The Essential Gene Stratton-Porter Collection. Stratton-Porter Gene
of readers. In this way she hoped that they would absorb enough of the nature work while reading the fiction to send them afield, and at the same time keep in their minds her picture of what she considers the only life worth living. She was still assured that only a straight novel would "pay," but she was living, meeting all her expenses, giving her family many luxuries, and saving a little sum for a rainy day she foresaw on her horoscope. To be comfortably clothed and fed, to have time and tools for her work, is all she ever has asked of life.
Among Mrs. Porter's readers "At the Foot of the Rainbow" stands as perhaps the author's strongest piece of fiction.
In August of 1909 two books on which the author had been working for years culminated at the same time: a nature novel, and a straight nature book. The novel was, in a way, a continuation of "Freckles," filled as usual with wood lore, but more concerned with moths than birds. Mrs. Porter had been finding and picturing exquisite big night flyers during several years of field work among the birds, and from what she could have readily done with them she saw how it would be possible for a girl rightly constituted and environed to make a living, and a good one, at such work. So was conceived "A Girl of the Limberlost." "This comes fairly close to my idea of a good book," she writes. "No possible harm can be done any one in reading it. The book can, and does, present a hundred pictures that will draw any reader in closer touch with nature and the Almighty, my primal object in each line I write. The human side of the book is as close a character study as I am capable of making. I regard the character of Mrs. Comstock as the best thought-out and the cleanest-cut study of human nature I have so far been able to do. Perhaps the best justification of my idea of this book came to me recently when I received an application from the President for permission to translate it into Arabic, as the first book to be used in an effort to introduce our methods of nature study into the College of Cairo."
Hodder and Stoughton of London published the British edition of this work.
At the same time that "A Girl of the Limberlost" was published there appeared the book called "Birds of the Bible." This volume took shape slowly. The author made a long search for each bird mentioned in the Bible, how often, where, why; each quotation concerning it in the whole book, every abstract reference, why made, by whom, and what it meant. Then slowly dawned the sane and true things said of birds in the Bible compared with the amazing statements of Aristotle, Aristophanes, Pliny, and other writers of about the same period in pagan nations. This led to a search for the dawn of bird history and for the very first pictures preserved of them. On this book the author expended more work than on any other she has ever written.
In 1911 two more books for which Mrs. Porter had gathered material for long periods came to a conclusion on the same date: "Music of the Wild" and "The Harvester." The latter of these was a nature novel; the other a frank nature book, filled with all outdoors--a special study of the sounds one hears in fields and forests, and photographic reproductions of the musicians and their instruments.
The idea of "The Harvester" was suggested to the author by an editor who wanted a magazine article, with human interest in it, about the ginseng diggers in her part of the country. Mr. Porter had bought ginseng for years for a drug store he owned; there were several people he knew still gathering it for market, and growing it was becoming a good business all over the country. Mrs. Porter learned from the United States Pharmacopaeia and from various other sources that the drug was used mostly by the Chinese, and with a wholly mistaken idea of its properties. The strongest thing any medical work will say for ginseng is that it is "A VERY MILD AND SOOTHING DRUG." It seems that the Chinese buy and use it in enormous quantities, in the belief that it is a remedy for almost every disease to which humanity is heir; that it will prolong life, and that it is a wonderful stimulant. Ancient medical works make this statement, laying special emphasis upon its stimulating qualities. The drug does none of these things. Instead of being a stimulant, it comes closer to a sedative. This investigation set the author on the search for other herbs that now are or might be grown as an occupation. Then came the idea of a man who should grow these drugs professionally, and of the sick girl healed by them. "I could have gone to work and started a drug farm myself," remarks Mrs. Porter, "with exactly the same profit and success as the Harvester. I wrote primarily to state that to my personal knowledge, clean, loving men still exist in this world, and that no man is forced to endure the grind of city life if he wills otherwise. Any one who likes, with even such simple means as herbs he can dig from fence corners, may start a drug farm that in a short time will yield him delightful work and independence. I WROTE THE BOOK AS I THOUGHT IT SHOULD BE WRITTEN, TO PROVE MY POINTS AND ESTABLISH MY CONTENTIONS. I THINK IT DID. MEN THE GLOBE AROUND PROMPTLY WROTE ME THAT THEY ALWAYS HAD OBSERVED THE MORAL CODE; OTHERS THAT THE SUBJECT NEVER IN ALL THEIR LIVES HAD BEEN PRESENTED TO THEM FROM MY POINT OF VIEW, BUT NOW THAT IT HAD BEEN, THEY WOULD CHANGE AND DO WHAT THEY COULD TO INFLUENCE ALL MEN TO DO THE SAME."
Messrs. Hodder and Stoughton publish a British edition of "The Harvester," there is an edition in Scandinavian, it was running serially in a German magazine, but for a time at least the German and French editions that were arranged will be stopped by this war, as there was a French edition of "The Song of the Cardinal."
After a short rest, the author began putting into shape a book for which she had been compiling material since the beginning of field work. From the first study she made of an exquisite big night moth, Mrs. Porter used every opportunity to secure more and representative studies of each family in her territory, and eventually found the work so fascinating that she began hunting cocoons and raising caterpillars in order to secure life histories and make illustrations with fidelity to life. "It seems," comments the author, "that scientists and lepidopterists from the beginning have had no hesitation in describing and using mounted moth and butterfly specimens for book text and illustration, despite the fact that their colours fade rapidly, that the wings are always in unnatural positions, and the bodies shrivelled. I would quite as soon accept the mummy of any particular member of the Rameses family as a fair representation of the living man, as a mounted moth for a live one."
When she failed to secure the moth she wanted in a living and perfect specimen for her studies, the author set out to raise one, making photographic studies from the eggs through the entire life process. There was one June during which she scarcely slept for more than a few hours of daytime the entire month. She turned her bedroom into a hatchery, where were stored the most precious cocoons; and if she lay down at night it was with those she thought would produce moths before morning on her pillow, where she could not fail to hear them emerging. At the first sound she would be up with notebook in hand, and by dawn, busy with cameras. Then she would be forced to hurry to the darkroom and develop her plates in order to be sure that she had a perfect likeness, before releasing the specimen, for she did release all she produced except one pair of each kind, never having sold a moth, personally. Often where the markings were wonderful and complicated, as soon as the wings were fully developed Mrs. Porter copied the living specimen in water colours for her illustrations, frequently making several copies in order to be sure that she laid on the colour enough BRIGHTER than her subject so that when it died it would be exactly the same shade.
"Never in all my life," writes the author, "have I had such exquisite joy in work as I had in painting the illustrations for this volume of 'Moths of the Limberlost.' Colour work had advanced to such a stage that I knew from the beautiful reproductions in Arthur Rackham's 'Rheingold and Valkyrie' and several other books on the market, that time so spent would not be lost. Mr. Doubleday had assured me personally that I might count on exact reproduction, and such details of type and paper as I chose to select. I used the easel made for me when a girl, under the supervision of my father, and I threw my whole heart into the work of copying each line and delicate shading on those wonderful wings, 'all diamonded with panes of quaint device, innumerable stains and splendid dyes,' as one poet describes them. There were times, when in working a mist of colour over another background, I cut a brush down to three hairs. Some of these illustrations I sent back six and seven times, to be worked over before the illustration plates were exact duplicates of the originals, and my heart ached for the engravers, who must have had Job-like patience; but it did not ache enough to stop me until I felt the reproduction exact. This book tells its own story of long and patient waiting for a