Polly Oliver's Problem. Wiggin Kate Douglas Smith

      KATE DOUGLAS WIGGIN

      It is an advantage for an author to have known many places and different sorts of people, though the most vivid impressions are commonly those received in childhood and youth. Mrs. Wiggin, as she is known in literature, was Kate Douglas Smith; she was born in Philadelphia, and spent her young womanhood in California, but when a very young child she removed to Hollis in the State of Maine, and since her maturity has usually made her summer home there; her earliest recollections thus belong to the place, and she draws inspiration for her character and scene painting very largely from this New England neighborhood.

      Hollis is a quiet, secluded place, a picturesque but almost deserted village–if the few houses so widely scattered can be termed a village–located among the undulating hills that lie along the lower reaches of the Saco River. Here she plans to do almost all her actual writing–the story itself is begun long before–and she resorts to the place with pent-up energy.

      A quaint old house of colonial date and style, set in the midst of extensive grounds and shaded by graceful old trees,–this is "Quillcote,"–the summer home of Mrs. Wiggin. Quillcote is typical of many old New England homesteads; with an environment that is very close to the heart of nature, it combines all that is most desirable and beautiful in genuine country life. The old manor house is located on a sightly elevation commanding a varied view of the surrounding hills and fertile valleys; to the northwest are to be seen the foot-hills of Mt. Washington, and easterly a two hours' drive will bring one to Old Orchard Beach, and the broad, blue, delicious ocean whose breezes are generously wafted inland to Quillcote.

      Mrs. Wiggin is thoroughly in love with this big rambling house, from garret to cellar. A genuine historic air seems to surround the entire place, lending an added charm, and there are many impressive characteristics of the house in its dignity of architecture, which seem to speak of a past century with volumes of history in reserve. A few steps from these ample grounds, on the opposite side of the road, is a pretty wooden cottage of moderate size and very attractive, the early home of Mrs. Wiggin. These scenes have inspired much of the local coloring of her stories of New England life and character. "Pleasant River" in Timothy's Quest is drawn from this locality, and in her latest book, The Village Watch Tower, many of her settings and descriptions are very close to existing conditions.

      Her own room and literary workshop is on the second floor of the house; it is distinctively a study in white, and no place could be more ideal for creative work. It has the cheeriest outlook from four windows with a southern exposure, overlooking a broad grass plat studded with trees, where birds from early dawn hold merry carnival, and squirrels find perfect and unmolested freedom. A peep into this sanctum is a most convincing proof that she is a woman who dearly loves order, as every detail plainly indicates, and it is also noticeable that any display of literary litter is most conspicuously absent.

      Interesting souvenirs and gifts of infinite variety are scattered all over the room, on the wainscoting, mantel, and in every available niche; very many are from children and all are dainty tributes. A picture of an irresistibly droll child face, of the African type and infectiously full of mirth, is one of a great company of children who look at you from every side and angle of the room.

      Dainty old pieces of china, rare bits of bric-a-brac, the very broad and old-time fireplaces filled with cut boughs of the spicy fir balsam, and various antique pieces of furniture lend to the inner atmosphere of Quillcote a fine artistic and colonial effect, while not a stone's throw away, at the foot of a precipitous bank, flows–in a very irregular channel–the picturesque Saco River.

      In this summer home Mrs. Wiggin has the companionship of her mother, and her sister, Miss Nora Smith, herself a writer, which renders it easy to abandon herself wholly to her creative work; this coupled with the fact that she is practically in seclusion banishes even a thought of interruption.

      And now, what was the beginning and the growth of the delightful literary faculty, which has already given birth to so many pleasant fancies and happy studies, especially of young life? A glimpse is given in the following playful letter and postscript from herself and her sister to a would-be biographer.

      MY DEAR BOSWELL,–I have asked my family for some incidents of my childhood, as you bade me,–soliciting any "anecdotes," "characteristics," or "early tendencies" that may have been, as you suggest, "foreshadowings" of later things.

      I have been much chagrined at the result. My younger sister states that I was a nice, well-mannered, capable child, nothing more; and that I never did anything nor said anything in any way remarkable. She affirms that, so far from spending my childhood days in composition, her principal recollection of me is that of a practical stirring little person, clad in a linsey woolsey gown, eternally dragging a red and brown sled called "The Artful Dodger." She adds that when called upon to part with this sled, or commanded to stop sliding, I showed certain characteristics that may perhaps have been "foreshadowings," but that certainly were not engaging ones.

      My mother was a good deal embarrassed when questioned, and finally confessed that I never said anything worthy of mention until I was quite "grown up;" a statement that is cheerfully corroborated by all the authorities consulted. . . . Do not seek, then, to pierce my happy obscurity. . . .

      Postscript by Johnson's Sister,–

      The above report is substantially correct, though a few touches of local color were added which we see Johnson's modesty has moved her to omit.

      My sister was certainly a capable little person at a tender age, concocting delectable milk toast, browning toothsome buckwheats, and generally making a very good Parent's Assistant. I have also visions of her toiling at patchwork and oversewing sheets like a nice old-fashioned little girl in a story book; and in connection with the linsey woolsey frock and the sled before mentioned, I see a blue and white hood with a mass of shining fair hair escaping below it, and a pair of very pink cheeks.

      Further to illustrate her personality, I think no one much in her company at any age could have failed to note an exceedingly lively tongue and a general air of executive ability.

      If I am to be truthful, I must say that I recall few indications of budding authorship, save an engrossing diary (kept for six months only), and a devotion to reading.

      Her "literary passions" were the Arabian Nights, Scottish Chiefs, Don Quixote, Thaddeus of Warsaw, Irving's Mahomet, Thackeray's Snobs, Undine, and the Martyrs of Spain. These volumes, joined to an old green Shakespeare and a Plum Pudding edition of Dickens, were the chief of her diet.

      But stay! while I am talking of literary tendencies, I do remember a certain prize essay entitled "Pictures in the Clouds,"–not so called because it took the prize, alas! but because it competed for it.

      There is also a myth in the household (doubtless invented by my mother) that my sister learned her letters from the signs in the street, and taught herself to read when scarcely out of long clothes. This may be cited as a bit of "corroborative detail," though personally I never believed in it.

      Like many who have won success in literature, her taste and aptitude showed themselves early. It would be unfair to take Polly Oliver's Problem as in any sense autobiographical, as regards a close following of facts, but it may be guessed to have some inner agreement with Mrs. Wiggin's history, for she herself when a girl of eighteen wrote a story, Half a Dozen Housekeepers, which was published in St. Nicholas in the numbers for November and December, 1878. She was living at the time in California, and more to the purpose even than this bright little story was the preparation she was making for her later successes in the near and affectionate study of children whom she was teaching. She studied the kindergarten methods for a year under Emma Marwedel, and after teaching for a year in Santa Barbara College, she was