was alarmed, and Elmer himself more alarmed with each hour, each new greeting of: "We need you with us, old boy—the world needs you!"
Jim did well to dread. Elmer had always been in danger of giving up his favorite diversions—not exactly giving them up, perhaps, but of sweating in agony after enjoying them. But for Jim and his remarks about co-eds who prayed in public and drew their hair back rebukingly from egg-like foreheads, one of these sirens of morality might have snared the easy-going pangynistic Elmer by proximity.
A dreadful young woman from Mexico, Missouri, used to coax Jim to "tell his funny ideas about religion," and go off in neighs of pious laughter, while she choked, "Oh, you're just too cute! You don't mean a word you say. You simply want to show off!" She had a deceptive sidelong look which actually promised nothing whatever this side of the altar, and she might, but for Jim's struggles, have led Elmer into an engagement.
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
