MARY CRAIG KIMBROUGH

To whose persistence in the perilous task of tearing

her husband's manuscript to pieces, the reader is indebted

for the absence of most of the faults from this book.

CONTENTS

INTRODUCTION

BOOK ONE — THE DOMAIN OF KING COAL

BOOK TWO — THE SERFS OF KING COAL

BOOK THREE — THE HENCHMEN OF KING COAL

BOOK FOUR — THE WILL OF KING COAL

POSTSCRIPT

INTRODUCTION

Upton Sinclair is one of the not too many writers who have consecrated their lives to the agitation for social justice, and who have also enrolled their art in the service of a set purpose. A great and non-temporizing enthusiast, he never flinched from making sacrifices. Now and then he attained great material successes as a writer, but invariably he invested and lost his earnings in enterprises by which he had hoped to ward off injustice and to further human happiness. Though disappointed time after time, he never lost faith nor courage to start again.

As a convinced socialist and eager advocate of unpopular doctrines, as an exposer of social conditions that would otherwise be screened away from the public eye, the most influential journals of his country were as a rule arraigned against him. Though always a poor man, though never willing to grant to publishers the concessions essential for many editions and general popularity, he was maliciously represented to be a carpet knight of radicalism and a socialist millionaire. He has several times been obliged to change his publisher, which goes to prove that he is no seeker of material gain.

Upton Sinclair is one of the writers of the present time most deserving of a sympathetic interest. He shows his patriotism as an American, not by joining in hymns to the very conditional kind of liberty peculiar to the United States, but by agitating for infusing it with the elixir of real liberty, the liberty of humanity. He does not limit himself to a dispassionate and entertaining description of things as they are. But in his appeals to the honour and good-fellowship of his compatriots, he opens their eyes to the appalling conditions under which wage-earning slaves are living by the hundreds of thousands. His object is to better these unnatural conditions, to obtain for the very poorest a glimpse of light and happiness, to make even them realise the sensation of cosy well-being and the comfort of knowing that justice is to be found also for them.

This time Upton Sinclair has absorbed himself in the study of the miner's life in the lonesome pits of the Rocky Mountains, and his sensitive and enthusiastic mind has brought to the world an American parallel to GERMINAL, Emile Zola's technical masterpiece.

The conditions described in the two books are, however, essentially different. While Zola's working-men are all natives of France, one meets in Sinclair's book a motley variety of European emigrants, speaking a Babel of languages and therefore debarred from forming some sort of association to protect themselves against being exploited by the anonymous limited Company. Notwithstanding this natural bar against united action on the part of the wage-earning slaves, the Company feels far from at ease and jealously guards its interests against any attempt of organising the men.

A young American of the upper class, with great sympathy for the downtrodden and an honest desire to get a first-hand knowledge of their conditions in order to help them, decides to take employment in a mine under a fictitious name and dressed like a working-man. His unusual way of trying to obtain work arouses suspicion. He is believed to be a professional strike-leader sent out to organise the miners against their exploiters, and he is not only refused work, but thrashed mercilessly. When finally he succeeds in getting inside, he discovers with growing indignation the shameless and inhuman way in which those who unearth the black coal are being exploited.

The se are the fundamental ideas of the book, but they give but a faint notion of the author's poetic attitude. Most beautifully is this shown in Hal's relation to a young Irish girl, Red Mary. She is poor, and her daily life harsh and joyless, but nevertheless her wonderful grace is one of the outstanding features of the book. The first impression of Mary is that of a Celtic Madonna with a tender heart for little children. She develops into a Valküre of the working-class, always ready to fight for the worker's right.

The last chapters of the book give a description of the miners'revolt against the Company. They insist upon their right to choose a deputy to control the weighing-in of the coal, and upon having the mines sprinkled regularly to prevent explosion. They will also be free to buy their food and utensils wherever they like, even in shops not belonging to the Company.

In a postscript Sinclair explains the fundamental facts on which his work of art has been built up. Even without the postscript one could not help feeling convinced that the social conditions he describes are true to life. The main point is that Sinclair has not allowed himself to become inspired by hackneyed phrases that bondage and injustice and the other evils and crimes of Kingdoms have been banished from Republics, but that he is earnestly pointing to the honeycombed ground on which the greatest modern money-power has been built. The fundament of this power is not granite, but mines. It lives and breathes in the light, because it has thousands of unfortunates toiling in the darkness. It lives and has its being in proud liberty because thousands are slaving for it, whose thraldom is the price of this liberty.

This is the impression given to the reader of this exciting novel.

GEORG BRANDES.

BOOK ONE — THE DOMAIN OF KING COAL

SECTION 1.

The town of Pedro stood on the edge of the mountain country; a straggling assemblage of stores and saloons from which a number of branch railroads ran up into the canyons, feeding the coal-camps. Through the week it slept peacefully; but on Saturday nights, when the miners came trooping down, and the ranchmen came in on horseback and in automobiles, it wakened to a seething life.

At the railroad station, one day late in June, a young man alighted from a train. He was about twenty-one years of age, with sensitive features, and brown hair having a tendency to waviness. He wore a frayed and faded suit of clothes, purchased in a quarter of his home city where the Hebrew merchants stand on the sidewalks to offer their wares; also a soiled blue shirt without a tie, and a pair of heavy boots which had seen much service. Strapped on his back was a change of clothing and a blanket, and in his pockets a comb, a toothbrush, and a small pocket mirror.

Sitting in the smoking-car of the train, the young man had listened to the talk of the coal-camps, seeking to correct his accent. When he got off the train he proceeded down the track and washed his hands with cinders, and lightly powdered some over his face. After studying the effect of this in his mirror, he strolled down the main street of Pedro, and, selecting a little tobacco-shop, went in. In as surly a voice as he could muster, he inquired of the proprietress,"Can you tell me how to get to the Pine Creek mine?"

The woman looked at him with no suspicion in her glance. She gave the desired information, and he took a trolley and got off at the foot of the Pine Creek canyon, up which he had a thirteen-mile trudge. It was a sunshiny day, with the sky crystal clear, and the mountain air invigourating. The young man seemed to be happy, and as he strode on his way, he sang a song with many verses:

"Old King Coal was a merry old soul,

And a merry old soul was he;

He made him a college all full of knowledge—

Hurrah for you and me!

"Oh, Liza-Ann, come out with me,

The moon is a-shinin'in the monkey-puzzle tree;

Oh, Liza-Ann, I have began

To sing you the song of Harrigan!

"He keeps them a-roll, this merry old soul—

The wheels of industree;

A-roll and a-roll, for his pipe and his bowl

And his college facultee!

"Oh, Mary-Jane, come out in the lane,

The moon is a-shinin'in the old pecan;

Oh, Mary-Jane, don't you hear me a-sayin'

I'll sing you the song of Harrigan!

"So hurrah for King Coal, and his fat pay-roll,

And his wheels of industree!

Hurrah for his pipe, and hurrah for his bowl—

And hurrah for you and me!

"Oh, Liza-Ann, come out with me,

The moon is a-shinin'—"

And so on and on—as long as the moon was a-shinin'on a college campus. It was a mixture of happy nonsense and that questioning with which modern youth has begun to trouble its elders. As a marching tune, the song was a trifle swift for the grades of a mountain canyon; Warner could stop and shout to the canyon-walls, and listen to their answer, and then march on again. He had youth in his heart, and love and curiosity; also he had some change in his trousers'pocket, and a ten dollar bill, for extreme emergencies, sewed up in his belt. If a photographer for Peter Harrigan's General Fuel Company could have got a snap-shot of him that morning, it might have served as a"portrait of a coal-miner"in any"prosperity"publication.

But the climb was a stiff one, and before the end the traveller became aware of the weight of his boots, and sang no more. Just as the sun was sinking up the canyon, he came upon his destination—a gate across the road, with a sign upon it:

PINE CREEK COAL CO.