Can a book itself be a Hobo?

Authors of the excellent biography of Jim Tully have released what they are calling The vagabond copy of Jim Tully’s Beggars of Life“. It’s a free copy of Tully’s autobiography let loose in the wild. In the spirit of the “Where’s George” dollar bills, people who find the copy are encouraged the document the adventure of the book by going to the Facebook page and posting a photo and details about where it was found.

There is only one copy! I think I’d like to see more floating around, and if I had an extra, I’d send it along myself.

On the inside of the book, one will find the following:

You have picked up the vagabond copy of Jim Tully’s Beggars of Life. Tully road the rails for six years with hobos and other drifters in the early 20th century, crisscrossing the USA . He recalled his travels in Beggars of Life. To celebrate the reissue by Kent State University Press (kentstateuniversitypress.com) of this lost classic, we are sending this copy on the road.

We ask you to do three things:

1. Read the book.

2. Within two weeks, drop the book off in a dry, public spot in a city or county other than the one where you found the book. We’re putting just this copy on the road so please take care of it.

3. Go to “The vagabond copy of Jim Tully’s Beggars of Life” Facebook page and log in your name, location, date, and any comments you might care to share. We also encourage you to post a photo of yourself holding the book (or just the book, if you prefer) at your drop-off point. If you do not use Facebook, you may e-mail your details to ArchersBooks@yahoo.com and we’ll post for you.

That’s it. Thanks for being part of the wanderings of this special copy of a vagabond’s autobiography. We hope you enjoy the book.

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Mark Dawidziak at the Ohioana Book Festival 2011

Mark Dawidziak, coauthor of “Jim Tully: American Writer, Irish Rover, Hollywood Brawler” talks with Doug Dangler at the Ohioana Book Festival.

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Cleveland Plain Dealer leaves out JimTully.net…

We got no love, even though we were interviewed this time!
I was contacted early this week by e-mail and then phone call regarding this story.
Joanna asked what the traffic was to JimTully.net, I told her I didn’t pay attention because I get very little feedback. I also  get very little appreciation, so it seems, as there hasn’t been a single article that’s made refence to our website.

Maybe there just wasn’t enough column inches for a pithy phrase from yer olde webmaster. Can’t quote everyone.

Maybe the website isn’t any good. I just purchased JimTully.com so that some unrelated website didn’t snatch it up to put ads for male enhancement products up or hold it hostage for a few hundred dollars.

I just received my copy of the new bio, I’ll post more later…

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Jim Tully on Facebook…

We’ve started a fan page for Jim Tully on Facebook. You can see it in the sidebar as of this writing, but here’s a direct link!

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Jim Tully on HuffPo – we get no love…

It’s nice to see the world taking notice of ol’ Tully, even if they haven’t taken notice of the only website dedicated to his work. Yes, since 2008 this site has slowly been growing with information, we’ve released the rarest of Tully’s books, and even have another in the works for 2011!

http://www.huffingtonpost.com/thomas-gladysz/a-jim-tully-revival-hobo-_b_793512.html

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A Jim Tully Revival: Hobo Author Back in Print

Thomas Gladysz

Author and arts journalist

Posted: December 8, 2010 11:03 AM
In the 1920s and 1930s, Jim Tully was something of a household name.

His writing — his singular brand of rough and tumble realism — was both popular and critically acclaimed. In his heyday, Tully’s books appeared on bestseller lists, were adapted for the stage, made into movies, and got both good and bad reviews in major publications across the country. One of his controversial books was even banned, and a large part of its first edition destroyed.

Despite his past celebrity, few today have heard of Jim Tully. In the years following WWII, his reputation waned — but not because he was considered out-of-date. If anything, Tully was ahead of his time.

Some consider Tully a precursor to the “hard-boiled” school. In the twenties, Tully wasn’t writing about the glitz and glamor of the Jazz Age. Rather, his sometimes muscular prose concerned petty criminals, addicts, hobos and other misfits of society. Charles Willeford, one of the leading post WWII hard-boiled crime fiction writers, has praised Tully and written of his influence.

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Over the last year and a half, the Kent State University Press in Kent, Ohio (Tully’s one-time home) has begun reissuing this forgotten writer’s long-out-of-print books. So far, they’ve released Circus Parade (with a foreword by the late comix artist Harvey Pekar), Shanty Irish (with a foreword by film director John Sayles), The Bruiser (with a foreword by critic Gerald Early), and Tully’s breakthrough work and what’s likely his best remembered book, Beggars of Life (with an introduction by series editors Paul Bauer and Mark Dawidziak). Two more titles will follow in 2012.

Next year will see the release of Bauer and Dawidziak’s biography, Jim Tully: American Writer, Irish Rover, Hollywood Brawler. That book will include a foreword by documentary film maker Ken Burns, who has called it a “wonderful, hugely important biography.” All together, these forewords by so many celebrated contemporary figures suggest this little remembered author has a still strong following, at least among the cognoscenti.

Born near St. Marys, Ohio in 1886, Tully experienced an impoverished childhood. After the death of his mother in 1892, Tully’s Irish immigrant ditch-digger father sent the boy to an orphanage in Cincinnati. He remained there for six years until the misery became more than he could bear. Tully ran away though he was only a teenager.

Thereafter, what education this wild boy of the road received largely came in hobo camps, railroad yards, and public libraries scattered across the country. Tully is known to have stolen books by favorite writers (such as Dostoyevsky) from the local libraries in which he often found shelter.

After moving to California, Tully began writing in earnest. He also became one of the first free-lance writers to cover Hollywood. His journalism and celebrity portraits appeared in Vanity Fairand other leading magazines of the day, from Scribner’s to True Confessions. Tully was highly paid for his no holds barred accounts.

Tully wrote about Hollywood celebrities (including Charlie Chaplin, for whom he had once worked) in ways that the studios and the stars did not always find agreeable. For these pieces, Tully became known as the most-hated writer in Hollywood. It was a title he relished.

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His first book, Emmett Lawler (1922), was originally composed as a single paragraph of 100,000 words. In an autobiographical statement published in 1933, Tully wrote “My first book was bad, and is now forgotten. I found myself, I think, in Beggars of Life, which I wrote in six terrifying weeks, while living with a bootlegger.” The book was “intended as a compilation of dramatic episodes in the life of a youthful vagabond, which I was for seven years.”

Published in 1924, Beggars of Life was the first of five autobiographical books Tully regarded as part of a larger single work. His “Underworld Edition” included Circus Parade (1927), “a series of none too happy and often ironical incidents with a circus,” Shanty Irish (1928), “the background of a road-kid who becomes articulate,” Shadows of Men (1930), “the tribulations, vagaries, and hallucinations of men in jail,” and Blood on the Moon (1931). Of his books, these autobiographical works were the closest to his heart.

Tully also wrote celebrated novels about Hollywood, Jarnegan (1926), boxing, The Bruiser (1936), and the down-and-out, Laughter in Hell (1932). Shortly after publication, a novel about prostitutes set in Chicago, Ladies in the Parlor (1935), was seized by the police due to claims it was obscene. Most copies were destroyed and today it is a prized rarity.

Tully’s last book, A Dozen and One (1943), includes an introduction by Damon Runyon. It features biographical portraits of 13 famous people he encountered during his life including Chaplin, H.L. Mencken, Jack Dempsey, Clark Gable, Diego Rivera and others.


With the May, 2011 publication of their long-in the-works biography, Bauer and Dawidziak will take to the road and revisit some of the cities and towns the hobo author once stopped in decades earlier. They even plan on visiting a local jail where Tully was incarcerated for vagrancy.

Whether or not Tully’s work will strike a chord with contemporary readers remains to be seen. It could take time, as Tully is an acquired taste. Certainly, readers of Jack Kerouac, Charles Bukowski, William Vollmann or Stephen Elliott will find something of interest in Tully’s stories and prose.

His champions Bauer and Dawidziak have described Tully as “the greatest long shot in American literature.” Considering his ramshackle life, it is a miracle he wrote at all. If you’re a sucker for neglected books or lost classics, the work of this “literary bum” is worth a gamble.

Thomas Gladysz is an arts journalist and author. His interview with Allen Ginsberg on the subject of photography is included in Sarah Greenough’s “Beat Memories: The Photographs of Allen Ginsberg” (National Gallery of Art, 2010). And recently, he wrote the introduction to the Louise Brooks edition of Margarete Bohme’s classic novel, “The Diary of a Lost Girl” (PandorasBox Press, 2010). Gladysz will speak about “The Diary of a Lost Girl” at the Village Voice Bookshop in Paris on January 13, followed by a screening of the film at the nearby Action Cinema.

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Tully in Story World

Added the following articles to “Magazines” after finding them listed on Ebay:

  • Story World
    August, 1924
    “The Thief of Bagdad”
  • Story World
    December, 1924
    “The Long Bulge Upwards: A Remarkable Autobiography of Struggle and Achievement Which Every Writer Should Read”
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Updates in the “Magazines” section…

I recently purchased 26 bound volumes of The American Mercury, they came from the University of Virginia Library originally. I was able to use these to verify the articles that were published by Mencken in that periodical. You’ll see this reflected on the Magazines page.

I also recently picked up two paperback editions of Tully, “Circus Parade” and “The Bruiser”.

I hadn’t seen this edition of Circus Parade was published by Continental Books in 1932.

The Bruiser is the Bantam Books paperback, 1946.

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Jailbirds by Jim Tully – from The American Mercury, 1928

Scanned and OCRed on Sept.8th, 2010 by Kevin I. Slaugther:

JAILBIRDS

BY JIM TULLY

THE jail room was thirty-five feet long, twenty-five feet wide, and seven feet high. In this large cage were fifty prisoners. Some had been sentenced and were serving jail terms; others awaited trial, or removal to the penitentiary.

The floor was of thick sheet-metal. Around the walls and ceilings were heavy iron bars, painted a ghastly yellow. On each side of the cage was a row of cells, a dozen in all. Each cell was about five by six feet. There were four hammocks in each, one above the other, two on each side. Each hammock contained a filthy blanket.

The oldest inmates had the choice of blankets and hammocks. The prisoner in jail the longest was the court of last appeal in all disputes.

In case of his release, to go to the penitentiary—or freedom—, the next in order of seniority took his place.

Between the rows of cells was a long pine table. A bench was on each side of it. There was room for only sixteen men on the benches.

Cards were not allowed in the jail, but somehow there was always a game in progress. Cigarettes, cigars, and plugs of chewing tobacco were the stakes.

Each prisoner, upon his arrival, had been deprived of all his possessions, with the exception of tobacco and handkerchiefs.

The daily routine began at five o’clock in the morning.

A guard awoke the inmates by pounding on the steel bars with an iron weight.

There arose from hammock, benches, table and floor as disheveled and terrible a group as ever pleaded for justice before merciless judges.

Swollen from sleep and grim from life, each face was a study for a philosophical misanthrope.

The odor of unwashed bodies was accentuated by the complete lack of ventilation.

There was but one faucet, and at it fifty men washed their faces. They pushed each other out of line like free citizens boarding street-cars.

The senior prisoner was allowed to keep a safety razor. He would shave any of his brothers in misery for the equivalent of fifty cents in cigarettes or tobacco. He plied his trade with the grimness of an executioner.

The blade was duller than a sergeant of police. The water was cold. The only soap available was a cake of coarse yellow naptha. The operation was violent and bloody.

At five-thirty they were called to break-fast. Half the men had not had a chance to wash.

They now stood, two by two, at a steel door which opened into another tank, in which was a long pine table.

Steaming hot chicory in a tin cup, two slices of hard bread, a spoonful of hash and a raw onion made all un-happy for the day.

Ten minutes were allowed in which to eat. It was impossible to gulp the boiling chicory in that time.

While the prisoners breakfasted, trus-ties swabbed the cells. They returned to wet floors and the same odors.

Any cigarettes or trinkets accidentally left in the cells were gone–stolen by the trusties.

Old magazines and daily newspapers strayed into the jail. Every line was read.

If a prisoner had arrived since the preceding morning, he was tried immediately after breakfast by a kangaroo court.

The charge was that of breaking into the jail without the consent of the in-mates. As in the outside world, judge, lawyers and jury took their places in the curriculum of injustice.

The blindfolded prisoner was led before the assembly. The senior prisoner, who was the judge, subjected him to a series of questions.

What was his age? What was he in for? Would he have an auburn or a brunette maiden to ease the loneliness of prison? Did he have dandruff—or any of the nameless diseases? Would he desire his breakfast brought to him by the chosen maiden as he lolled in bed? Would he have his chosen maiden bow-legged or pigeon-toed, or both? Or did he prefer a youthful virgin with a darker skin?

When the poor devil tried to name his preference, he was told to shut up. A roar of mocking laughter followed.

He was then given his instructions and told the rules of the prison. The violation of those rules would mean the infliction of so many lashes with a leather belt from the hand of the senior prisoner.

He was placed upon a blanket in the centre of the room. Suddenly the blanket was jerked from under his feet . He sprawled, still blindfolded, upon the floor.

Never was more moronic entertainment offered in American lodges. After he had nursed his bruises, the bandage was re-moved from the new arrival’s eyes. He was then made one of the bunch.

If a prisoner offered resistance to the kangaroo court, he was given the silence. No one talked to him during the day.

The following morning he was called before the court again. If he still offered resistance he was given the silence again, until at last he bowed to the majesty of prison law.

Few held out more than one day.

II

Guards brought in and took out different prisoners from early morning until late at night.

Some would leave to face juries of their uncaught peers amid the ironical good wishes and ribald sneers of the other prisoners.

The clanking of the iron doors and the calling of convict names by guards and trusties were the oases in the steel desert of monotony.

The next meal was at two o’clock. Chicory, bread, stew or beans. It was the last meal of the day.

A huge, gorilla-like Negro was the comedian of the tank. His crooked black arms hung to his knees. His lips were the size of doughnuts cut in half.

He had been released from the penitentiary four months before. After serving ten years as a two-time loser, he was now sentenced again for burglary. He laughed from morning until night.

“I’s a bad niggah, I is! Tain’t no use lettin’ dis niggah free no moah, nohow. I jist go percolatin’ ’round wit’ a gat an’ gits in trouble agin. I’se too bad a niggah to be loose exceptin’ on a chain.”

His eyes glistening with mirthful tears, he would laugh at his monstrous joke like a film comedian.

“I jis’ do a little burglin,’ an’ hot damn, de cops git me! An’ now dey takes dis heah niggah back home to de Big House agin.”

He would laugh again, louder than be-fore, his great lips shaking.

A pyromaniac was in the jail.

A tall, thin ghost of a man touching the shores of fifty, his eyes were blank, his mouth open. He faced a twenty-year sentence for arson. His gray hair straggled over a scar on his forehead. One shoulder drooped. One leg was shorter than the other.

He shuffled like a man paralyzed.

The ends of his fingers were blistered from holding burning matches. His eyes followed every match that lit a cigarette or pipe, in the hands of other prisoners. He did not smoke. He borrowed matches whenever possible. He would hold the burning piece of wood beneath his fingers. The blaze was lost in the blistered flesh. Prisoners would give him matches just to watch him sit in the corner and strike them on the floor.

Each hour was livened by a song from the Negro:

Standin’ on Fouth street,

Lookin’ up Main,

Cop come along

An’ ask me mah name.

I tol’ him mah name,

It was Dennis McGee, I got seben wild wimmen

Aworkin’ foh me!

Ashes to ashes

An dus’ to dus’,

Was dey eber a woman

A burglah could trust?

A group would soon gather around him. To the stamping of feet and clapping of hands, the Negro would sing:

He took her to de tailah shop

To have her mouf made small,

She swallowed up de tailah,

De tailah-shop an’ all. . . .

Massa had no hooks an’ nails,

Nor anything like dat,

So on dis darky’s nose he used
To hang his coat an’ hat.

Ashes to ashes

An dus’ to dus’,

Was dey eber a woman

A burglah could trust?

III

A conglomerate gathering of frayed ras-cals, they were completely detached from the outside world. Regardless of color, innocence or guilt, they fraternized one with the other. Some tried to keep hearts from breaking; others tried only to kill the monotony of the hours. Thrown to-gether by the steel bars of circumstance, they snarled, quarreled, and cursed. Many seemed to bear all their burdens easier than propinquity.

One man among them held himself aloof.

Accused of forgery, with the certainty of conviction and a long term, he walked nervously up and down the tank. Even in misery he made no comradeship with more illiterate and braver rascals. His body was taut, his eyes swollen and strained at a door that did not open—for him.

Slowly the madness came upon him. Each night he sobbed and groaned. He may as well have thrown particles of ice at the sun.

Each time the iron door clanged he would suddenly rush forward and ex-claim, “Yes, sir! I’m ready!”

All but the pyromaniac laughed.

The door would let another prisoner out or in—and clang shut.

The forger would stand transfixed for a moment, and gaze at the iron-grey door. At last it opened for him.

One trusty took his head, another his feet. He was hurried out one morning with a leather strap around a swollen purple throat—a suicide.

The Negro laughed as he told his decrepit mates: “He’ll git up to Heaven and de good Lawd, He’ll say, `What foh you done fohged ma name foh? Ahse goin’ to put you to writin’ down de names of de preachehs an’ judges who keeps comin’ to Hell forebeh and ebeh.’ . . .”

A trusty brought in a paper which con-tained the picture of the forger’s wife and daughter. The young girl was posed by the photographer so as to show her beauti-ful legs. Her picture was fastened to the wall.

Otherwise life went on in the prison as though the forger had not lived among the men who knew of neither dawn nor dusk.

All day the electric lights burned. At night, all of them save a dim bulb over the door were switched out.

The pyromaniac would sit on his cot and bum a last match before going to sleep.

At intervals in the night, the main lights were switched on and off. The door clanged open and shut. A new face appeared in the morning.

A dope fiend, eaten with disease, was always well supplied with “snow.” The guards either knew or feigned ignorance for money. The prisoners knew. A stool-pigeon told a guard. No action was taken.

A friend regularly brought him clean handkerchiefs. The hem contained cocaine. Sometimes a spot soaked in morphine would be marked with a lead pencil. The saturated cloth would be soaked in a spoon of water. A match under the spoon, a safety pin jabbed into the arm, … dreams again!

Tobacco smoke circled, heavy as fog, about the steel room.

Men paced up and down, up and down, like automatons on a wire stretched across the empty chasm of life. It was night al-ways—with never a ray of day in the jail. . . or in their hearts. The Negro burglar alone was happy.

After many days the monotonous hum of voices would tell on their nerves.

They ached for solitude away from iron bars and caged men.

Each night a trusty came with a large can of Epsom salts. Coarse food, no exer-cise, bad air and overwrought nerves made indigestion king.

Ignorance and false pride sustained the inmates. Pride and hope. Alone, they might have given way to tears.

The Negro hoped for chicken again—in fifteen years.

Minds dulled with too much revery, with too much smoking, too many incessant tunes, often took on the illusion that they had always been behind the bars.

Among the two or three-time losers there was always much talk. Notes were com-pared. Denver Shorty, Texas Gyp, and Gimp the Red, each with a coterie of friends about him, talked of robbed banks and bullets in the night.

Young first offenders, actuated by the ego that makes the Pope and the yegg twin brothers, listened with awe.

“I blazed it out with the rube marshal and heard him fall in the alley. Another yap threw a bullet against the wall in back o’ me. . . . We got away with twenty grand—but Sailor Pete fell. A rube dis-trict attorney took three thousand an’ got him off with a little rap of a year. We sprung him in ten months.”

And Denver Shorty called, “Ain’t that so, Gimp?”

Gimp answered, “Yeah—what is it?”

In this world of iron bars and dim lights, ego paraded with braggadocio. Many lies were told.

“My kid brother’s only twelve years old, but he’s the best thief you ever saw,” was Texas Gyp’s contribution.

Young lads never before in jail told tales of long incarcerations for desperate crimes. Like snobs the world over, they wished to edge into the society which they admired.

Two brothers were in for automobile stealing. The younger, not over eighteen, was taken out of the jail one morning at nine o’clock.

The older brother walked the jail, mum-bling: “If those cops are givin’ the kid the third degree, I’ll kill ‘em.”

A guard brought the boy into the jail that afternoon. His face was black and blue. He staggered from exhaustion.

Ferocious hulks of life gathered about guard and boy. Among them was the brother. The guard, to whom the beaten boy had been delivered by the police, now met a heavy fist with his jaw.

A riot started. Other guards dragged their comrade out of the jail. The young criminal’s brother was knocked unconscious with a blackjack, and dragged out of the door. He died next day in a hospital.

The younger brother, bleeding and groaning all night, was taken away in an ambulance.

Added to the charge of stealing against him was the new one of resisting an officer.

The trusties were really the rulers of the little world. Their unpaid services added to the graft of the jailer. Like others of their kind, they assumed a great dignity with their little authority.

Prisoners serving jail sentences, they had privileges. They could run errands.

They had ample time to eat their meals. They were given as much food as they liked. Nonentities in the outer world, they were despots in a shutaway wilderness of iron.

Many of them were reluctant to leave when their terms expired. One had been a trusty at alternating periods for twenty years. Old, hopeless, broken, derelict, he would purposely commit small crimes in order to reenter the jail and become a trusty again.

He had never been in the Big House, or penitentiary. He scorned all those who had. Like most criminals, petty and great, he was really a moralist at heart.

Nearing seventy, bent double, with an awful leer on his face, he was known as Old Babyface in mockery. Intensely a Christian, he pored over his Bible with fanatical eyes. As bitter as St. Paul, and meaner in heart than Calvin, life had put glue on his fingers.

They stuck to everything.

He told everything to the guards . . . stole every-thing from the men.

Youths facing the State penitentiary the first time eagerly asked him questions about the Big House. He told them be-tween sneers of the hard way of crime.

IV

A newcomer slept in a heroin stupor.

There was blood on his hands and clothes. The morning paper came. A man was dead.

He was the murderer. The prisoners stared at his neck in silence.

He slept peacefully in the last moments of untroubled oblivion he was ever to have.

His hat was on the floor beside him. His shirt was torn to the belt. His collar was gone. His four-in-hand scarf was in a hard knot, as though a hand had pulled it tight.

He did not remember the quarrel.

A clean-shaven fellow had been brought into the jail with the murderer. His eyes were furtive and rheumy. His manner was a conciliatory apology. He told with weak gusto of being caught in the at-tempt to rob with a deadly weapon. He established himself on terms of familiarity with everybody in the jail. But the two-time losers, with an air of suspicion, with-drew from him.

“They got ‘im in here to pump the guy that bumped the fellow off. Then they’ll use it agin him at the trial,” was Gimp the Red’s comment.

It went around the jail, like gossip at a woman’s club. The new arrival was a stool-pigeon.

Gimp the Red and Denver Shorty were in the wash-room with a dozen other prisoners.

The loquacious fellow with the furtive eyes was among them.

There was a sudden groan. A fist crashed at the base of his brain. His eyes went tight shut with pain. Blows whistling with sudden speed smashed his face and body. A foot caught him in the groin. Bleeding, twisted, groaning, he writhed on the slippery floor.

The prisoners regained composure and washed themselves in the nonchalant manner of men at a hunt club.

A guard came, asked many questions, made many threats.

No one seemed to know who hit the stool-pigeon.

The bleeding mongrel was taken away. The prisoners went without breakfast that morning.

The old plan of the police to have one criminal win another’s confidence and be-tray him had been frustrated.

A few weeks later the murderer returned from the court-room. In his ears still rang, “To be hanged by the neck until you are dead, and may God have mercy on your soul!”

His hands, in steel bracelets, were before him. His eyes stared unseeing.

The handcuffs were removed. His cell door was closed. The guard left.

He fell wearily to his cot. His head sagged low. As if unable to hold it up, he placed his elbows on his knees and rested his jaw in the palms of his hands, in the manner of Rodin’s “Thinker.”

Only the pyromaniac noticed him.

He looked at the bent-over figure for several minutes. Walking to his cell door, he asked, “Have you got a match?”

The man lifted his furrowed face.

“Yes.”

He rose unsteadily and handed the pyro-maniac a small box of matches.

The incendiary’s eyes glowed. “Thanks—thanks!” And then, “Is it all over?”

“Yeap —I drew the rope. They’re stretchin’ it now, I suppose.”

The pyromaniac lit a match. It burned into his fingers as he watched.

“Well, it don’t make much difference,” he finally said. “Everybody kicks the bucket sooner or later.”

The condemned man rolled a cigarette. The pyromaniac held a match for him.

He watched the blaze while the murderer smoked feverishly.

“You know,” he said, lighting another match, “I wouldn’t be afraid to die. I’d rather like it. I wish this place’d burn up now.”

“But I’d want the judge in it,” snapped the murderer, “and that damn pie-faced jury. I raved in my sleep last night at the hangman—he painted my neck white where it was swollen an’ purple. . . an’ he put me in an iron coffin an’ gave me a hammer, sayin’, ‘Here, pal, you kin pound your way out.’ They dropped me through the trap—and I laughed and wriggled my way outta the rope.” He felt his throat. “I wish to God it was over.”

“It don’t take long,” said the pyromaniac. “Not over a minute.”

“No, it’s the waitin’ that kills. I gave the guy I bumped a better deal. He only died once.”

“O’ course you’ll have a preacher at the last,” suggested the pyromaniac.

“If they send me a preacher they’ll hang me twice,” was the answer.

Over his face passed clouds of reality.

“But, Bralen,” continued the pyromaniac, “it wouldn’t do no good to have the judge and jury die. . . they’d just get others.”

The murderer looked at the incendiary between puffs of smoke.

“Besides, you shouldn’t feel that way about ‘em. They hain’t no worse’n us—just different.”

He struck another match.

“If you die feelin’ happy towards every-body, you’ll wake up in tother world with your soul clean like fire.”

“Maybe you’re right,” answered the man about to die.

The incendiary walked to a group of prisoners.

“Bralen got the rope,” he said.

V

It was evening.

The Negro was starting for the peni-tentiary. He sang like one going on a glori-ous adventure:

Hang up de fiddle and de bow,

Lay down de shovel and de hoe,

Deys no moah stealin foh pooh ol’ Ned,

He’s goin wheah de bad niggah’s go.

He walked about getting ready, an antediluvian monster with the gift of laughter, his doughnut-lipped mouth open from ear to ear.

With crooked short legs, gigantic chest and baggy green-striped pants, the frayed bottoms of which dragged on the floor, and with a collarless shirt that was grimy and tom, he faced the meaningless futil-ity of his chaotic life with the laughter of a fool.

The fat guard waited, his hard lower lip and undershot jaw twisted in a smile at the Negro.

“Come on here, Rastus—time to go. They cain’t wait your Pullman all night, you know.”

“Dat’s all right, Mistah Guand. Tell ‘em foh me dat Geohge Washington

jones’ll be comin’ right along, an’ tell none o’ dem boys to come to de train to
meet me, ’cause I’se been deah befoah.”

His eyes turned to the murderer’s cell.

“Ah’ll be waitin’ foh you, boy.”

“Go on, you black devil—an’ chew on a bone like an ape!”

The Negro laughed louder than ever.

“jis’ heah dat white boy talk! You bettah jist say all you kin, ’cause dey’s goin to buhn youh neck till it pops, an’ make it all red!”

The murderer stood up, his hands grip-ping the cell door until his fingers were white.

His heavy lantern-jaw was hard set. He scowled at the Negro. The Negro went on:
“Bettah grin a little, white boy . . . ’cause you’se goin’ to dance till youh knees cave in—an’ you bettah pray hand too, Mistah Man, ’cause deys gonna hang you so fast it’ll be three days befoah de Lawd knows you’se daid.”

“Come on, Rastus,” laughed the guard.

The Negro put a shapeless hat on a bul-let head and shouted, “So long, eberybody! See you all in jail! Why dey allus takes you away at night so’s you cain’t see no purty country is moah’n I know.”

Guard and convict moved toward the door. It opened. Another guard entered. “Bring Bralen,” he said.

The murderer’s cell was opened. He was handcuffed to the Negro.

One smiled. The other frowned.

They marched away.

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Beggars of Life

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Jim Tully and Robert E. Howard Beggars of Life

Jim Tully and Robert E. Howard Beggars of Life

by Brian Leno

Robert E. Howard is oftentimes famously quoted as remarking that of all the writers living and working in his time, he felt there were only two whose work would endure—H. P. Lovecraft, and Jim Tully.

In Lovecraft, the gentleman from Providence, he was proven right.  HPL has attained a cult following, movies have been adapted from his works, the Library of America has published a collection of his stories, and mainstream writers like Joyce Carol Oates have taken notice of the talents of this eccentric author.  Fittingly, Lovecraft has been labeled as the greatest writer of horror since Edgar Allan Poe.

Jim Tully has not been so fortunate.  Attaining best-seller status in his lifetime, he moved to Hollywood, became press secretary for Charlie Chaplin, and soon started to write about Tinsel Town.  America, then, just as now, had a love affair with the gossip surrounding wealthy performers, and Tully was able to deliver what the readers wanted.  Sara Haardt, wife of H. L. Mencken, wrote in an article published in the May 1928 issue of The American Mercury that Tully with his “fierce denunciations of the movies and the movie folks” had become one of “the most hated men in Hollywood.”  Yet, she continues, “the stars themselves would rather be unflatteringly noticed by him than not at all.”  Tully’s most remembered book, Beggars of Life, was made into a movie that starred the talents of Wallace Beery, Richard Arlen and Louise Brooks.  H. L. Mencken sent him to San Quentin to report on the execution by hanging of a young man—Tully euphemistically titled the piece “A California Holiday,” and delivered a very critical assessment of capital punishment.  He was an important literary figure who, at that time, was being compared to literary greats like Sinclair Lewis and Theodore Dreiser.

Now he’s almost forgotten.

So what drew Howard to Tully—how could he be so right on picking Lovecraft to flourish, and so wrong on his prediction dealing with the author of Circus Parade, Shanty Irish, and other books that dealt with the hardships of the times?

There are similarities between the two that probably made Howard feel intellectually close to Tully, perhaps, at times, almost seem like he was reading something he had written himself.  Both men experienced the tough times of life.  Tully, at a very young age, became a road-kid, a rider of the rails, and he saw firsthand the castoffs of society, the beggars of life, those who would rather wander the country, begging for bread, instead of planting roots somewhere and growing a home and financial stability.  Some of these men were murderers and thieves, but it was among these hard cases that Tully found friends and even, perhaps, a sort of home life that he had never had.

When he was four his mother died and it was a scene that Tully remembered for the rest of his life.  “As my clothes were not fit to be worn to my mother’s funeral, I stood in the middle of the mud road and wept while the hearse took her away,” he wrote, and soon after this terrible event he was sent to an orphanage even though his father, who evidently suffered from wanderlust mingled with a desire to drink, was still alive.  The one rock, in all his troubled times, that Tully was able to anchor to in life was his sister, Virginia, and he wrote lovingly of her in his article, “Gypsy Sister,” penning “her kindness was like sunlight.”

But life would continue to not come easy for the man known as “the vagabond king,” even after he became famous and wealthy.

In her article “Collecting Jim Tully” for the magazine Firsts, Maura McMillan tells of the ordeals that Tully’s son, Alton, put the family through.  Arrested for the rape of a 16-year-old girl, Alton was sent to San Quentin and, unfortunately, it would not be the last time he would be incarcerated.  Tully died in 1947, but trouble continued to follow his son, and so in 1950, facing another rape charge, Alton and his wife committed suicide by carbon monoxide poisoning.

Robert E. Howard was no stranger to the sordid side of life either.  He once wrote to Farnsworth Wright that his “boyhood was spent in the oil country,” and then added “I’ll say one thing about an oil boom; it will teach a kid that Life’s a pretty rotten thing about as quick as anything I can think of.”  In that same letter he writes, “like the average man, the tale of my life would merely be a dull narration of drab monotony and toil, a grinding struggle against poverty.” In a revealing letter to his friend Lovecraft he describes, almost Tully-like, of the hardships he has witnessed.  “I’ve seen old farmers,” he writes, “bent with toil and ignorant of the feel of ten dollars at a time, become millionaires in a week, by the way of oil gushers.  And I’ve seen them blow in every cent of it and die paupers.  I’ve seen whole towns debauched by an oil boom and boys and girls go to the devil wholesale.  I’ve seen promising youths turn from respectable citizens to dope fiends, drunkards, gamblers and gangsters in a matter of months.”  And who can forget his letter to HPL where he complains of the misery of his days in the tailoring business?  He tells of the harlots who brought him their dresses to be cleaned—“Beautiful silk and lace…but disgustingly soiled…bright as dreams, but stained with nameless filth.”  Tending for his sick mother, and not being able to help as much with medical care as he would have liked, due to Wright’s Weird Tales not paying money owed him, were without doubt the over riding concerns of the last years of his life, and it is impossible to not feel, when reading Howard’s letters, that life had not given him a fair shake.

Their writing is sometimes eerily similar.  Oklahoma Red, a yegg, and a modern day Conan-type, is described in very Howardian language.  “He was heavily built.  His hands were large, like hams, and they reached nearly to his knees.  His face, once good looking, was now stamped with a vicious leer.  His mouth was firm, and slanted downward at the left edge.  His eyes were shot with blood, and the lids were red.  His hair fell in straggly red masses over his ears and neck.  His coat was torn and gaped like wounds under his armpits.  A lighted cigarette was in the left corner of his mouth.  The upper lip did not seem to touch it, and it hung down, the lighted end nearly touching the red stubble of his beard.  His short neck bulged under his ears.  They looked strangely white in the tangled mass of red hair around them. There was decision and mastery about him.  Boy lover of raw strength, I watched him.”

All Conan fans are familiar with the scene in “The Phoenix on the Sword” where Conan is attacked by Ascalante and his gang of assassins.  Bloodied, the barbarian places his back against a wall and glares down at them, halting their mad rush, and asks which of them wants to die first.

There is a scene in Tully’s Circus Parade that is reminiscent of this defiant stand of Conan’s. Slug Finnerty, a one-eyed quick-change artist, fleeces a man out of some penny-ante cash, and this angered character returns with some of his buddies to teach Finnerty a rough lesson.  Slug yells the famous “Hey Rube” and soon a battle ensues between the cheated customers and Finnerty and the circus hands.  It’s a tough match and at one point Finnerty rises off the floor and drops one of the battlers and then he stands and confronts the rest of his attackers.  “Finnerty stood,” Tully writes, “like a one-eyed immense gorilla about to spring and snarled between oaths, “Come on you goddamn rubes, and meet your master!””

He had a despairing view of life that Howard would have understood.  In Beggars of Life he writes of the dying of “an ancient harlot” and says that when they buried her “a heavy gold wedding ring was on her third finger.  The bauble of romance was going to the grave with her for the worms to crawl through.”

This dark mood of life is further shown by an article, written in 1930, titled “Jim Tully—The Vagabond King.”  It informs us that his life philosophy was “What the hell—the grave ends everything.”  It can also bring to mind characteristics of Howard when the essay further tells us that Tully “is very moody.  Has intense fits of melancholy and terrible laughter,” and that “He easily recognizes his own ability and is annoyed by those who don’t.”

In a letter to Tevis Clyde Smith Howard expresses without hesitation the faith he had in his own ability, while not caring too much what his fellow townspeople thought of him.  “I’m not highly intellectual, but I realize that I have so much more brains than the average fool…Let these swine stare and snigger.  Curse their empty skulls; I’ll be a national figure with more money than they ever saw….” And he freely admitted that dark moods descended upon him—witness what he says in a letter to Lovecraft.  “I want to begin this letter by an apology,” he starts, “The fact is, I wrote while in the grip of one of the black moods which occasionally—though fortunately rarely—descend on me.”

Tully’s love of reading and books was so great, that, just as Howard once admitted in a letter, he stole volumes from libraries.  One of the books he took was The Story of an African Farm by Olive Schreiner.  This is noteworthy because Harold Preece, in his article “The Last Celt” which appears in Glenn Lord’s book of the same name, tells us that upon first meeting Howard he noticed that REH had purchased Ms. Schreiner’s volume earlier in the day, and was carrying it with him.

Had Howard ridden the rails with Tully they would have had much in common and plenty to talk about.

Howard’s love of boxing and boxers is well known—he wrote many stories, serious and humorous about the sport, and traveled miles to watch live, though basically minor, bouts, and even engaged in amateur matches at the ice house in Cross Plains.

Jim Tully rubbed elbows with some of the great fighters of his day, and was, for a time, also a boxer.

During one fight in California Tully was knocked out and it took him 24 hours to regain consciousness—a hard story to believe, although this encounter was reported in at least two contemporary articles.  This defeat made him realize he’d never be a champion and so he quit the sport, but the love of it remained.

Sara Haardt reports that the boxer Johnny Kilbane, a friend of Tully’s, once bragged to him “you may get to be a writer…but by God I’m going to be featherweight champion.”  And Kilbane did achieve his goal by beating Abe Attell, one of the greatest to ever hold the title, although Attell later fell into disrepute for his part in the Black Sox Scandal.

Jack Dempsey, one of Howard’s favorite boxers, was a personal friend of Tully’s, and Tully’s boxing novel The Bruiser is dedicated to him.  There is also a photograph of Dempsey playfully holding Tully by the arms while Max Baer, another heavyweight champion, is preparing to send the author to sleep with a wicked right.  Tully in 1933 traveled to New York with Damon Runyon to see the Max Baer-Max Schmeling fight which Baer won, stopping the German in the tenth.  Imagine how much of a high point this would have been for Howard—to see in person an ex-heavyweight champ and a future one, plus to be present with the famous sports writer Runyon as his companion.

The renowned Henry Armstrong—who in 1938 was the only man to ever hold three titles at the same time, featherweight, welterweight, and lightweight, once graced the table for dinner at Tully’s.  With Armstrong was Langston Hughes, the man who wrote “The Negro Speaks of Rivers” which evidently was liked enough by Howard for him to have made a typewritten copy of it, as related on the REHupa web site.  Imagine Howard and Hughes discussing poetry—and Howard and Armstrong discussing boxing—what that would have meant to REH!

Tully once even got into a fistfight with the actor John Gilbert.  It didn’t last long, Gilbert swung and missed, but Tully didn’t and knocked the performer out.  This, with a very public reconciliation, generated enough media interest to land Tully a bit role in the movie Way For a Sailor, which starred Gilbert and Wallace Beery, another good friend of Tully’s.

It can only be guessed how much Robert E. Howard would have liked to have been on a speaking basis with the great fighters of his time, and with movie stars like Beery, who he regarded highly, once listing him in a letter as a member of a “gang of hardboiled hairy-chested eggs.”

Hollywood directors knocked on Tully’s door and soon a movie was made of his ‘autobiography’ Beggars of Life.  After viewing the picture it’s very difficult to see any similarity between the road-kid’s story and the one presented on scene.  It only bears any resemblance to Tully’s book by the fact that there are hoboes in the silent movie, and that one of them is called ‘Oklahoma Red,’ with Wallace Beery performing admirably in that role.

It’s too bad that no movie was ever made of Howard’s characters during his lifetime, although some have been made since, with production costs soaring into the millions.  Most REH fans have very few good things to say about how Hollywood has treated the prolific Texan, so it’s interesting to note how Tully felt about books made into movies, perhaps helping some of Howard’s readers come to terms with the filmmakers of today.

“It amuses him,” Sara Haardt writes in her article about Tully, “to hear outraged writers crying out that the films have ruined their stories.  How can pictures ruin anything—when they are what they are?  The only person who can hurt a story is the author himself.  The picture version—poor or good—of any story is unimportant; if the story itself is worth anything it will endure in the end.”  Perhaps this is something to bear in mind with the upcoming Solomon Kane film.

Some parts of Tully’s life have conflicting reports, and turning once again to Sara Haardt we can discover how many in Hollywood felt about Tully and his stories.  “I had been in Hollywood,” she writes, “less than forty-eight hours, but I had already heard the common town story that Tully had never been on the road at all, or in the ring, that he had faked his tramp and circus stories, that he was a most capital liar.”

Tully, liar or not, is slowly making a comeback.  Charles Willeford, author of The Burnt Orange Heresy, wrote a very informative and entertaining essay titled “Jim Tully: Holistic Barbarian,” which is must reading for any Tully fan.  There is also an interesting website maintained by Maura McMillan, author of the Firsts magazine article, that is a captivating look for any reader of Tully’s, and publisher Dennis McMillan was slated to run a biography of Tully written by Mark Dawidziak and Paul Bauer.  This book was scheduled to be published in 2002 but obviously has been delayed for some unknown reason, but it is to be hoped that it will finally get back on track.

Whether Howard ever saw the film version of Beggars of Life is a question that can’t be answered, as his letters don’t give us the solution.  He had the book in his library, Tully was one of his most admired writers, and Wallace Beery and Louise Brooks were in the list of his favorite actors and actresses, so it’s obviously a movie he would have seen, had he been able.  In a letter circa July 1928 he even mentions that he’s starting to like Richard Arlen more than he had previously, and upon first reading I had hoped this was because he had seen the movie, and enjoyed Arlen’s performance.  But, alas, the movie didn’t come out until September 1928, so obviously the letter was written before any possible viewing.  Perhaps, in July, he had heard that a movie was being made of the book and so held out hope that Arlen’s performance would be a good one—it’s something we’ll probably never know.

The best lines of the movie come when Richard Arlen, at ease with Louise Brooks in a makeshift haystack bed, wistfully states “Ain’t it funny when you think of the millions of people in warm houses and feather beds, an’ us just driftin’ round like the clouds?  But I guess it’s about even when you boil it down.  Even them people in feather beds ain’t satisfied—we’re all beggars of life.”

And he’s right.  We are beggars of life, all of us—some want wealth, good health, or maybe just a new car.  We beg for life to furnish us with these items that’ll make our life a little easier.

What did Howard and Tully beg for?  Something we’ll never know exactly, but one can feel that Tully probably wished more than once to hop a freight car and get back to his tramping days and forget the glare of hostile media that accused him of making up his stories, of the newspaper men that reported on the criminal antics of his son Alton.

Robert E. Howard probably wanted just to be able to live his life without anyone having control over him, as he wrote more than once in his letters.  He worked long hours to get the money which was needed to take care of his mother, hoping for her to get well, and not to die—these were important things, items worth ‘begging’ for.

Sad thing is, after reading the writings of Robert E. Howard it’s easy to see that he wouldn’t be the type to beg for long.  Too much will power, too much determination, and it all boiled over on the dawn of a hot June morning when he figuratively got off his knees and decided to quit begging, and take matters into his own hands.

Published in TGR #12. copyright 2008 Brian Leno. All rights reserved.

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