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Humoresque A Laugh on Life with a Tear Behind It   By: (1889-1968)

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First Page:

[Illustration: HE CAPERED THROUGH THE MELODY OF DVORĂ€K'S, WHICH IS AS IRONIC AS A GRINNING MASK]

HUMORESQUE

A LAUGH ON LIFE WITH A TEAR BEHIND IT

By FANNIE HURST

1920

CONTENTS

HUMORESQUE OATS FOR THE WOMAN A PETAL ON THE CURRENT WHITE GOODS "HEADS" A BOOB SPELLED BACKWARD EVEN AS YOU AND I THE WRONG PEW

HUMORESQUE

On either side of the Bowery, which cuts through like a drain to catch its sewage, Every Man's Land, a reeking march of humanity and humidity, steams with the excrement of seventeen languages, flung in patois from tenement windows, fire escapes, curbs, stoops, and cellars whose walls are terrible and spongy with fungi.

By that impregnable chemistry of race whereby the red blood of the Mongolian and the red blood of the Caucasian become as oil and water in the mingling, Mulberry Street, bounded by sixteen languages, runs its intact Latin length of pushcarts, clotheslines, naked babies, drying vermicelli; black eyed women in rhinestone combs and perennially big with child; whole families of buttonhole makers, who first saw the blue and gold light of Sorrento, bent at home work round a single gas flare; pomaded barbers of a thousand Neapolitan amours. And then, just as suddenly, almost without osmosis and by the mere stepping down from the curb, Mulberry becomes Mott Street, hung in grillwork balconies, the moldy smell of poverty touched up with incense. Orientals whose feet shuffle and whose faces are carved out of satinwood. Forbidden women, their white, drugged faces behind upper windows. Yellow children, incongruous enough in Western clothing. A draughty areaway with an oblique of gaslight and a black well of descending staircase. Show windows of jade and tea and Chinese porcelains.

More streets emanating out from Mott like a handful of crooked rheumatic fingers, then suddenly the Bowery again, cowering beneath Elevated trains, where men burned down to the butt end of soiled lives pass in and out and out and in of the knee high swinging doors, a veiny nosed, acid eaten race in themselves.

Allen Street, too, still more easterly, and half as wide, is straddled its entire width by the steely, long legged skeleton of Elevated traffic, so that its third floor windows no sooner shudder into silence from the rushing shock of one train than they are shaken into chatter by the passage of another. Indeed, third floor dwellers of Allen Street, reaching out, can almost touch the serrated edges of the Elevated structure, and in summer the smell of its hot rails becomes an actual taste in the mouth. Passengers, in turn, look in upon this horizontal of life as they whiz by. Once, in fact, the blurry figure of what might have been a woman leaned out, as she passed, to toss into one Abrahm Kantor's apartment a short stemmed pink carnation. It hit softly on little Leon Kantor's crib, brushing him fragrantly across the mouth and causing him to pucker up.

Beneath, where even in August noonday, the sun cannot find its way by a chink, and babies lie stark naked in the cavernous shade, Allen Street presents a sort of submarine and greenish gloom, as if its humanity were actually moving through a sea of aqueous shadows, faces rather bleached and shrunk from sunlessness as water can bleach and shrink. And then, like a shimmering background of orange finned and copper flanked marine life, the brass shops of Allen Street, whole rows of them, burn flamelessly and without benefit of fuel.

To enter Abrahm Kantor's Brasses, was three steps down, so that his casement show window, at best filmed over with the constant rain of dust ground down from the rails above, was obscure enough, but crammed with copied loot of khedive and of czar. The seven branch candlestick so biblical and supplicating of arms. An urn, shaped like Rebecca's, of brass, all beaten over with little pocks. Things cups, trays, knockers, ikons, gargoyles, bowls, and teapots... Continue reading book >>




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