"I dedicated the book to my husband, Mr. Charles Darwin Porter, for several reasons, the chiefest being that he deserved it. When word was brought me by lumbermen of the nest of the Black Vulture in the Limberlost, I hastened to tell my husband the wonderful story of the big black bird, the downy white baby, the pale blue egg, and to beg back a rashly made promise not to work in the Limberlost. Being a natural history enthusiast himself, he agreed that I must go; but he qualified the assent with the proviso that no one less careful of me than he, might accompany me there. His business had forced him to allow me to work alone, with hired guides or the help of oilmen and farmers elsewhere; but a Limberlost trip at that time was not to be joked about. It had not been shorn, branded, and tamed. There were most excellent reasons why I should not go there. Much of it was impenetrable. Only a few trees had been taken out; oilmen were just invading it. In its physical aspect it was a treacherous swamp and quagmire filled with every plant, animal, and human danger known in the worst of such locations in the Central States.
"A rod inside the swamp on a road leading to an oil well we mired to the carriage hubs. I shielded my camera in my arms and before we reached the well I thought the conveyance would be torn to pieces and the horse stalled. At the well we started on foot, Mr. Porter in kneeboots, I in waist-high waders. The time was late June; we forced our way between steaming, fetid pools, through swarms of gnats, flies, mosquitoes, poisonous insects, keeping a sharp watch for rattlesnakes. We sank ankle deep at every step, and logs we thought solid broke under us. Our progress was a steady succession of prying and pulling each other to the surface. Our clothing was wringing wet, and the exposed parts of our bodies lumpy with bites and stings. My husband found the tree, cleared the opening to the great prostrate log, traversed its unspeakable odours for nearly forty feet to its farthest recess, and brought the baby and egg to the light in his leaf-lined hat.
"We could endure the location only by dipping napkins in deodorant and binding them over our mouths and nostrils. Every third day for almost three months we made this trip, until Little Chicken was able to take wing. Of course we soon made a road to the tree, grew accustomed to the disagreeable features of the swamp and contemptuously familiar with its dangers, so that I worked anywhere in it I chose with other assistance; but no trip was so hard and disagreeable as the first. Mr. Porter insisted upon finishing the Little Chicken series, so that 'deserve' is a poor word for any honour that might accrue to him for his part in the book."
This was the nucleus of the book, but the story itself originated from the fact that one day, while leaving the swamp, a big feather with a shaft over twenty inches long came spinning and swirling earthward and fell in the author's path. Instantly she looked upward to locate the bird, which from the size and formation of the quill could have been nothing but an eagle; her eyes, well trained and fairly keen though they were, could not see the bird, which must have been soaring above range. Familiar with the life of the vulture family, the author changed the bird from which the feather fell to that described in "Freckles." Mrs. Porter had the old swamp at that time practically untouched, and all its traditions to work upon and stores of natural history material. This falling feather began the book which in a few days she had definitely planned and in six months completely written. Her title for it was "The Falling Feather," that tangible thing which came drifting down from Nowhere, just as the boy came, and she has always regretted the change to "Freckles." John Murray publishes a British edition of this book which is even better liked in Ireland and Scotland than in England.
As "The Cardinal" was published originally not by Doubleday, Page & Company, but by another firm, the author had talked over with the latter house the scheme of "Freckles" and it had been agreed to publish the story as soon as Mrs. Porter was ready. How the book finally came to Doubleday, Page & Company she recounts as follows:
"By the time 'Freckles' was finished, I had exercised my woman's prerogative and 'changed my mind'; so I sent the manuscript to Doubleday, Page & Company, who accepted it. They liked it well enough to take a special interest in it and to bring it out with greater expense than it was at all customary to put upon a novel at that time; and this in face of the fact that they had repeatedly warned me that the nature work in it would kill fully half its chances with the public. Mr. F.N. Doubleday, starting on a trip to the Bahamas, remarked that he would like to take a manuscript with him to read, and the office force decided to put 'Freckles' into his grip. The story of the plucky young chap won his way to the heart of the publishers, under a silk cotton tree, 'neath bright southern skies, and made such a friend of him that through the years of its book-life it has been the object of special attention. Mr. George Doran gave me a photograph which Mr. Horace MacFarland made of Mr. Doubleday during this reading of the Mss. of 'Freckles' which is especially interesting."
That more than 2,000,000 readers have found pleasure and profit in Mrs. Porter's books is a cause for particular gratification. These stories all have, as a fundamental reason of their existence, the author's great love of nature. To have imparted this love to others—to have inspired many hundreds of thousands to look for the first time with seeing eyes at the pageant of the out-of-doors—is a satisfaction that must endure. For the part of the publishers, they began their business by issuing "Nature Books" at a time when the sale of such works was problematical. As their tastes and inclinations were along the same lines which Mrs. Porter loved to follow, it gave them great pleasure to be associated with her books which opened the eyes of so great a public to new and worthy fields of enjoyment.
The history of "Freckles" is unique. The publishers had inserted marginal drawings on many pages, but these, instead of attracting attention to the nature charm of the book, seemed to have exactly a contrary effect. The public wanted a novel. The illustrations made it appear to be a nature book, and it required three long slow years for "Freckles" to pass from hand to hand and prove that there really was a novel between the covers, but that it was a story that took its own time and wound slowly toward its end, stopping its leisurely course for bird, flower, lichen face, blue sky, perfumed wind, and the closest intimacies of the daily life of common folk. Ten years have wrought a great change in the sentiment against nature work and the interest in it. Thousands who then looked upon the world with unobserving eyes are now straining every nerve to accumulate enough to be able to end life where they may have bird, flower, and tree for daily companions.
Mrs. Porter's account of the advice she received at this time is particularly interesting. Three editors who read "Freckles" before it was published offered to produce it, but all of them expressed precisely the same opinion: "The book will never sell well as it is. If you want to live from the proceeds of your work, if you want to sell even moderately, you must CUT OUT THE NATURE STUFF." "Now to PUT IN THE NATURE STUFF," continues the author, "was the express purpose for which the book had been written. I had had one year's experience with 'The Song of the Cardinal,' frankly a nature book, and from the start I realized that I never could reach the audience I wanted with a book on nature alone. To spend time writing a book based wholly upon human passion and its outworking I would not. So I compromised on a book into which I put all the nature work that came naturally within its scope, and seasoned it with little bits of imagination and straight copy from the lives of men and women I had known