She knew the place. A sad group of dilapidated little houses forming three sides of a paved quadrangle, with a shattered fountain and withered trees in the centre. Ever since she could remember, they had stood there empty, ghostly, with creaking doors and broken windows, their gardens overgrown with weeds. “I asked her once,” said the girl, “why she wasted so much work on them. They were mostly only for poor people. ‘One never knows, dearie,’ she answered, with that childish smile of hers. ‘It may be for a little Christ.’”!

She introduced her. Miss Tolley bowed; and allowed herself to be drawn away by a lank-haired young man who had likewise been waiting for an opening. He represented the Uplift Film Association of Chicago, and was wishful to know if Miss Tolley would consent to altering the last chapter and so providing “Running Waters” with a happy ending. He pointed out the hopelessness of it in its present form, for film purposes. “But why should you give up your art?” persisted Joan. It was that was sticking in her mind. “I should have thought that, if only for the sake of the child, you would have gone on with it.”

Only once had she ever thought of marriage. And that was in favour of a middle-aged, rheumatic widower with three children, a professor of chemistry, very learned and justly famous. For about a month she had thought herself in love. She pictured herself devoting her life to him, rubbing his poor left shoulder where it seemed he suffered most, and brushing his picturesque hair, inclined to grey. Fortunately his eldest daughter was a young woman of resource, or the poor gentleman, naturally carried off his feet by this adoration of youth and beauty, might have made an ass of himself. But apart from this one episode she had reached the age of twenty-three heart-whole. In the end she would go into Parliament. It would be bound to come soon, the woman’s vote. And after that the opening of all doors would follow. She would wear her college robes. It would be far more fitting than a succession of flimsy frocks that would have no meaning in them. What pity it was that the art of dressing—its relation to life—was not better understood. What beauty-hating devil had prompted the workers to discard their characteristic costumes that had been both beautiful and serviceable for these hateful slop-shop clothes that made them look like walking scarecrows. Why had the coming of Democracy coincided seemingly with the spread of ugliness: dull towns, mean streets, paper-strewn parks, corrugated iron roofs, Christian chapels that would be an insult to a heathen idol; hideous factories (Why need they be hideous!); chimney-pot hats, baggy trousers, vulgar advertisements, stupid fashions for women that spoilt every line of their figure: dinginess, drabness, monotony everywhere. It was ugliness that was strangling the soul of the people; stealing from them all dignity, all self-respect, all honour for one another; robbing them of hope, of reverence, of joy in life. She looked at her watch. Fortunately it was still early. She would be able to let herself in before anyone was up. It was but a little way. She wondered, while rearranging her hair, what day it was. She would find out, when she got home, from the newspaper.