There remain the books of stories, "Visionaries" and "Melomaniacs." It is not surprising to hear that both are better liked in France and Germany than in England and the United States. ("Visionaries" has even appeared in Bohemian.) Both are made up of what the Germans call Kultur-Novellen—that is, stories dealing, not with the emotions common to all men, but with the clash of ideas among the civilized and godless minority. In some of them, e.g., "Rebels of the Moon," what one finds is really not a story at all, but a static discussion, half aesthetic and half lunatic. In others, e.g., "Isolde's Mother," the whole action revolves around an assumption incomprehensible to the general. One can scarcely imagine most of these tales in the magazines. They would puzzle and outrage the readers of Gouverneur Morris and Gertrude Atherton, and the readers of Howells and Mrs. Wharton no less. Their point of view is essentially the aesthetic one; the overwhelming importance of beauty is never in any doubt. And the beauty thus vivisected and fashioned into new designs is never the simple Wordsworthian article,[Pg 189] of fleecy clouds and primroses all compact; on the contrary, it is the highly artificial beauty of pigments and tone-colours, of Cézanne landscapes and the second act of "Tristan and Isolde," of Dunsanyan dragons and Paracelsian mysteries. Here, indeed, Huneker riots in the aesthetic occultism that he loves. Music slides over into diabolism; the Pobloff symphony rends the firmament of Heaven; the ghost of Chopin drives Mychowski to drink; a single drum-beat finishes the estimable consort of the composer of the Tympani symphony. In "The Eighth Deadly Sin" we have a paean to perfume—the only one, so far as I know, in English. In "The Hall of the Missing Footsteps" we behold the reaction of hasheesh upon Chopin's ballade in F major.... Strangely-flavoured, unearthly, perhaps unhealthy stuff. I doubt that it will ever be studied for its style in our new Schools of Literature; a devilish cunning if often there, but it leaves a smack of the pharmacopoeia. However, as George Gissing used to say, "the artist should be free from everything like moral prepossession." This lets in the Antichrist....
Huneker himself seems to esteem these fantastic tales above all his other work. Story-writing, indeed, was his first love, and his Opus 1 a bad imitation of Poe, by name "The Comet," was done in Philadelphia so long ago as July 4, 1876. (Temperature, 105 degrees Fahrenheit.) One rather marvels that he has never attempted a novel. It would have been as bad, perhaps, as "Love Among the Artists," but certainly no bore. He might have given George Moore useful help with "Evelyn Innes" and "Sister Teresa": they are about music, but not by a musician. As for me, I see no great talent for fiction qua fiction in these two volumes of exotic tales. They are interesting simply because Huneker the story teller so often yields place to Huneker the playboy of the arts. Such things as "Antichrist" and "The Woman Who Loved Chopin" are no more, at bottom, than second-rate anecdotes; it is the filling, the sauce, the embroidery that counts. But what filling! What sauce! What embroidery!... One never sees more of Huneker....
Return to the James Huneker Summary Return to the H.L. Mencken Library