PHOTOGRAPHERS AND ME
I look in my glass, dear reader, and what do I see? Nothing so frightfully hot, believe me. The face is slablike, the ears are large and
fastened on at right-angles. Above the eyebrows comes a stagnant sea of bald forehead, stretching away into the distance with noth-
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ing to relieve it but a few wisps of lonely hair. The nose is blobby, the eyes dull, like those of a fish not in the best of health. A face, in short, taking it for all in all, which should be reserved for the gaze of my nearest and dearest who, through long habit, have got used to it and can see through to the pure white soul beneath. At any rate, a face not to be scattered about at random and come upon suddenly by nervous people and invalids.
And yet, just because I am an author, I have to keep on being photographed. It is the fault of publishers and editors, of course, re-ally, but it is the photographer who comes in for the author's hate.
Something has got to be done about this practice of publishing authors' photographs. We have to submit to it, because editors and publishers insist. They have an extraordinary superstition that it helps an author's sales. The idea is that the public sees the photograph, pauses spell-bound for an instant, and then with a cry of ecstasy rushes off to the book-shop and buys copy after copy of the gargoyle's latest novel.
Of course, in practice, it works out just the other way. People read a review of an author's book and are told that it throbs with a pas-
sion so intense as almost to be painful, and are on the point of digging seven-and-sixpence out of their child's money-box to secure a copy, when their eyes fall on the man's photograph at the side of the review, and they find that he has a face like a rabbit and wears spectacles and a low collar. And this man is the man who is said to have laid bare the soul of a woman as with a scalpel.
Naturally their faith is shaken. They feel that a man like that cannot possibly know anything about Woman or any other subject ex-cept where to go for a vegetarian lunch, and the next moment they have put down the hair-pin and the child is seven-and-six in hand and the author his ten per cent., or whatever it is, to the bad. And all because of a photograph.
For the ordinary man, the recent introduction of high-art methods into photography has done much to diminish the unpleasantness of the operation. In the old days of crude and direct posing, there was no escape for the sitter. He had to stand up, backed by a rustic stile and a flabby canvas sheet covered with exotic trees, glaring straight into the camera. To prevent any eleventh-hour retreat,
a sort of spiky thing was shoved firmly into the back of his head leaving him with the choice of being taken as he stood or having an
inch of steel jabbed into his skull. Modern methods have changed all that.
There are no photographs nowadays. Only "camera portraits" and "lens impressions." The full face has been abolished. The ideal of the present-day photographer is to eliminate the sitter as far as possible and concentrate on a general cloudy effect. I have in my possession two studies of my Uncle Theodore--one taken in the early 'nineties, the other in the present year. The first shows him, evidently in pain, staring before him with a fixed expression. In his right hand he grasps a scroll. His left rests on a moss-covered wall. Two sea-gulls are flying against a stormy sky.
As a likeness, it is almost brutally exact. My uncle stands forever condemned as the wearer of a made-up tie.
The second is different in every respect. Not only has the sitter been taken in the popular modern "one-twentieth face," showing only the back of the head, the left ear and what is either a pimple or a flaw in the print, but the whole thing is plunged in the deepest shadow. It is as if my uncle had been surprised by the camera while chasing a black cat in his coal-cellar on a moonlight night. There is no question as to which of the two makes the more attractive picture. My family resemble me in that respect. The less you see of us, the better we look.
A PLEA FOR INDOOR GOLF
Indoor golf is that which is played in the home. Whether you live in a palace or a hovel, an indoor golf-course, be it only of nine holes, is well within your reach. A house offers greater facilities than an apartment, and I have found my game greatly improved since I went to live in the country. I can, perhaps, scarcely do better than give a brief description of the sporting nine-hole course which I have recently laid out in my present residence.
All authorities agree that the first hole on every links should be moderately easy, in order to give the nervous player a temporary and fictitious confidence.
At Wodehouse Manor, therefore, we drive off from the front door--in order to get the benefit of the door-mat--down an entry fairway, carpeted with rugs and without traps. The hole--a loving-cup--is just under the stairs; and a good player ought to have no difficulty in doing it in two.
The second hole, a short and simple one, takes you into the telephone booth. Trouble begins with the third, a long dog-leg hole through the kitchen into the dining-room. This hole is well trapped with table-legs, kitchen utensils, and a moving hazard in the
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person of Clarence the cat, who is generally wandering about the fairway. The hole is under the glass-and-china cupboard, where you
are liable to be bunkered if you loft your approach-shot excessively.
The fourth and fifth holes call for no comment. They are without traps, the only danger being that you may lose a stroke through hitting the maid if she happens to be coming down the back stairs while you are taking a mashie-shot. This is a penalty under the local rule.
The sixth is the indispensable water-hole. It is short, but tricky. Teeing off from just outside the bathroom door, you have to loft the
ball over the side of the bath, holing out in the little vent pipe, at the end where the water runs out.
The seventh is the longest hole on the course. Starting at the entrance of the best bedroom, a full drive takes you to the head of the stairs, whence you will need at least two more strokes to put you dead on the pin in the drawing-room. In the drawing-room
the fairway is trapped with photograph frames--with glass, complete--these serving as casual water: and anyone who can hole out on the piano in five or under is a player of class. Bogey is six, and I have known even such a capable exponent of the game as my Uncle Reginald, who is plus two on his home links on Park Avenue, to take twenty-seven at the hole. But on that occasion he had
the misfortune to be bunkered in a photograph of my Aunt Clara and took no fewer than eleven strokes with his niblick to extricate
himself from it.
The eighth and ninth holes are straightforward, and can be done in two and three respectively, provided you swing easily and avoid the canary's cage. Once trapped there, it is better to give up the hole without further effort. It is almost impossible to get out in less than fifty-six, and after you have taken about thirty the bird gets visibly annoyed.
THE ALARMING SPREAD OF POETRY
To the thinking man there are few things more disturbing than the realization that we are becoming a nation of minor poets. In the good old days poets were for the most part confined to garrets, which they left only for the purpose of being ejected from the offices of magazines and papers to which they attempted to sell their wares. Nobody ever thought of reading a book of poems unless accompanied by a guarantee from the publisher that the author had been dead at least a hundred years. Poetry, like wine, certain brands of cheese, and public buildings, was rightly considered to improve with age; and no connoisseur could have dreamed of fill-ing himself with raw, indigestible verse, warm from the maker.
Today, however, editors are paying real money for poetry; publishers are making a profit on books of verse; and many