Down South whenever any one perpetrates some particularly monumental piece of foolishness every- body says: "Send for Jesse Holmes."
Jesse Holmes is the Fool-Killer. Of course he is a myth, like Santa Claus and Jack Frost and General Prosperity and all those concrete conceptions that are supposed to represent an idea that Nature has failed to embody. The wisest of the Southrons can- not tell you whence comes the Fool-Killer's name; but few and happy are the households from the Ro- anoke to the Rio Grande in which the name of Jesse Holmes has not been pronounced or invoked. Always with a smile, and often with a tear, is he summoned to his official duty. A busy man is Jesse Holmes.
I remember the clear picture of him that hung on the walls of my fancy during my barefoot days when I was dodging his oft-threatened devoirs. To me be was a terrible old man, in gray clothes, with a long, ragged, gray beard, and reddish, fierce eyes.
I looked to see him come stumping up the road in a cloud of dust, with a white oak staff in his hand and his shoes tied with leather thongs. I may yet --
But this is a story, not a sequel.
I have taken notice with regret, that few stories worth reading have been written that did not con- tain drink of some sort. Down go the fluids, from Arizona Dick's three fingers of red pizen to the in- efficacious Oolong that nerves Lionel Montressor to repartee in the "Dotty Dialogues." So, in such good company I may introduce an absinthe drip -- one absinthe drip, dripped through a silver dripper, orderly, opalescent, cool, green-eyed -- deceptive.
Kerner was a fool. Besides that, he was an artist and my good friend. Now, if there is one thing on earth utterly despicable to another, it is an artist in the eyes of an author whose story he has illus- trated. Just try it once. Write a story about a mining camp in Idiho. Sell it. Spend the money, and then, six months later, borrow a quarter (or a dime), and buy the magazine containing it. You find a full-page wash drawing of your hero, Black Bill, the cowboy. Somewhere in your story you em- ployed the word "horse." Aha! the artist has grasped the idea. Black Bill has on the regulation trousers of the M. F. H. of the Westchester County Hunt. He carries a parlor rifle, and wears a mon- ocle. In the distance is a section of Forty-second Street during a search for a lost gas-pipe, and the Taj Mahal, the famous mausoleum in India.
"Enough! I hated Kerner, and one day I met him and we became friends. He was young and glori- ously melancholy because his spirits were so high and life bad so much in store for him. Yes, he was almost riotously sad. That was his youth. When a man begins to be hilarious in a sorrowful way you can bet a million that he is dyeing his hair. Ker- ner's hair was plentiful and carefully matted as an artist's thatch should be. He was a cigaretteur, and be audited his dinners with red wine. But, most of all, be was a fool. And, wisely, I envied him, and listened patiently while he knocked Velasquez and Tintoretto. Once he told me that he liked a story of mine that he bad come across in an anthology. He described it to me, and I was sorry that Mr. Fitz-
James O'Brien was dead and could not learn of the eulogy of his work. But mostly Kerner made few breaks and was a consistent fool.
I'd better explain what I mean by that. There was a girl. Now, a girl, as far as I am concerned, is a thing that belongs in a seminary or an album; but I conceded the existence of the animal in order to retain Kerner's friendship. He showed me her picture in a locket -- she was a blonde or a brunette -- I have forgotten which. She worked in a factory for eight dollars a week. Lest factories quote this wage by way of vindication, I will add that the girl bad worked for five years to reach that supreme ele- vation of remuneration, beginning at $1.50 per week.
Kerner's father was worth a couple of millions He was willing to stand for art, but he drew the line at the factory girl. So Kerner disinherited his father and walked out to a cheap studio and lived on sausages for breakfast and on Farroni for dinner.
Farroni had the artistic soul and a line of credit for painters and poets, nicely adjusted. Sometimes Ker- rier sold a picture and bought some new tapestry, a ring and a dozen silk cravats, and paid Farroni two dollars on account.
One evening Kerner had me to dinner with himself and the factory girl. They were to be married as soon as Kerner could slosh paint profitably. As for the ex-father's two millions -- pouf!
She was a wonder. Small and half-way pretty, and as much at her ease in that cheap cafe as though she were only in the Palmer House, Chicago, with a souvenir spoon already safely hidden in her shirt waist. She was natural. Two things I noticed about her especially. Her belt buckle was exactly in the middle of her back, and she didn't tell us that a large man with a ruby stick-pin had followed her up all the way from Fourteenth Street. Was Kerner such a fool?
I wondered. And then I thought of the quantity of striped cuffs and blue glass beads that $2,000,000 can buy for the heathen, and I said to myself that he was. And then Elise -- certainly that was her name told us, merrily, that the brown spot on her waist was caused by her landlady knocking at the door while she (the girl -- confound the English language) was heating an iron over the gas jet, and she hid the iron under the bedclothes until the coast was clear, and there was the piece of chewing gum stuck to it when she began to iron the waist, and -- well, I wondered bow in the world the chewing gum came to be there -- don't they ever stop chewing it?
A while after that -- don't be impatient, the ab- sinthe drip is coming now -- Kerner and I were dining at Farroni's. A mandolin and a guitar were being attacked; the room was full of smoke in nice, long crinkly layers just like the artists draw the steam from a plum pudding on Christmas posters, and a lady in a blue silk and gasolined gauntlets was be- ginning to bum an air from the Catskills.
"Kerner," said I, "you are a fool."
