“I never go up the inside way unless it is winter,” she explained, “because every poor devil would stop to ask for a loan. I can’t refuse unless I’m stony broke and I can’t afford to part with the little I have. Of course they can’t pay back, poor dears! So the fire escape affords an excellent subterfuge and no one’s feelings are hurt. I want to take Collin a book on woodcuts; I found it at an old bookstore the other day.” She was prowling about a dusty secretary, opening drawers and failing to close them.
Thurley stood in the center of the room aghast at Polly’s attic. Ernestine and Caleb had prepared her for it, saying with almost reproach that she, Thurley, was missing the glorious camaraderie with failures, she was the proverbial jewel in the rough who was taken to an expert lapidary, cut, polished and placed in platinum without any transitional stage! And she would do well to learn more of Polly’s life so as to glean the atmosphere of optimistic struggle, humorous cares and sometimes indescribable pathos. So much Thurley did in the moment she waited for Polly to find the book—a book costing a week’s earnings!
The room was badly in need of repair; the roof sloped down so Thurley had to crouch if she moved but a foot either way—it reminded her of Betsey Pilrig’s attic. There was a cot made into a divan with a turkey red covering and pillows, a scrap of a rag rug, an easel, for Polly did commercial drawings fairly well, a table one confusion of doll furniture and china dolls dressed in wisps of silk, satin and burlap. Polly explained this was her “tryout”—when she was planning scenes in her opera, she had the puppets assume positions so as to gauge the effect. She was so serious about the matter that Thurley was forced to conceal a laugh as she said the idea was excellent.
“I have no typewriter; did have last winter, but I played in hard luck and left it at ‘uncle’s.’—I scribble almost as swiftly and so it’s of no consequence,” she added contentedly. “Just last week I had an idea and I think it is a real idea, Thurley—as you are to sing the title rôle I’ll tell it to you. Instead of having THE American opera founded on the landing of Columbus and a romance of an Indian girl with one of his knights and so on—of course I’ll finish it and have it produced later,” she supplemented in all seriousness—“I have decided to do a series of operas dealing with American wars. First, the Revolution—you are to be Moll Pitcher—then 1812—then the Mexican War—the Civil War—the Spanish-American—pray heaven there will be no other. Don’t you see how great it will be—great—_great_?” her body swaying with excitement. “Yesterday, I did two arias.” She fumbled about the secretary and unearthed music paper covered with startling black notes. “Oh, Thurley, I must succeed—I must. I won’t take no from either gods or half-gods. I’ll defy them! I won’t slink away and become an upstate saleswoman for victrolas! There!”