The church and Sunday School at Elmer’s village, Paris, Kansas, a settlement of nine hundred evangelical Germans and Vermonters, had nurtured in him a fear of religious machinery which he could never lose, which restrained him from such reasonable acts as butchering Eddie Fislinger. That small pasty-white Baptist church had been the center of all his emotions, aside from hell-raising, hunger, sleepiness, and love. And even these emotions were represented in the House of the Lord, in the way of tacks in pew-cushions, Missionary suppers with chicken pie and angel’s-food cake, soporific sermons, and the proximity of flexible little girls in thin muslin. But the arts and the sentiments and the sentimentalities—they were for Elmer perpetually associated only with the church.
Except for circus bands, Fourth of July parades, and the singing of “Columbia, the Gem of the Ocean” and “Jingle Bells” in school, all the music which the boy Elmer had ever heard was in church.
The church provided his only oratory, except for campaign speeches by politicians ardent about Jefferson and the price of binding-twine; it provided all his painting and sculpture, except for the portraits of Lincoln, Longfellow, and Emerson in the school-building, and the two china statuettes of pink ladies with gilt flower-baskets which stood on his mother’s bureau. From the church came all his profounder philosophy, except the teachers’ admonitions that little boys who let gartersnakes loose in school were certain to be licked now and hanged later, and his mother’s stream of opinions on hanging up his overcoat, wiping his feet, eating fried potatoes with his fingers, and taking the name of the Lord in vain.
If he had sources of literary inspiration outside the church—in McGuffey’s Reader he encountered the boy who stood on the burning deck, and he had a very pretty knowledge of the Nick Carter Series and the exploits of Cole Younger and the James Boys—yet here too the church had guided him. In Bible stories, in the words of the great hymns, in the anecdotes which the various preachers quoted, he had his only knowledge of literature—
The story of Little Lame Tom who shamed the wicked rich man that owned the handsome team of grays and the pot hat and led him to Jesus. The ship’s captain who in the storm took counsel with the orphaned but righteous child of missionaries in Zomballa. The Faithful Dog who saved his master during a terrific conflagration (only sometimes it was a snowstorm, or an attack by Indians) and roused him to give up horse-racing, rum, and playing the harmonica.
How familiar they were, how thrilling, how explanatory to Elmer of the purposes of life, how preparatory for his future usefulness and charm.
The church, the Sunday School, the evangelistic orgy, choir-practise, raising the mortgage, the delights of funerals, the snickers in back pews or in the other room at weddings—they were as natural, as inescapable a mold of manners to Elmer as Catholic processionals to a street gamin in Naples.
The Baptist Church of Paris, Kansas! A thousand blurred but indestructible pictures.
Hymns! Elmer’s voice was made for hymns. He rolled them out like a negro. The organ-thunder of “Nicaea”:
Holy, holy, holy! all the saints adore thee,
Casting down their golden crowns around the glassy sea.
The splendid rumble of the Doxology. “Throw Out the Lifeline,” with its picture of a wreck pounded in the darkness by surf which the prairie child imagined as a hundred feet high. “Onward, Christian Soldiers,” to which you could without rebuke stamp your feet.
Sunday School picnics! Lemonade and four-legged races and the ride on the hayrack singing “Seeing Nelly Home.”
Sunday School text cards! True, they were chiefly a medium of gambling, but as Elmer usually won the game (he was the first boy in Paris to own a genuine pair of loaded dice) he had plenty of them in his gallery, and they gave him a taste for gaudy robes, for marble columns and the purple-broidered palaces of kings, which was later to be of value in quickly habituating himself to the more decorative homes of vice. The three kings bearing caskets of ruby and sardonyx. King Zedekiah in gold and scarlet, kneeling on a carpet of sapphire-blue, while his men-at-arms came fleeing and bloodstained, red blood on glancing steel, with tidings of the bannered host of Nebuchadnezzar, great king of Babylon. And all his life Elmer remembered, in moments of ardor, during oratorios in huge churches, during sunset at sea, a black-bearded David standing against raw red cliffs—a figure heroic and summoning to ambition, to power, to domination.
Sunday School Christmas Eve! The exhilaration of staying up, and publicly, till nine-thirty. The tree, incredibly tall, also incredibly inflammable, flashing with silver cords, with silver stars, with cotton-batting snow. The two round stoves red-hot. Lights and lights and lights. Pails of candy, and for every child in the school a present—usually a book, very pleasant, with colored pictures of lambs and volcanoes. The Santa Claus—he couldn’t possibly be Lorenzo Nickerson, the house-painter, so bearded was he, and red-cheeked, and so witty in his comment on each child as it marched up for its present. The enchantment, sheer magic, of the Ladies’ Quartette singing of shepherds who watched their flocks by nights … brown secret hilltops under one vast star.
And the devastating morning when the preacher himself, the Rev. Wilson Hinckley Skaggs, caught Elmer matching for Sunday School contribution pennies on the front steps, and led him up the aisle for all to giggle at, with a sharp and not very clean ministerial thumbnail gouging his earlobe.
And the other passing preachers; Brother Organdy, who got you to saw his wood free; Brother Blunt, who sneaked behind barns to catch
