked the big Indian, looking into Yogi's face under the arc light.
"No." Yogi felt all in. Was this the end? A beanery. Well, a beanery as well as any other place. But a beanery. Well, why not? These Indians knew the town. They were ex-service men. They both had splendid war records. He knew that himself. But a beanery.
"White chief come with red brothers." The tall Indian put his arm under Yogi's arm. The little Indian fell into step. "Forward to the beanery." Yogi spoke quietly. He was a white man, but he knew when he had enough. After all, the white race might not always be supreme. This Moslem revolt. Unrest in the East. Trouble in the West. Things looked black in the South. Now this condition of things in the North. Where was it taking him? Where did it all lead? Would it help him to want a woman? Would spring ever come? Was it worth while after all? He wondered.
The three of them striding along the frozen streets of Petoskey. Going somewhere now. En route. Huysmans wrote that. It would be interesting to read French. He must try it sometime. There was a street in Paris named after Huysmans. Right around the corner from where Gertrude Stein lived. Ah, there was a woman! Where were her experiments in words leading her? What was at ​the bottom of it? All that in Paris. Ah, Paris. How far it was to Paris now. Paris in the morning. Paris in the evening. Paris at night. Paris in the morning again. Paris at the noon, perhaps. Why not? Yogi Johnson striding on. His mind never still.
All three of them striding on together. The arums of those that had arms linked through each other's arms. Red men and white men walking together. Something had brought them together. Was it the war? Was it fate? Was it accident? Or was it just chance? These questions struggled with each other Yogi Johnson's brain. His brain was tired. He had been thinking too much lately. On still they strode. Then, abruptly, they stopped.
The little Indian looked up at the sign. It shone in the night outside the frosted windows of the beanery. Best by Test.
"Makeum heap big test," the little Indian grunted.
"White man's beanery got heap fine T-bone steak," the tall Indian grunted. "Take it from red brother." The Indians stood a little uncertainly outside the door. The tall Indian turned to Yogi. "White chief got dollars?"
"Yes, I've got money," Yogi answered. He was prepared to go the route. It was no time to turn back now. "The feed's on me, boys."
"White chief nature's nobleman," the tall Indian grunted.
"White chief rough diamond," the little Indian agreed.
"You'd do the same for me," Yogi deprecated. After all, perhaps it was true. It was a chance he was taking. He had taken a chance in Paris once. Steve Brodie had taken a chance. Or so they said. Chances were taken all over the world every day. In China, Chinamen were tak​ing chances. In Africa, Africans. In Egypt, Egyptians. In Poland, Poles. In Russia, Russians. In Ireland, Irish. In Armenia———
"Armenians no take chances," the tall Indian grunted quietly. He had voiced Yogi's unspoken doubt. They were a canny folk these red men.
"Not even in the rug game?"
"Red brother think not," the Indian said. His tones carried conviction to Yogi. Who were these Indians? There was something back of all this. They went into the beanery.
Author's Note to Reader
It was at this point in the story, reader, that Mr. F. Scott Fitzgerald came to our home one afternoon, and after remaining for quite a while suddenly sat down in the fireplace and would not (or was it could not, reader?) get up and let the fire burn something else so as to keep the room warm. I know, reader, that these things sometimes do not show in a story, but, just the same, they are happening, and think what they mean to chaps like you and me in the literary game. If you should think this part of the story is not as good as it might have been remember, reader, that day in and day out all over the world things like this are happening. Need I add, reader, that I have the utmost respect for Mr. Fitzgerald, and let anybody else attack him and I would be the first to spring to his defense! And that includes you too, reader, though I hate to speak out bluntly like this, and take the risk of breaking up a friendship of the sort that ours has gotten to be.
​P.S.—To the Reader
As I read that chapter over, reader, it doesn't seem so bad. You may like it. I hope you will. And if you do like it, reader, and the rest of the book as well, will you tell your friends about it, and try and get them to buy the book just as you have done? I only get twenty cents on each book that is sold, and while twenty cents is not much nowadays still it will mount up to a lot if two or three hundred thousand copies of the book are sold. They will be, too, if every one likes the book as much as you and I do, reader. And listen, reader. I meant it when I said I would be glad to read anything you wrote. That wasn't just talk. Bring it along and we will go over it together. If you like, I'll re-write bits of it for you. I don't mean that in any critical sort of way either. If there is anything you do not like in this book just write to Mr. Scribner's Sons at the home office. They'll change it for you. Or, if you would rather, I will change it myself. You know what I think of you, reader. And you're not angry or upset about what I said about Scott Fitzgerald either, are you? I hope not. Now I am going to write the next chapter. Mr. Fitzgerald is gone and Mr. Dos Passos had gone to England, and I think I can promise you that it will be a bully chapter. At least, it will be just as good as I can write it. We both know how good that can be, if we read the blurbs, eh, reader?
CHAPTER FOURTEEN
Inside the beanery. They are all inside the beanery. Some do not see the others. Each are intent on themselves. Red men are intent on red men. White men are intent on white men or on white women. There are no red women. Are there no squaws any more? What has become of the squaws? Have we lost our squaws in America? Silently, through the door which she had opened, a squaw came into the room. She was clad only in a pair of worn moccasins. On her back was a papoose. Beside her walked a husky dog.
"Don't look!" the drummer shouted to the women at the counter.
"Here! Get her out of here!" the owner of the beanery shouted. The squaw was forcibly ejected by the Negro cook. They heard her thrashing around in the snow outside. Her husky dog was barking.
"My God! What that might have led to!" Scripps O'Neil mopped his forehead with a napkin.
The Indians had watched with impassive faces. Yogi Johnson had been unable to move. The waitresses had covered their faces with napkins or whatever was handy. Mrs. Scripps had covered her eyes with The American Mercury. Scripps O'Neil was feeling faint and shaken. Something had stirred inside him, some vague primordial feeling, as the squaw had come into the room.
​"Wonder where that squaw came from?" the drummer asked.
"Her my squaw," the little Indian said.
"Good God, man! Can't you clothe her?" Scripps O'Neil said in a dumb voice. There was a note of terror in his words.
"Her no like clothes," the little Indian explained. "Her woods Indian."
Yogi Johnson was not listening. Something had broken inside of him. Something had snapped as the squaw came into the room. He had a new feeling. A feeling he thought had been lost for ever. Lost for always. Lost. Gone permanently. He knew now it was a mistake. He was all right now. By the merest chance he had found it out. What might he not have thought if that squaw had never come into the beanery? What black thoughts he had been thinking! He had been on the verge of suicide. Self-destruction. Killing himself. Here in this beanery. What a mistake that would have been. He knew now. What a botch he might have made of life. Killing himself. Let spring come now. Let it come. It couldn't come fast enough. Let spring come. He was ready for it.
"Listen," he said to the two Indians. "I want to tell you about something that happened to me in Paris."
The two Indians leaned forward. "White chief got the floor," the tall Indian remarked.
"What I thought was a very beautiful thing happened to me in Paris," Yogi began. "You Indians know Paris? Good. Well, it turned out to be the ugliest thing that ever happened to me."
The Indians grunted. They knew their Paris.
"It was the first day of my leave. I was walking along ​the Boulevard Malesherbes. A car passed me and a beautiful woman leaned out. She called to me and I came. She took me to a house, a mansion rather, in a distant part of Paris, and there a very beautiful thing happened to me. Afterward someone took me out a different door than I had come in by. The beautiful woman had told me that she would never, that she could never, see me again. I tried to get the number of the mansion but it was one of a block of mansions all looking the same.
"From then on all through my leave I tried to see that beautiful lady. Once I thought I saw her in the theatre. It wasn't her. Another time I caught a glimpse of what I thought was her in a passing taxi and leaped into another taxi and followed. I lost the taxi. I was desperate. Finally on the next to the last night of my leave I was so desperate and dull that I went with one of those guides that guarantee to show you all of Paris. We started out and visited various places. 'Is this all you've got?' I asked the guide.
"'There is a real place, but it's a very expensive,' the guide said. We compromised on a price finally, and the guide took me. It was in an old mansion. You looked through a slit in the wall. All around the wall were people looking through the slits. There, looking through slits could be seen the uniforms of men of all the Allied countries, and many handsome South Americans in evening dress. I looked through a slit myself. For a while nothing happened. Then a beautiful woman came into the room with a young British officer. She took off her long fur coat and her hat and threw them into a chair. The officer was taking off his Sam Browne belt. I recognized her. It was the lady whom I had been with when ​the beautiful thing happened to me." Yogi Johnson looked at his empty plate of beans. "Since then," he said, "I have never wanted a woman. How I have suffered I cannot tell. But I've suffered, boys, I've suffered. I blamed it on the war. I blamed it on France. I blamed it on the decay of morality in general. I blamed it on the younger generation. I blamed it here. I blamed it there. Now I am cured. Here's five dollars for you, boys." His eyes were shining. "Get some more to eat. Take a trip somewhere. This is the happiest day of my life."
He stood up from his stool before the counter, shook the one Indian impulsively by the hand, rested his hand for a minute on the other Indian's shoulder, opened the door of the beanery, and strode out into the night.
The two Indians looked at one another. "White chief heap nice fella," observed the big Indian.
"Think him was in the war?" asked the little Indian.
"Me wonder," the big Indian said.
"White chief said he buy me new artificial arm," the little Indian grumbled.
"Maybe you get more than that," the big Indian said.
"Me wonder," the little Indian said. They went on eating.
At the other end of the counter of the beanery a marriage was coming to an end.
Scripps O'Neil and his wife sat side by side. Mrs. Scripps knew now. She couldn't hold him. She had tried and failed. She had lost. She knew it was a losing game. There was no holding him now. Mandy was talking again. Talking. Talking. Always talking. That interminable stream of literary gossip that was bringer her, Diana's, marriage to an end. She couldn't hold him. He ​was going. Going. Going away from her. Diana sitting there in misery. Scripps listening to Mandy talking. Mandy talking. Talking. Talking. The drummer, an old friend now, the drummer, sitting reading his Detroit News. She couldn't hold him. She couldn't hold him. She couldn't hold him.
The little Indian got up from his stool at the beanery counter, and went over to the window. The glass on the window was covered with thick rimy frost. The little Indian breathed on the frozen windowpane, rubbed the spot bare with the empty sleeve of his mackinaw coat and looked out into the night. Suddenly he turned from the window and rushed out into the night. The tall Indian watched him go, leisurely finished his meal, took a toothpick, placed it between his teeth, and then he too followed his friend out into the night.
CHAPTER FIFTEEN
They were alone in the beanery now. Scripps and Mandy and Diana. Only the drummer was with them. He was an old friend now. But his nerves were on edge tonight. He folded his paper abruptly and started for the door.
"See you all later," he said. He went out into the night. It seemed the only thing to do. He did it.
Only three of them in the beanery now. Scripps and Mandy and Diana. Only those three. Mandy was talk- ​ing. Leaning on the counter and talking. Scripps with his eyes fixed on Mandy. Diana made no pretense of listening now. She knew it was over. It was all over now. But she would make one more attempt. One more last gallant try. Perhaps she still could hold him. Perhaps it had all been just a dream. She steadied her voice and then she spoke.
"Scripps, dear," she said. Her voice shook a little. She steadied it.
"What's on your mind?" Scripps asked abruptly. Ah, there it was. That horrid clipped speech again.
"Scripps, dear, wouldn't you like to come home?" Diana's voice quavered. "There's a new Mercury." She had changed from the London Mercury to The American Mercury just to please Scripps. "It just came. I wish you felt like coming home, Scripps, there's a splendid thing in this Mercury. Do come home, Scripps, I've never asked anything of you before. Come home, Scripps! Oh, won't you come home?"
Scripps looked up. Diana's heart beat faster. Perhaps he was coming. Perhaps she was holding him. Holding him. Holding him.
"Do come, Scripps, dear," Diana said softly. "There's a wonderful editorial in it by Mencken about chiropractors."
Scripps looked away.
"Won't you come, Scripps?" Diana pleaded.
"No," Scripps said. "I don't give a damn about Mencken any more."
Diana dropped her head. "Oh, Scripps," she said. "Oh, Scripps." This was the end. She had her answer ​now. She had lost him. Lost him. Lost him. It was over. Finished. Done for. She sat crying silently. Mandy was talking again.
Suddenly Diana straightened up. She had one last request to make. One thing she would ask him. Only one. He might refuse her. He might not grant it. But she would ask him.
"Scripps," she said.
"What's the trouble?" Scripps turned in irritation. Perhaps, after all, he was sorry for her. He wondered.
"Can I take the bird, Scripps?" Diana's voice broke.
"Sure," said Scripps. "Why not?"
Diana picked up the bird-cage. The bird was asleep. Perched on one leg as on that night when they had first met. What was it he was like? Ah, yes. Like an old osprey. An old, old osprey from her own Lake Country. She held the cage to her tightly.
"Thank you, Scripps," she said. "Thank you for this bird." Her voice broke. "And now I must be going."
Quietly, silently, gathering her shawl around her, clutching the cage with the sleeping bird and the copy of The Mercury to her breast, with only a backward glance, a last glance at him who had been her Scripps, she opened the door of the beanery, and went out into the night. Scripps did not even see her go. He was intent on what Mandy was saying. Mandy was talking again.
"That bird she just took out," Mandy was saying.
"Oh, did she take a bird out?" Scripps asked. "Go on with the story."
"You used to wonder about what sort of bird that was," Mandy went on.
"That's right," Scripps agreed.
​"Well that reminds me of a story about Gosse and the Marquis of Buque," Mandy went on.
"Tell it, Mandy. Tell it," Scripps urged.
"It seems a great friend of mine, Ford, you've heard me speak of him before, was in the marquis's castle during the war. His regiment was billeted there and the marquis, one of the richest if not the richest man in England, was serving in Ford's regiment as a private. For was sitting in the library one evening. The library was a most extraordinary place. The walls were made of bricks of gold set into tiles or something. I forget exactly how it was."
"Go on," Scripps urged. "It doesn't matter."
"Anyhow, in the middle of the wall of the library was a stuffed flamingo in a glass case."
"They understand interior decorating, these English," Scripps said.
"Your wife was English, wasn't she?" asked Mandy.
"From the Lake Country," Scripps answered. "Go on with the story."
"Well, anyway," Mandy went on, "Ford was sitting there in the library one evening after mess when the butler came in and said: 'The Marquis of Buque's compliments and might he show the library to a group of friends with whom he has been dining?' They used to let him dine out and sometimes they let him sleep in the castle. Ford said, 'Quite,' and in came the marquis in his private's uniform followed by Sir Edmund Gosse and Professor Whatsisname, I forget it for the moment from Oxford. Gosse stopped in front of the stuffed flamingo in the glass case and said, 'What have we here, Buque?'
"'It's a flamingo, Sir Edmund,' the marquis answered.
​"'That's not my idea of a flamingo,' Gosse remarked.
"'No, Gosse. That's God's idea of a flamingo,' Professor Whatsisname said. I wish I could remember his name."
"Don't bother," Scripps said. His eyes were bright. He leaned forward. Something was pounding inside of him. Something he could not control. "I love you, Mandy," he said. "I love you. You are my woman." The thing was pounding away inside of him. It would not stop.
"That's all right," Mandy answered. "I've known you were my man for a long time. Would you like to hear another story? Speaking of woman."
"Go on," Scripps said. "You must never stop, Mandy. You are my woman now."
"Sure," Mandy agree. "This story is about when Knut Hamsun was a streetcar conductor in Chicago."
"Go on," Scripps said. "You are my woman now, Mandy."
He repeated the phrase to himself. My woman. My woman. You are my woman. She is my woman. It is my woman. My woman. But, somehow, he was not satisfied. Somewhere, somehow, there must be something else. Something else. My woman. The words were a little hollow now. Into his mind, though he tried to thrust it out, there came again the monstrous picture of the squaw as she strode silently into the room. That squaw. She did not wear clothes, because she did not like them. Hardy, braving the winter nights. What might not the spring bring? Mandy was talking. Mandy talking on in the beanery. Mandy telling her stores. It grows late in the beanery. Mandy talks on. She is his woman now. He is her man. But is he her man? In Scripps's brain that vi​sion of the squaw. The squaw that strode unannounced into the beanery. The squaw who had been thrown out into the snow. Mandy talking on. Telling literary reminiscences. Authentic incidents. They had the ring of truth. But were they enough? Scripps wondered. She was his woman. But for how long? Scripps wondered. Mandy talking on in the beanery. Scripps listening. But his mind straying away. Straying away. Straying away. Where was it straying? Out into the night. Out into the night.
CHAPTER SIXTEEN
Night in Petoskey. Long past midnight. Inside the beanery a light burning. The town asleep under the Northern moon. To the North the tracks of the G. R. & I. Railroad running far into the North. Cold tracks, stretching North toward Mackinaw City and St. Ignace. Cold tracks to be walking on at this time of night.
North of the frozen little Northern town a couple walking side by side on the tracks. It is Yogi Johnson walking with the squaw. As they walk Yogi Johnson silently strips off his garments. One by one he strips off his garments, and casts them beside the track. In the end he is clad only in a worn pair of pump-maker shoes. Yogi Johnson, naked in the moonlight, walking North beside the squaw. The squaw striding along beside him. She carries the papoose on her back in his bark cradle. Yogi attempts to take the papoose from her. He would carry the papoose. The husky dog whines and licks at Yogi Johnson's ankles. ​No, the squaw would carry the papoose herself. On they stride. Into the North. Into the Northern night.
Behind them come two figures. Sharply etched in the moonlight. It is the two Indians. The two woods Indians. They stoop and gather up the garments Yogi Johnson has cast away. Occasionally, they grunt to one another. Striding softly along in the moonlight. Their keen eyes not missing a single cast-off garment. When the last garment has been cast off they look and see far ahead of them the two figures in the moonlight. The two Indians straighten up. They examine the garments.
"White chief snappy dresser," the tall Indian remarks, holding up an initialled shirt.
"White chief going get pretty cold," small Indian remarks. He hands a vest to the tall Indian. The tall Indian rolls all the clothing, all the cast-off garments, into a bundle, and they start back along the tracks to the town.
"Better keep clothes for white chief or sellem Salvation Army?" asks the short Indian.
"Better sellem Salvation Army," the tall Indian grunts. "White chief maybe never come back."
"Better sellem Salvation Army, anyway," grunts the tall Indian. "White chief need new clothes, anyhow, when spring comes."
As they walked down the tracks toward town, the air seemed to soften. The Indians walk uneasily now. Through the tamaracks and cedars beside the railway tracks a warm wind is blowing. The snow-drifts are melting now beside the tracks. Something stirs inside the two Indians. Some urge. Some strange pagan disturbance. ​The warm wind is blowing. The tall Indian stops, moistens his finger and holds it up in the air. The little Indian watches. "Chinook?" he asks.
"Heap chinook," the tall Indian says. They hurry on toward town. The moon is blurred now by clouds carried by the warm chinook wind that is blowing.
"Want to get in town before rush," the tall Indian grunts.
"Red brothers want be well up in line," the little Indian grunts anxiously.
"Nobody work in factory now," the tall Indian grunted.
"Better hurry."
The warm wind blows. Inside the Indians strange longings were stirring. They knew what they wanted. Spring at last was coming to the frozen little Northern town. The two Indians hurried along the track.
The End
Author's Final Note to the Reader
Well, reader, how did you like it? It took me ten days to write it. Has it been worth it? There is just one place I would like to clear up. You remember back in the story where the elderly waitress, Diana, tells about how she lost her mother in Paris, and woke up to find herself with a French general in the next room? I thought perhaps you might be interested to know the real explanation of that. What actually happened was that her mother was taken violently ill with the bubonic plague in the night, and the