The Monster and Other Stories — Reading Notes
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Henry was not ruffled in any way by these quiet admonitions and compliments. In reply he laughed a supremely good-natured, chuckling laugh, which nevertheless expressed an underground complacency of superior metal.
Young Griscom, the lawyer, was just emerging from Reifsnyder's barber shop, rubbing his chin contentedly. On the steps he dropped his hand and looked with wide eyes into the crowd. Suddenly he bolted back into the shop. "Wow!" he cried to the parliament; "you ought to see the coon that's coming!"
Reifsnyder and his assistant instantly poised their razors high and turned towards the window. Two belathered heads reared from the chairs. The electric shine in the street caused an effect like water to them who looked through the glass from the yellow glamour of Reifsnyder's shop. In fact, the people without resembled the inhabitants of a great aquarium that here had a square pane in it. Presently into this frame swam the graceful form of Henry Johnson.
"Chee!" said Reifsnyder. He and his assistant with one accord threw their obligations to the winds, and leaving their lathered victims helpless, advanced to the window. "Ain't he a taisy?" said Reifsnyder, marvelling.
But the man in the first chair, with a grievance in his mind, had found a weapon. "Why, that's only Henry Johnson, you blamed idiots! Come on now, Reif, and shave me. What do you think I am--a mummy?"
Reifsnyder turned, in a great excitement. "I bait you any money that vas not Henry Johnson! Henry Johnson! Rats!" The scorn put into this last word made it an explosion. "That man was a Pullman-car porter or someding. How could that be Henry Johnson?" he demanded, turbulently. "You vas crazy."
The man in the first chair faced the barber in a storm of indignation. "Didn't I give him those lavender trousers?" he roared.
And young Griscom, who had remained attentively at the window, said: "Yes, I guess that was Henry. It looked like him."
"Oh, vell," said Reifsnyder, returning to his business, "if you think so! Oh, vell!" He implied that he was submitting for the sake of amiability.
Finally the man in the second chair, mumbling from a mouth made timid by adjacent lather, said: "That was Henry Johnson all right. Why, he always dresses like that when he wants to make a front! He's the biggest dude in town--anybody knows that."
"Chinger!" said Reifsnyder.
Henry was not at all oblivious of the wake of wondering ejaculation that streamed out behind him. On other occasions he had reaped this same joy, and he always had an eye for the demonstration. With a face beaming with happiness he turned away from the scene of his victories into a narrow side street, where the electric light still hung high, but only to exhibit a row of tumble-down houses leaning together like paralytics.
The saffron Miss Bella Farragut, in a calico frock, had been crouched on the front stoop, gossiping at long range, but she espied her approaching caller at a distance. She dashed around the corner of the house, galloping like a horse. Henry saw it all, but he preserved the polite demeanor of a guest when a waiter spills claret down his cuff. In this awkward situation he was simply perfect.
The duty of receiving Mr. Johnson fell upon Mrs. Farragut, because Bella, in another room, was scrambling wildly into her best gown. The fat old woman met him with a great ivory smile, sweeping back with the door, and bowing low. "Walk in, Misteh Johnson, walk in. How is you dis ebenin', Misteh Johnson--how is you?"
Henry's face showed like a reflector as he bowed and bowed, bending almost from his head to his ankles, "Good-evenin', Mis' Fa'gut; good-evenin'. How is you dis evenin'? Is all you' folks well, Mis' Fa'gut?"
After a great deal of kowtow, they were planted in two chairs opposite each other in the living-room. Here they exchanged the most tremendous civilities, until Miss Bella swept into the room, when there was more kowtow on all sides, and a smiling show of teeth that was like an illumination.
The cooking-stove was of course in this drawing-room, and on the fire was some kind of a long-winded stew. Mrs. Farragut was obliged to arise and attend to it from time to time. Also young Sim came in and went to bed on his pallet in the corner. But to all these domesticities the three maintained an absolute dumbness. They bowed and smiled and ignored and imitated until a late hour, and if they had been the occupants of the most gorgeous salon in the world they could not have been more like three monkeys.
After Henry had gone, Bella, who encouraged herself in the appropriation of phrases, said, "Oh, ma, isn't he divine?"
A Saturday evening was a sign always for a larger crowd to parade the thoroughfare. In summer the band played until ten o'clock in the little park. Most of the young men of the town affected to be superior to this band, even to despise it; but in the still and fragrant evenings they invariably turned out in force, because the girls were sure to attend this concert, strolling slowly over the grass, linked closely in pairs, or preferably in threes, in the curious public dependence upon one another which was their inheritance. There was no particular social aspect to this gathering, save that group regarded group with interest, but mainly in silence. Perhaps one girl would nudge another girl and suddenly say, "Look! there goes Gertie Hodgson and her sister!" And they would appear to regard this as an event of importance.
On a particular evening a rather large company of young men were gathered on the sidewalk that edged the park. They remained thus beyond the borders of the festivities because of their dignity, which would not exactly allow them to appear in anything which was so much fun for the younger lads. These latter were careering madly through the crowd, precipitating minor accidents from time to time, but usually fleeing like mist swept by the wind before retribution could lay hands upon them.
The band played a waltz which involved a gift of prominence to the bass horn, and one of the young men on the sidewalk said that the music reminded him of the new engines on the hill pumping water into the reservoir. A similarity of this kind was not inconceivable, but the young man did not say it because he disliked the band's playing. He said it because it was fashionable to say that manner of thing concerning the band. However, over in the stand, Billie Harris, who played the snare-drum, was always surrounded by a throng of boys, who adored his every whack.
After the mails from New York and Rochester had been finally distributed, the crowd from the post-office added to the mass already in the park. The wind waved the leaves of the maples, and, high in the air, the blue-burning globes of the arc lamps caused the wonderful traceries of leaf shadows on the ground. When the light fell upon the upturned face of a girl, it caused it to glow with a wonderful pallor. A policeman came suddenly from the darkness and chased a gang of obstreperous little boys. They hooted him from a distance. The leader of the band had some of the mannerisms of the great musicians, and during a period of silence the crowd smiled when they saw him raise his hand to his brow, stroke it sentimentally, and glance upward with a look of poetic anguish. In the shivering light, which gave to the park an effect like a great vaulted hall, the throng swarmed, with a gentle murmur of dresses switching the turf, and with a steady hum of voices.
Suddenly, without preliminary bars, there arose from afar the great hoarse roar of a factory whistle. It raised and swelled to a sinister note, and then it sang on the night wind one long call that held the crowd in the park immovable, speechless. The band-master had been about to vehemently let fall his hand to start the band on a thundering career through a popular march, but, smitten by this giant voice from the night, his hand dropped slowly to his knee, and, his mouth agape, he looked at his men in silence. The cry died away to a wail and then to stillness. It released the muscles of the company of young men on the sidewalk, who had been like statues, posed eagerly, lithely, their ears turned. And then they wheeled upon each other simultaneously, and, in a single explosion, they shouted, "One!"
Again the sound swelled in the night and roared its long ominous cry, and as it died away the crowd of young men wheeled upon each other and, in chorus, yelled, "Two!"
There was a moment of breathless waiting. Then they bawled, "Second district!" In a flash the company of indolent and cynical young men had vanished like a snowball disrupted by dynamite.
Jake Rogers was the first man to reach the home of Tuscarora Hose Company Number Six. He had wrenched his key from his pocket as he tore down the street, and he jumped at the spring-lock like a demon. As the doors flew back before his hands he leaped and kicked the wedges from a pair of wheels, loosened a tongue from its clasp, and in the glare of the electric light which the town placed before each of its hose-houses the next comers beheld the spectacle of Jake Rogers bent like hickory in the manfulness of his pulling, and the heavy cart was moving slowly towards the doors. Four men joined him at the time, and as they swung with the cart out into the street, dark figures sped towards them from the ponderous shadows back of the electric lamps. Some set up the inevitable question, "What district?"
"Second," was replied to them in a compact howl. Tuscarora Hose Company Number Six swept on a perilous wheel into Niagara Avenue, and as the men, attached to the cart by the rope which had been paid out from the windlass under the tongue, pulled madly in their fervor and abandon, the gong under the axle clanged incitingly. And sometimes the same cry was heard, "What district?"
On a grade Johnnie Thorpe fell, and exercising a singular muscular ability, rolled out in time from the track of the on-coming wheel, and arose, dishevelled and aggrieved, casting a look of mournful disenchantment upon the black crowd that poured after the machine. The cart seemed to be the apex of a dark wave that was whirling as if it had been a broken dam. Back of the lad were stretches of lawn, and in that direction front-doors were banged by men who hoarsely shouted out into the clamorous avenue, "What district?"
At one of these houses a woman came to the door bearing a lamp, shielding her face from its rays with her hands. Across the cropped grass the avenue represented to her a kind of black torrent, upon which, nevertheless, fled numerous miraculous figures upon bicycles. She did not know that the towering light at the corner was continuing its nightly whine.
Suddenly a little boy somersaulted around the corner of the house as if he had been projected down a flight of stairs by a catapultian boot. He halted himself in front of the house by dint of a rather extraordinary evolution with his legs. "Oh, ma," he gasped, "can I go? Can I, ma?"
She straightened with the coldness of the exterior mother-judgment, although the hand that held the lamp trembled slightly. "No, Willie; you had better come to bed."
Instantly he began to buck and fume like a mustang. "Oh, ma," he cried, contorting himself--"oh, ma, can't I go? Please, ma, can't I go? Can't I go, ma?"
"It's half-past nine now, Willie."
He ended by wailing out a compromise: "Well, just down to the corner, ma? Just down to the corner?"
From the avenue came the sound of rushing men who wildly shouted. Somebody had grappled the bell-rope in the Methodist church, and now over the town rang this solemn and terrible voice, speaking from the clouds. Moved from its peaceful business, this bell gained a new spirit in the portentous night, and it swung the heart to and fro, up and down, with each peal of it.
"Just down to the corner, ma?"
"Willie, it's half-past nine now."
The outlines of the house of Dr. Trescott had faded quietly into the evening, hiding a shape such as we call Queen Anne against the pall of the blackened sky. The neighborhood was at this time so quiet, and seemed so devoid of obstructions, that Hannigan's dog thought it a good opportunity to prowl in forbidden precincts, and so came and pawed Trescott's lawn, growling, and considering himself a formidable beast. Later, Peter Washington strolled past the house and whistled, but there was no dim light shining from Henry's loft, and presently Peter went his way. The rays from the street, creeping in silvery waves over the grass, caused the row of shrubs along the drive to throw a clear, bold shade.
A wisp of smoke came from one of the windows at the end of the house and drifted quietly into the branches of a cherry-tree. Its companions followed it in slowly increasing numbers, and finally there was a current controlled by invisible banks which poured into the fruit-laden boughs of the cherry-tree. It was no more to be noted than if a troop of dim and silent gray monkeys had been climbing a grapevine into the clouds.
After a moment the window brightened as if the four panes of it had been stained with blood, and a quick ear might have been led to imagine the fire-imps calling and calling, clan joining clan, gathering to the colors. From the street, however, the house maintained its dark quiet, insisting to a passer-by that it was the safe dwelling of people who chose to retire early to tranquil dreams. No one could have heard this low droning of the gathering clans.
Suddenly the panes of the red window tinkled and crashed to the ground, and at other windows there suddenly reared other flames, like bloody spectres at the apertures of a haunted house. This outbreak had been well planned, as if by professional revolutionists.
A man's voice suddenly shouted: "Fire! Fire! Fire!" Hannigan had flung his pipe frenziedly from him because his lungs demanded room. He tumbled down from his perch, swung over the fence, and ran shouting towards the front-door of the Trescotts'. Then he hammered on the door, using his fists as if they were mallets. Mrs. Trescott instantly came to one of the windows on the second floor. Afterwards she knew she had been about to say, "The doctor is not at home, but if you will leave your name, I will let him know as soon as he comes."
Hannigan's bawling was for a minute incoherent, but she understood that it was not about croup.
"What?" she said, raising the window swiftly.
"Your house is on fire! You're all ablaze! Move quick if--" His cries were resounding, in the street as if it were a cave of echoes. Many feet pattered swiftly on the stones. There was one man who ran with an almost fabulous speed. He wore lavender trousers. A straw hat with a bright silk band was held half crumpled in his hand.
As Henry reached the front-door, Hannigan had just broken the lock with a kick. A thick cloud of smoke poured over them, and Henry, ducking his head, rushed into it. From Hannigan's clamor he knew only one thing, but it turned him blue with horror. In the hall a lick of flame had found the cord that supported "Signing the Declaration." The engraving slumped suddenly down at one end, and then dropped to the floor, where it burst with the sound of a bomb. The fire was already roaring like a winter wind among the pines.
At the head of the stairs Mrs. Trescott was waving her arms as if they were two reeds.
"Jimmie! Save Jimmie!" she screamed in Henry's face. He plunged past her and disappeared, taking the long-familiar routes among these upper chambers, where he had once held office as a sort of second assistant house-maid.
Hannigan had followed him up the stairs, and grappled the arm of the maniacal woman there. His face was black with rage. "You must come down," he bellowed.
She would only scream at him in reply: "Jimmie! Jimmie! Save Jimmie!" But he dragged her forth while she babbled at him.
As they swung out into the open air a man ran across the lawn, and seizing a shutter, pulled it from its hinges and flung it far out upon the grass. Then he frantically attacked the other shutters one by one. It was a kind of temporary insanity.
"Here, you," howled Hannigan, "hold Mrs. Trescott--And stop--"
The news had been telegraphed by a twist of the wrist of a neighbor who had gone to the fire-box at the corner, and the time when Hannigan and his charge struggled out of the house was the time when the whistle roared its hoarse night call, smiting the crowd in the park, causing the leader of the band, who was about to order the first triumphal clang of a military march, to let his hand drop slowly to his knees.
Henry pawed awkwardly through the smoke in the upper halls. He had attempted to guide himself by the walls, but they were too hot. The paper was crimpling, and he expected at any moment to have a flame burst from under his hands.
He did not call very loud, as if in fear that the humming flames below would overhear him.
"Jimmie! Oh, Jimmie!"
Stumbling and panting, he speedily reached the entrance to Jimmie's room and flung open the door. The little chamber had no smoke in it at all. It was faintly illuminated by a beautiful rosy light reflected circuitously from the flames that were consuming the house. The boy had apparently just been aroused by the noise. He sat in his bed, his lips apart, his eyes wide, while upon his little white-robed figure played caressingly the light from the fire. As the door flew open he had before him this apparition of his pal, a terror-stricken negro, all tousled and with wool scorching, who leaped upon him and bore him up in a blanket as if the whole affair were a case of kidnapping by a dreadful robber chief. Without waiting to go through the usual short but complete process of wrinkling up his face, Jimmie let out a gorgeous bawl, which resembled the expression of a calf's deepest terror. As Johnson, bearing him, reeled into the smoke of the hall, he flung his arms about his neck and buried his face in the blanket. He called twice in muffled tones: "Mam-ma! Mam-ma!" When Johnson came to the top of the stairs with his burden, he took a quick step backward. Through the smoke that rolled to him he could see that the lower hall was all ablaze. He cried out then in a howl that resembled Jimmie's former achievement. His legs gained a frightful faculty of bending sideways. Swinging about precariously on these reedy legs, he made his way back slowly, back along the upper hall. From the way of him then, he had given up almost all idea of escaping from the burning house, and with it the desire. He was submitting, submitting because of his fathers, bending his mind in a most perfect slavery to this conflagration.
He now clutched Jimmie as unconsciously as when, running toward the house, he had clutched the hat with the bright silk band.
Suddenly he remembered a little private staircase which led from a bedroom to an apartment which the doctor had fitted up as a laboratory and work-house, where he used some of his leisure, and also hours when he might have been sleeping, in devoting himself to experiments which came in the way of his study and interest.
When Johnson recalled this stairway the submission to the blaze departed instantly. He had been perfectly familiar with it, but his confusion had destroyed the memory of it.
In his sudden momentary apathy there had been little that resembled fear, but now, as a way of safety came to him, the old frantic terror caught him. He was no longer creature to the flames, and he was afraid of the battle with them. It was a singular and swift set of alternations in which he feared twice without submission, and submitted once without fear.
The opening of "The Monster" introduces a child's guilt over a broken peony, a seemingly minor incident that foreshadows the story's central concern with damage and reparation. Crane's prose is precise: the doctor mows his lawn "as if it were a priest's chin," and the boy's attempt to "stand [the flower] on its pins, resuscitated" fails because "the spine of it was hurt." This attention to physical detail—the limp flower, the spinning grass blades—establishes a world where small actions have irreversible consequences. The story then shifts to a town's reaction to Henry Johnson, a disfigured man, revealing how collective fear overrides individual judgment. Crane captures this through kitchen gossip, where women debate whether they would be afraid of someone they have never seen, their opinions shaped entirely by hearsay.
The Weight of a Broken Peony
The first story opens with a child's transgression: Jim, playing at being a locomotive, destroys a peony with his cart. The doctor father continues mowing, his back turned. Jim's guilt is palpable—he tries to "resuscitate" the flower, but it hangs limply. Crane uses this small event to establish a pattern of unintended harm and inadequate reparation. The peony's broken spine becomes a metaphor for the damage that follows. Later, the town's reaction to Henry Johnson's disfigurement echoes this initial rupture: a community that cannot repair a flower is unlikely to mend a man's reputation. The doctor's cool response to his son's accident contrasts with the heated gossip that later condemns him for sheltering Johnson. Crane never explains the doctor's motives; he simply shows him walking "down to his buggy" in silence, leaving the reader to weigh the evidence.
Gossip as a Social Force
In the kitchen scene, Martha, Kate, and Carrie debate whether Sadie Winter has been sick since Henry Johnson "got loose." Their conversation reveals how rumor solidifies into fact. Kate and Carrie insist that "everybody says" Johnson is terrifying, while Martha challenges them: "Have you ever seen him? No? Well, then, how do you know you would be scared?" The women's alliance against Martha shows how social pressure enforces conformity. Crane does not depict Johnson directly; instead, he filters him through the town's fear. The Hannigans plan to move because of him, and the women cite "everybody that's seen him" as authority. This technique forces the reader to question the reliability of collective judgment. The gossip is not idle—it has consequences, driving a family from their home and isolating a man the doctor has chosen to protect.
Contrasts in Response to Crisis
Crane juxtaposes the doctor's quiet dignity with the town's clamor. When Jake Winter confronts him, the doctor "never said a word" and drove off "co-o-o-l." In contrast, the women's kitchen debate is full of exclamations and alliances. Martha alone resists the tide, declaring she would not be afraid of Johnson. Her defiance is undercut by the others' certainty: "But, Martha, everybody says so." The story does not resolve whether Martha is right or naive; it simply presents the tension. Crane also contrasts the physical world—the lawn, the peony, the buggy—with the abstract fear that grips the town. The doctor's actions remain opaque; he does not explain why he defends Johnson. This restraint leaves the reader to infer his character from his deeds, while the town's words condemn themselves through their own inconsistency.
These three stories reward attention to Crane's economy of detail. Notice how objects—a peony, a pair of mittens, a hotel door—carry symbolic weight without announcing it. The author trusts the reader to connect the broken flower to the broken man, the gossip to the silence. Read slowly, and watch how Crane builds a world where a single gesture can echo across a whole town.
I finished the Crane stories last night, and that boy’s wet mittens stayed with me long after the lamp went out—how a small, private moment decides so much of who we become in a town’s eyes. It reminded me of the quiet weight in Ancestors: A Novel — Edition Insights, where inheritance sits like that same damp cloth, clinging without being asked.
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