Sherwood Anderson：Mother

Anderson, Sherwood, 1876-1941,

Mother

Electronic Edition by Alexander Street Press, L.L.C., 2011 . ? Sherwood Anderson,

1937. Also published in

Plays: Winesburg and Others

, Charles Scribner's Sons, New York, NY, 1937. [

Author Information

]

[

Bibliographic Details

] [

Character Information

] [1937] [PL033497]

Characters

Mary Horton, the Mother

George Horton, the Father

Mabel Clark, a Dressmaker

Fizzy Fry, a Hotel Clerk

Act

The action takes place in

MARY HORTON'S

room in a shabby little hotel, in a Middle Western American town. It is Sunday

afternoon. The room is a rather large one. The wallpaper is faded and streaked but

MARY HORTON

has made an effort to save

the room from complete ugliness. There are a few cheap prints and pictures on the wall and clean lace curtains at the

windows. There is a bed in the room and the bed covering is worn but clean. Beside the bed there is a cheap dresser on

which is a lamp with a crinkly red tissue paper lamp shade. There are a few chairs, one of which is a rocker. There are

doors left and right and two windows at back looking into an alleyway

MARY

HORTON

is

a

sick-looking

woman

of

forty.

She

is

somewhat

thin

and

faded

but

there

is

still

fire

in

her.

The

impression

should be given of a woman who has had a good deal of illness.

AT RISE

she is sitting in a rocking chair near one of the

windows and is dressed in a plain worn black dress with white lace at the neck and sleeves. She sits tense and nervous

in the chair

Outside in the alleyway voices are heard. Boys are playing ball and there is the sound of a thrown ball striking on a

catcher's mit. A

WOMAN'S VOICE

is heard

WOMAN'S VOICE

Sharply

Will and Fred, you come in here. I won't have you playing ball on Sunday.

-- 3 --

BOY'S VOICE

Oh, Maw. O Gee!

WOMAN'S VOICE

Come in here, I say.

New voices are heard just back of the wall of

MARY HORTON'S

room. Two men are walking along a hallway

A MAN'S VOICE

Here it is, Fred. This is my hole. Some hotel to be stuck in on Sunday.

SECOND MAN'S VOICE

Hell, yes. I wanted to get into Chicago. I've got a woman there. I slept too late and missed the morning

train. I'm going to take another sleep now.

FIRST MAN'S VOICE

Might as well. Say, Fred, suppose we can pick up a couple of skirts in this burg tonight?

SECOND MAN'S VOICE

I don't know, Al. We can try.

FIRST MAN'S VOICE

All right. See you later. So long.

There is the sound of a slammed door and of another man's footsteps dying away in a hallway.

MARY HORTON

gets up out of

her chair and moves hurriedly and nervously about the room. She goes to a glass over the dresser and adjusts the lace

at her neck and sleeves and then suddenly, tearing a little piece off the red paper lamp shade, wets it

with her tongue

and tries to rouge her checks with it. She smiles and shrugs her shoulders, looking at herself in the glass, as though

to

say,

the

use?

Again

she

hears

footsteps

outside

the

door,

left,

and

goes

quickly

over

toward

the

rocking-chair

by

the

window,

but

before

she

has

reached

it,

the

door,

left,

opens

and

her

husband

GEORGE

HORTON

enters.

She

looks

quickly

over her shoulder and sees who it is

-- 4 --

MARY HORTON

Oh, it's only you.

She goes to the chair and, sitting, closes her eyes for a moment. She does not look at her husband.

GEORGE HORTON

is a

man of forty-five or fifty, a little fat and unhealthy looking. He is annoyed and angry. He shuts the door with a bang

and stands near it looking at his wife

GEORGE HORTON

Only me, eh? Just your husband, that's all.

MARY HORTON

She sits in the chair with her eyes closed, not looking at him. She speaks quietly but sharply

Well, did you do what I asked you? I sent for you but couldn't find you. So I told your clerk, Fizzy, what I wanted. Did

he tell you? Have you done it?

GEORGE HORTON

Angrily

Hell, no. What do you think I am? Do you expect me to stay around here, always, at your beck and call? Fizzy told me what

you were up to, sending for that woman. Of course I didn't do it. What do you think I am, an errand boy? I told Fizzy

he could go for her if he wanted to but that's why I came up here. I wanted to tell you what I thought of this scheme

of yours.

He begins moving heavily about the room and sits down heavily in one of the chairs

It's all damned foolishness, I tell you. Now, Mary, you let me handle this.

Begins to grow more angry and a little pompous

This is a man's job. I should never have told you about this mess. Anyway, it may all be a lie. Can't you see what you

would get into, butting into this? Suppose it is true that our boy Harry has been fooling with this woman? A man should

never tell a woman anything. You've got to be slick in a thing like this.

He is growing angry and more excited

Women are all a lot of fools. I don't know why I told you. Now you look here. If it is true that our Harry has got mixed

up with this dressmaker -- a woman old enough to be his mother -- you leave it to me and I'll fix it.

-- 5 --

MARY HORTON

Looking up at him and speaking coldly

How? How would you fix it?

GEORGE HORTON

He gets up out of his chair and goes to stand by the bed, bracing himself with a hand against the bed

I'll tell you what I'd do. If it is true that Harry is mixed up with her, I'd get him out of town, that's what I'd do.

I'd hide him out till it blows over. If she is going to have a kid, as they say, and Harry's gone she'll blame some one

else. She won't get him.

He grows boastful

I tell you I've got influence. Harry can go to some city till it blows over. He ought to get out of this town anyway.

He ought to go to some city where he can begin to amount to something. He can go to a city, get a job, and change his

name. I can fix it. There are men who come here, traveling men who stop here with us -- you don't know any of them, of

course. You are always stuck

up

here in this

room. You don't

know nothing and

then

you

butt

in.

I

know

men

who have

plenty

of influence. More than one of the men who come here has said to me, George, they've said, that boy Harry of yours is

all right, he's a bright boy.

MARY HORTON

Interrupting. She makes an impatient movement with her hand

Yes, yes, I know, but never mind all that. I know how much influence you've got. So

you want to make a sneak out of Harry.

If he's in trouble with this woman you want him to run away and hide himself. You would. That would be your solution.

-- 6 --

GEORGE HORTON

Also angry

Well,

what

would

you

do?

You're

so

smart. What

is

it

you

want

Harry

to

be?

Do

you

want

him

to

get

tied

to

this

woman

almost

old enough to be his mother? Do you want him to stick here in this town and amount to nothing, a failure on our hands?

MARY HORTON

Sharply

In any event, he won't be on your hands.

Her voice softens a little

But man, man, we've only got this one child. We don't want to make a sneak out of him.

GEORGE HORTON

Interrupting

But, hell, if you would only let me manage him.

MARY HORTON

Growing hard again

Is this Mabel Clark coming here? Did Fizzy deliver my note? Do you know?

GEORGE HORTON

starts to sit on the bed but she stops him. She speaks again

Don't sit there.

She points

Go over and sit in that chair.

He goes sullenly to the chair and sits. She speaks again

Now try to be sensible and make everything clear to me. Try to forget yourself for a moment and how much influence you've

got. Tell me the whole story, all you know about this affair between Harry and this Miss Clark. Who told you this story?

-- 7 --

GEORGE HORTON

Still angry and impatient

This is a man's affair, I tell you. What do you want Harry to turn out to be -- a sissy, eh -- hanging on to the skirts

of his mother?

MARY HORTON

Coldly and quietly

You haven't told me the story yet. You just came in here and hinted at it. You stormed around and then went out.

GEORGE HORTON

Well, all right. A young boy, Harry's friend … you don't know him … you always keep to yourself … you

don't know any one. His name is Will Howard. He is the son of the Presbyterian preacher here. I'll tell you what, I wish

our Harry was like that boy. He doesn't smoke or swear or anything. He's got a good job, too.

MARY HORTON

A little smile goes across her lips

What a paragon, really! But what about him? I want to know what he told you.

GEORGE HORTON

He was up in Harry's room early this afternoon. He had heard things. I am not like you, I'm a man who keeps

his eyes open. I stopped this boy coming down from Harry's room and asked him. I'll tell you what, there's a boy who will

get somewhere.

MARY HORTON

She interrupts impatiently. She has aroused herself and is sitting up straight in her chair and is looking hard at her

husband

Yes, yes, all right, all right. Get on with the story.

-- 8 --

GEORGE HORTON

Defiantly

He said that our Harry has been going down to Mabel Clark's house at night. He goes sneaking down there. This young Will

Howard saw him do it. He followed Harry and watched him. He just told me because he doesn't want Harry to get in trouble.

He says this Mabel Clark's going to have a kid. He told me because he wants Harry warned. My God, Mary, a woman of that

age fooling with a boy like Harry, the damned slut. Will says that Harry is stuck on her, that he's in love with her.

Now he says he thinks that she's that way -- that she's going to have a kid.

He jumps to his feet and walks angrily up and down the room

I tell you this boy Will knows what he is talking about. He got in with Harry and got Harry to talk. And I saw something

myself. Only the other

day,

right on Main

Street,

I saw Harry walking with this

woman.

I

came

right

up

to

them.

You should

have seen his face when he saw me. I was never so ashamed in my life.

MARY HORTON

Also jumping up out of her chair and moving about the room

All right, all right, but you keep your mouth shut. Don't go

'round town indulging in talk. And if you have got so much influence, you stop that boy, that paragon of a boy -- you

use your influence to stop his talking. As for this Mabel Clark, I'll talk to her. I'll see her. And if she won't come

here to me, I'll go to her. That's what I told her in my note.

She whirls suddenly on her husband

And don't you ever again call any woman a slut in my presence.

-- 9 --

GEORGE HORTON

Getting away from her toward the door left. He is near the door

You go to the devil. I'll call any one anything I want to. You can't browbeat me. I'm not a boy. I'm a man.

The two stand staring at each other, the man excited and nervous and the woman now gazing coldly at him. There is again

the sound of foot-steps in the hallway outside. The attention of both the man and the woman is immediately diverted and

they both stand tense listening

MARY HORTON

In quiet, commanding voice

Wait! Stand still! Don't move!

She goes quickly over to the rocking chair by the window and sits to compose herself. There is a knock on the door. In

a quiet voice

Come in.

The door opens and the head of a young man,

FIZZY,

the hotel clerk, appears. He steps inside. He is a young man with a

long

nose

and

a

pimply

face

and

has

a

great

mop

of

yellow

sandy

hair.

There

is

a

lighted

cigarette

dangling

from

the

corner

of his mouth. He looks from one to the

other of the two people and then turns to

MARY HORTON

FIZZY FRY

There's a lady to see you, ma'am.

He grins

It's a lady named Mabel Clark.

FIZZY

has

left

the

door

open

behind

him

and

MABEL

CLARK

appears

standing

in

the

door,

back

of

FIZZY.

She

is

a

rather

handsome

woman of thirty and is rather overdressed. She stands staring boldly into the room and

GEORGE HORTON,

seeing her, is

immediately disconcerted. He pushes past

FIZZY

and the woman and exits. He speaks gruffly to

MABEL CLARK

-- 10 --

GEORGE HORTON

Hello.

MARY HORTON

Speaking quietly

Come in, Miss Clark.

FIZZY

stands staring about and grinning and

MARY HORTON

speaks sharply to him

That's all, young man. And thank you for your trouble. That's all. You may go now. Good-by.

FIZZY

evidently

hates

to

leave

the

room.

MABEL

CLARK

enters

and

FIZZY

goes

to

the

door

and

stands

there

grinning

and

staring

at the two women.

MARY HORTON

speaks again sharply

Good-by, I say. You may go now. Please shut the door.

FIZZY

exits reluctantly closing the door slowly The two women are left alone together in the room. Immediately a change

comes

over

MARY

HORTON.

She

becomes

all

animation.

Springing

out

of

her

chair

she

runs

over

to

MABEL

CLARK,

who

is

standing

in the center of the room, her shoulders thrown back, looking very defiant.

MARY HORTON

rushes to her and attempts to

take her two hands, which

MABEL

doesn't offer.

MARY

however grabs them and pumps them up and down

MARY HORTON

Oh, Miss Clark, how splendid of you to come! I am so glad you could come, that you would come. Oh, this is

splendid of you!

She rushes over to a chair and places it for

MABEL

Do sit. Oh, I have been wanting to know you for such a long time. It is so lovely of you to come up here to see me. It

is such a day, so hot outside. Were you at church this morning? Was there a crowd out?

By her eagerness she has half forced

MABEL

across the room and into the chair. She keeps on speaking rapidly

It is so hot out, isn't it? You must excuse me for the looks of my room. You see, I've been a sick woman. I do think sick

women are such a nuisance, don't you?

MABEL,

who is now seated in the chair, looks at

MARY HORTON

with amazement. She is surprised and startled by the outbreak

of words but is on her guard and ready to be defiant

-- 11 --

MABEL CLARK

You asked me to come here. You sent me a note. You said if I didn't come here you would come to me. I don't

want any trouble with you. I'm not looking for trouble.

MARY HORTON

Trouble? Why, what an idea! But yet … of course … I know. We all do have our troubles. Sometimes it's one

thing, sometimes another. It's money, bad luck in business, or it's sickness, or it's some one else sick, or in trouble,

some one you love, some one you care for. Life is so strange. It's so hard sometimes. Why, I know just how you feel. A

person

sits

and

thinks.

It

seems

sometimes

every

one

is

in

trouble.

You

want

to

talk,

if

you're

a

woman,

to

another

woman.

She seems to grow suddenly half gay.

MABEL CLARK

sits staring at her

Oh, Miss Clark. Let's forget troubles. Please, it's hot in here, isn't it? What a pretty dress you have on! Oh, I do so

love beautiful clothes.

She laughs gaily and, jumping up, stands before

MABEL

You wouldn't think it, would you, to look at me?

She tries to straighten her gown, brushes the skirt with her two hands, runs to the glass, rearranges the bit of lace

at her neck, runs back to

MABEL,

who stares silently

Look at me, will you.

MARY HORTON

runs across the room and draws her chair to sit near

MABEL,

looking directly at her. She is determined not

to let

MABEL CLARK

get on top of the situation. She sits for a second and then jumps up again eagerly. She makes a motion

about the room and smiles

Oh, this life of mine, here in this hotel room! I can't seem to make it homelike. Do you know, I am actually ashamed to

have nice people, like you, people I admire, come in here to see me. You have such a nice home right in your own shop