in the space between my chin and my topmost hairpin. And my one horror, my nightmare of nightmares, is that some morning I’ll wake up and find that space vacant, and the works closed down, with a mental sign over the front door reading:
“‘For Rent. Fine, large empty head. Inquire within.’
“There was one year when there was a sign reading, ‘Closed for repairs.’ The horror of it is still with me.”
In another place she says: “No autobiographical sketch is complete without a statement of ambitions. I have two. I want to be allowed to sit in a rocking chair on the curb at the corner of State and Madison streets and watch the folks go by. And I would fain live on a houseboat in the Vale of Cashmere. I don’t know where the Vale of Cashmere is, nor whether it boasts a water course or not.”
What a lot she would get out of her view of life from a rocking chair at State and Madison streets!
She complained bitterly once that a certain writer, now opulent and lazy, who knew Chicago from the stockyards to the North Shore, did not use the stuff he had in his head. She felt not so much that he was missing an opportunity, but that he had buried the talent of experience that should have been passed on to others after he had gone.
Though Edna Ferber lives in New York—her apartment faces Central Park—she is not of New York. She knows Chicago, she thinks Chicago, just as Booth Tarkington thinks and knows Indianapolis and would not live wholly away from it. The author of “The Girls,” that masterpiece of Chicago, frequently visits the Windy City and sits, metaphorically, at the corner of State and Madison and soaks in the spirit of the city, that city so recently a pioneer town, so lately an effete city. No wonder she finds it fascinating and inexhaustible.
Edna Ferber’s apartment is the place where she meets her friends, breakfasts, lunches, dines, and sleeps. It is her rest house, her relaxation. The furnishing of it was an adventure. The choosing of draperies for the windows (there are many
