maiden spinning, cat demure before a white fireplace. (Nineteen out of every twenty houses in Floral Heights had either a hunting-print, a Madame Fait la Toilette print, a colored photograph of a New England house, a photograph of a Rocky Mountain, or all four.)
It was a room as superior in comfort to the "parlor" of Babbitt's boyhood as his motor was superior to his father's buggy. Though there was nothing in the room that was interesting, there was nothing that was offensive. It was as neat, and as negative, as a block of artificial ice. The fireplace was unsoftened by downy ashes or by sooty brick; the brass fire-irons were of immaculate polish; and the grenadier andirons were like samples in a shop, desolate, unwanted, lifeless things of commerce.
Against the wall was a piano, with another piano-lamp, but no one used it save Tinka. The hard briskness of the phonograph contented them; their store of jazz records made them feel wealthy and cultured; and all they knew of creating music was the nice adjustment of a bamboo needle. The books on the table were unspotted and laid in rigid parallels; not one corner of the carpet-rug was curled; and nowhere was there a hockey-stick, a torn picture-book, an old cap, or a gregarious and disorganizing dog.
II
At home, Babbitt never read with absorption. He was concentrated enough at the office but here he crossed his legs and fidgeted. When his story was interesting he read the best, that is the funniest, paragraphs to his wife; when it did not hold him he coughed, scratched his ankles and his right ear, thrust his left thumb into his vest pocket, jingled his silver, whirled the cigar-cutter and the keys on one end of his watch chain, yawned, rubbed his nose, and found errands to do. He went upstairs to put on his slippers—his elegant slippers
