One day in Spring, six or eight years ago, I received a letter from a man somewhere beyond the Wabash announcing that he had lately completed a very powerful novel and hinting that my critical judgment upon it would give him great comfort. Such notifications, at that time, reached me far too often to be agreeable, and so I sent him a form-response telling him that I was ill with pleurisy, had just been forbidden by my oculist to use my eyes, and was about to become a father. The aim of this form-response was to shunt all that sort of trade off to other reviewers, but for once it failed. That is to say, the unknown kept on writing to me, and finally offered to pay me an honorarium for my labor. This offer was so unusual that it quite demoralized me, and before I could recover I had received, cashed and dissipated a modest check, and was confronted by an accusing manuscript, perhaps four inches thick, but growing thicker every time I glanced at it.

One night, tortured by conscience and by the inquiries and reminders arriving from the author by every post, I took up the sheets and settled down for a depressing hour or two of it.... No, I did not read all night. No, it was not a masterpiece. No, it has not made the far-off stranger famous. Let me tell the story quite honestly. I am, in fact, far too rapid a reader to waste a whole night on a novel; I had got through this one by midnight and was sound asleep at my usual time. And it was by no means a masterpiece; on the contrary, it was inchoate, clumsy, and, in part, artificial, insincere and preposterous. And to this day the author remains obscure.... But underneath all the amateurish writing, the striving for effects that failed to come off, the absurd literary self-consciousness, the recurrent falsity and banality—underneath all these stigmata of a neophyte’s book there was yet a capital story, unusual in content, naÏve in manner and enormously engrossing. What is more, the faults that it showed in execution were, most of them, not ineradicable. On page after page, as I read on, I saw chances to improve it—to get rid of its intermittent bathos, to hasten its action, to eliminate its spells of fine writing, to purge it of its imitations of all the bad novels ever written—in brief, to tighten it, organize it, and, as the painters say, tease it up.

The result was that I spent the next morning writing the author a long letter of advice. It went to him with the manuscript, and for weeks I heard nothing from him. Then the manuscript returned, and I read it again. This time I had a genuine surprise. Not only had the unknown followed my suggestions with much intelligence; in addition, once set up on the right track, he had devised a great many excellent improvements of his own. In its new form, in fact, the thing was a very competent and even dexterous piece of writing, and after re-reading it from the first word to the last with even keener interest than before, I sent it to Mitchell Kennerley, then an active publisher, and asked him to look through it. Kennerley made an offer for it at once, and eight or nine months later it was published with his imprint. The author chose to conceal himself behind the nom de plume of Robert Steele; I myself gave the book the title of “One Man.” It came from the press—and straightway died the death. The only favorable review it received was mine in the Smart Set. No other reviewer paid any heed to it. No one gabbled about it. No one, so far as I could make out, even read it. The sale was small from the start, and quickly stopped altogether.... To this day the fact fills me with wonder. To this day I marvel that so dramatic, so penetrating and so curiously moving a story should have failed so overwhelmingly....

For I have never been able to convince myself that I was wrong about it. On the contrary, I am more certain than ever, re-reading it after half a dozen years, that I was right—that it was and is one of the most honest and absorbing human documents ever printed in America. I have called it, following the author, a novel. It is, in fact, nothing of the sort; it is autobiography. More, it is autobiography unadorned and shameless, autobiography almost unbelievably cruel and betraying, autobiography that is as devoid of artistic sophistication as an operation for gall-stones. This so-called Steele is simply too stupid, too ingenuous, too moral to lie. He is the very reverse of an artist; he is a born and incurable Puritan—and in his alleged novel he draws the most faithful and merciless picture of an American Puritan that has ever got upon paper. There is never the slightest effort at amelioration; he never evades the ghastly horror of it; he never tries to palm off himself as a good fellow, a hero. Instead, he simply takes his stand in the center of the platform, where all the spotlights meet, and there calmly strips off his raiment of reticence—first his Sunday plug-hat, then his long-tailed coat, then his boiled shirt, then his shoes and socks, and finally his very B. V. D.’s. The closing scene shows the authentic Mensch-an-sich, the eternal blue-nose in the nude, with every wart and pimple glittering and every warped bone and flabby muscle telling its abhorrent tale. There stands the Puritan stripped of every artifice and concealment, like Thackeray’s Louis XIV.

Searching my memory, I can drag up no recollection of another such self-opener of secret chambers and skeletonic closets. Set beside this pious babbler, the late Giovanni Jacopo Casanova de Seingalt shrinks to the puny proportions of a mere barroom boaster, a smoking-car Don Juan, an Eighteenth Century stock company leading man or whiskey drummer. So, too, Benvenuto Cellini: a fellow vastly entertaining, true enough, but after all, not so much a psychological historian as a liar, a yellow journalist. One always feels, in reading Benvenuto, that the man who is telling the story is quite distinct from the man about whom it is being told. The fellow, indeed, was too noble an artist to do a mere portrait with fidelity; he could not resist the temptation to repair a cauliflower ear here, to paint out a tell-tale scar there, to shine up the eyes a bit, to straighten the legs down below. But this Steele—or whatever his name may be—never steps out of himself. He is never describing the gaudy one he would like to be, but always the commonplace, the weak, the emotional, the ignorant, the third-rate Christian male that he actually is. He deplores himself, he distrusts himself, he plainly wishes heartily that he was not himself, but he never makes the slightest attempt to disguise and bedizen himself. Such as he is, cheap, mawkish, unÆsthetic, conscience-stricken, he depicts himself with fierce and unrelenting honesty.

Superficially, the man that he sets before us seems to be a felonious fellow, for he confesses frankly to a long series of youthful larcenies, to a somewhat banal adventure in forgery (leading to a term in jail), to sundry petty deceits and breaches of trust, and to an almost endless chain of exploits in amour, most of them sordid and unrelieved by anything approaching romance. But the inner truth about him, of course, is that he is really a moralist of the moralists—that his one fundamental and all-embracing virtue is what he himself regards as his viciousness—that he is never genuinely human and likable save in those moments which lead swiftly to his most florid self-accusing. In brief, the history is that of a moral young man, the child of God-fearing parents, and its moral, if it has one, is that a strictly moral upbringing injects poisons into the system that even the most steadfast morality cannot resist. It is, in a way, the old story of the preacher’s son turned sot and cutthroat.

Here we see an apparently sound and normal youngster converted into a sneak and rogue by the intolerable pressure of his father’s abominable Puritanism. And once a rogue, we see him make himself into a scoundrel by the very force of his horror of his roguery. Every step downward is helped from above. It is not until he resigns himself frankly to the fact of his incurable degradation, and so ceases to struggle against it, that he ever steps out of it.

The external facts of the chronicle are simple enough. The son of a school teacher turned petty lawyer and politician, the hero is brought up under such barbaric rigors that he has already become a fluent and ingenious liar, in sheer self-protection, at the age of five or six. From lying he proceeds quite naturally to stealing: he lifts a few dollars from a neighbor, and then rifles a tin bank, and then takes to filching all sorts of small articles from the storekeepers of the vicinage. His harsh, stupid, Christian father, getting wind of these peccadilloes, has at him in the manner of a mad bull, beating him, screaming at him, half killing him. The boy, for all the indecent cruelty of it, is convinced of the justice of it. He sees himself as one lost; he accepts the fact that he is a disgrace to his family; in the end, he embraces the parental theory that there is something strange and sinister in his soul, that he couldn’t be good if he tried. Finally, filled with some vague notion of taking his abhorrent self out of sight, he runs away from home. Brought back in the character of a felon, he runs away again. Soon he is a felon in fact. That is to say, he forges his father’s name to a sheaf of checks, and his father allows him to go to prison.

This prison term gives the youngster a chance to think things out for himself, without the constant intrusion of his father’s Presbyterian notions of right or wrong. The result is a measurably saner philosophy than that he absorbed at home, but there is still enough left of the old moral obsession to cripple him in all his thinking, and especially in his thinking about himself. His attitude toward women, for example, is constantly conditioned by puritanical misgivings and superstitions. He can never view them innocently, joyously, unmorally, as a young fellow of twenty or twenty-one should, but is always oppressed by Sunday-schoolish notions of his duty to them, and to society in general. On the one hand, he is appalled by his ready yielding to those hussies who have at him unofficially, and on the other hand he is filled with the idea that it would be immoral for him, an ex-convict, to go to the altar with a virgin. The result of these doubts is that he gives a good deal more earnest thought to the woman question than is good for him. The second result is that he proves an easy victim to the discarded mistress of his employer. This worthy working girl craftily snares him and marries him—and then breaks down on their wedding night, unwomaned, so to speak, by the pathetic innocence of the ass, and confesses to a choice roll of her past doings, ending with the news that she is suffering from what the vice crusaders mellifluously denominate a “social disease.”

Naturally enough, the blow almost kills the poor boy—he is still, in fact, scarcely out of his nonage—and the problems that grow out of the confession engage him for the better part of the next two years. Always he approaches them and wrestles with them morally; always his search is for the way that the copy-book maxims approve, not for the way that self-preservation demands. Even when a brilliant chance for revenge presents itself, and he is forced to embrace it by the sheer magnetic pull of it, he does so hesitatingly, doubtingly, ashamedly. His whole attitude to this affair, indeed, is that of an Early Christian Father. He hates himself for gathering rosebuds while he may; he hates the woman with a double hatred for strewing them so temptingly in his path. And in the end, like the moral and upright fellow that he is, he sells out the temptress for cash in hand, and salves his conscience by handing over the money to an orphan asylum. This after prayers for divine guidance. A fact! Don’t miss the story of it in the book. You will go far before you get another such illuminating glimpse into a pure and righteous mind.

So in episode after episode. One observes a constant oscillation between a pharisaical piety and a hoggish carnality. The praying brother of yesterday is the night-hack roisterer of to-day; the roisterer of to-day is the snuffling penitent and pledge-taker of to-morrow. Finally, he is pulled both ways at once and suffers the greatest of all his tortures. Again, of course, a woman is at the center of it—this time a stenographer. He has no delusions about her virtue—she admits herself, in fact, that it is extinct—but all the same he falls head over heels in love with her, and is filled with an inordinate yearning to marry her and settle down with her. Why not, indeed? She is pretty and a nice girl; she seems to reciprocate his affection; she is naturally eager for the obliterating gold band; she will undoubtedly make him an excellent wife. But he has forgotten his conscience—and it rises up in revenge and floors him. What! Marry a girl with such a Past! Take a fancy woman to his bosom! Jealousy quickly comes to the aid of conscience. Will he be able to forget? Contemplating the damsel in the years to come, at breakfast, at dinner, across the domestic hearth, in the cold, blue dawn, will he ever rid his mind of those abhorrent images, those phantasms of men?

Here, at the very end, we come to the most engrossing chapter in this extraordinary book. The duelist of sex, thrust through the gizzard at last, goes off to a lonely hunting camp to wrestle with his intolerable problem. He describes his vacillations faithfully, elaborately, cruelly. On the one side he sets his honest yearning, his desire to have done with light loves, the girl herself. On the other hand he ranges his moral qualms, his sneaking distrusts, the sinister shadows of those nameless ones, his morganatic brothers-in-law. The struggle within his soul is gigantic. He suffers as Prometheus suffered on the rock; his very vitals are devoured; he emerges battered and exhausted. He decides, in the end, that he will marry the girl. She has wasted the shining dowry of her sex; she comes to him spotted and at second-hand; snickers will appear in the polyphony of the wedding music—but he will marry her nevertheless. It will be a marriage unblessed by Holy Writ; it will be a flying in the face of Moses; luck and the archangels will be against it—but he will marry her all the same, Moses or no Moses. And so, with his face made bright by his first genuine revolt against the archaic, barbaric morality that has dragged him down, and his heart pulsing to his first display of authentic, unpolluted charity, generosity and nobility, he takes his departure from us. May the fates favor him with their mercy! May the Lord God strain a point to lift him out of his purgatory at last! He has suffered all the agonies of belief. He has done abominable penance for the Westminster Catechism, and for the moral order of the world, and for all the despairing misery of back-street, black bombazine, Little Bethel goodness. He is Puritanism incarnate, and Puritanism become intolerable....

I daresay any second-hand bookseller will be able to find a copy of the book for you: “One Man,” by Robert Steele. There is some raciness in the detail of it. Perhaps, despite its public failure, it enjoys a measure of pizzicato esteem behind the door. The author, having achieved its colossal self-revelation, became intrigued by the notion that he was a literary man of sorts, and informed me that he was undertaking the story of the girl last-named—the spotted ex-virgin. But he apparently never finished it. No doubt he discovered, before he had gone very far, that the tale was intrinsically beyond him—that his fingers all turned into thumbs when he got beyond his own personal history. Such a writer, once he has told the one big story, is done for.