The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1897-09-29
NOVEL On LYNCHING.
Strong story Just Dat by Gifted
Coasin of Amelia Rives.
New York Journal.

New York Journal
Miss Halle Erminie Rives. a cousin Of
Amelie Rives. has written a book. 1t is
called Smoking Flax and is published by
F. Tennyson Nicely The title is not at all
relevant to the plot or the general character
of the work, but that is immaterial. Inc
general style of it recalls that of the author
of The Quick or the Dead 1t is terse and
strong throughout. Smoking Flax" deals
with the problem of lynching in the South.
and in spots ii becomes a rather dangerous
subject. But as this sort of thing sells
book neither the author nor the publisher
will be likely to make any emendations.
Few women are better Informed or more
able to deal with the lynching industry
than the author of Smoking Flax or her
cousin, Amelie Rives She is a Kentuck-
ian by birth and understands well the pas
sionS and the prejudices of the Southern
apartments at the Won Hoffman, on West
Twentysixth street. For six months she has
been suffering from nervous prostration.
She has never ceased to work, however,
and Smoking Flax is the result, probably,
as much of her invalidism as OF anything
else.
strangely of her cousin, the Princess Troub-
tezkoy. She is of medium height. slender,
with a firm chin, brown hair and large, gray
Mind you," said she a few days ago. Il
do not base my hopes of success on my
kinship with Amelie. She is, indeed, a gift
ed woman, and deserves all her success.
Her family is a branch of the Kentucky
RiveSeS. AS far as my book is concerned, it
is by no means my first story, although l
have never before written at such length
nor gone into a subject so deeply. l consider
myself we'll equipped to handle the topic
with which the story deals. For years
lived in the rural districts of Kentucky and
have ridden the mountain Businesses alone
studying my subjects just as l found them
as Amelie did in Virginia. became part of
my surroundings, and in this way, | fancy
l have got a great deal of local atmosphere
in my book. l know the estimation in
which the Southern negro is held by the
Southern whites, and | thoroughly under
stand the deep detestation with which the
crimes of colored men are regarded.
with this subject | have dealt, trust,
not indelicately. l feel sure that the book
will create something of sensation, not
reason of the fact that | am thoroughly
acquainted with the things l have written
about. The purpose of my book is not to
find an excuse for the lynching evil on any
OF human nature, and that no heights of
human refinement or human edu-
cation viii ever entirely to do away
affair; to preach against it and legislate
against 1T cold-bloodedly; but let crime
be committed against one of our own fam
lily, and then how quickly cold bloodedness
is forgotten, and how quickly we get back
to the old Mosaic law of an eye for an eye
and tooth for TOOTH
Miss Rives's book comes not inappro-
priately at this time, when the lynching
try The hero of Miss Rives's book is FL
lott Harding, the scion kof wealthy and
aristocratic kentucky family The heroine
is Dorothy Carr, a tender blossom, gentle,
refined, lovable. 1t is the opening chap
ters, when Elliott Harding and Dorothy
Carr meet and love madly and tumultu-
ously, that reminds the reader so forcibly
of The Quick or the Dead?
But there is an interim in the love scenes,
when young Harding goes North to school,
presumably at Harvard. Here his soul IS
fired by a lofty purpose. The lynching of
negroes in his State must stop. 1t is blot
and disgrace. Between dreams of his love
for Dorothy Carr there are dreams of re-
ViSed legislation, and of the gradual educa-
ton of the people to higher things. Harding
considers lynching the blind resource of
lawlesS brutes He can find no excuse for
it under any circumstances. 1t is barbar-
Gus. Full of zeal, and with fixed purpose,
Elliott Harding returns home to his love
and his law practice. For a while he is in
dreamland and his love life runs as smooth
ly as a summer stream. THE Quick or the
Dead resemblance in the novel crops out
again in the tender love scenes. One day,
as Harding is returning to his home from
the city, he is overtaken by a maddened
and bloodthirsty mob. In their midst is a
negro, dust-covered and blood-stained
What has Cooley done?"
Murder and worse" bowls the mob in
effect. beautiful young woman has been
foully wronged and murdered by the negro.
Here is Elliott Harding's opportunity. He
will prevent this horrible lynching. He
harangues the crowd with the eloquence of
Cicero. He begs, he raves, he brings them
face to face with the enOrmity OF their con-
templated act.
Al last his words have the desired effect.
Ine negro captOrS Sullenly mana their
prisoner over to the sheriff and the crowd
disperses. Then, when the sheriff is miles
away with his prisoner, Elliott Harding
finds out the truth. The victim of the black
brute is Dorothy Carr Then Elliott Hard
ing, the declaimer against lynch law the
philosopher, the brilliant young thinker, is
Elliott Harding no longer.
Like a stone man he gazes into the dead
face of the girl he has loved. All his dreams
vanish, and in their place there arises
black desire for engeance-vengeance sure
and swift He mounts horse and sets out
in pursuit of the sheriff Philosophy and
humanity are in the background now, just
where such feelings are inevitably relegated
by men who have been deeply wronged.
That ride of Elliott Harding in pursuit of
vengeance is a terrible one Ever before
him is the face of his murdered love.
A mile away there is a railroad station.
The sheriff is there with his prisoner and
q train is approaching. Like wild Indian
Harding dashes up to the station, bounds
from his horse, walks up to the guilty negro
and shoots him dead.