name is doing in this place, cropping up (as it were uncalled-for) on the stern of our poor ship? If you were not born in Arcadia, you linger in fancy on its margin; your thoughts are busied with the flutes of antiquity, with daffodils, and the classic poplar, and the footsteps of the nymphs, and the elegant and moving aridity of ancient art. Why dedicate to you a tale of a caste so modern;—full of details of our barbaric manners and unstable morals;—full of the need and the lust of money, so that there is scarce a page in which the dollars do not jingle:—full of the unrest and movement of our century, so that the reader is hurried from place to place and sea to sea, and the book is less a romance than a panorama—in the end, as blood-bespattered as an epic?
Well, you are a man interested in all problems of art, even the most vulgar; and it may amuse you to hear the genesis and growth of “The Wrecker.” On board the schooner Equator, almost within sight of the Johnstone Islands (if anybody knows where these are) and on a moonlit night when it was a joy to be alive, the authors were amused with several stories of the sale of wrecks. The subject tempted them; and they sat apart in the alley-way to discuss its possibilities. “What a tangle it would make,” suggested one, “if the wrong crew were aboard. But how to get the wrong crew there?”—“I have it!” cried the other; “the so-and-so affair!” For not so many months before, and not so many hundred miles from where we were then sailing, a proposition almost tantamount to that of Captain Trent had been made by a British skipper to some British castaways.
Before we turned in, the scaffolding of the tale had been put together. But the question of treatment was as usual more obscure. We had long been at once attracted and repelled by that very modern form of the police novel or mystery story, which consists in beginning your yarn anywhere but at
