LITMIR.BIZ

      “Tranquilly, Lillian Gish sits, dressed in white organdie, her ash blond hair down her back, relaxed on the window seat, looking out for hours into the depths of the California night.

      “‘What are you looking at, Lillian?’ Mrs. Gish has asked for years.

      “‘Nothing, Mother, just looking.’”

      “She is an extraordinarily difficult person to know, and if I hadn’t gone to live with her … and been with her through some of the most trying times of her life, I doubt whether our casual contacts at the studio would have brought me any intimate knowledge of her. There seems to be a wall of reserve between her and the outside world, and very few people ever get through that wall.

      “The little things of life simply don’t worry her at all. Gales of temperament can rage around her—she remains undisturbed.... I have seen her at a time when anyone else would have been distraught with anxiety, come quietly in from the set, eat her luncheon calmly and collectedly (for first of all, Lillian believes in keeping fit for her work), then pick up some little book of philosophy and read it steadily until they sent for her.

      “She refuses to believe that there are people in the world who are jealous of her and want to harm her. I remember someone once remarking that a certain person was jealous of her and hated her, and I can still see the look of utter surprise on Lillian’s face. But it never made any difference in her treatment of that person. In fact, I doubt whether she remembered it when she met her again.

      “She is intensely loyal to those who have helped her along the path of success. She likes to be alone. She has an inexhaustible fund of patience, and a quiet sense of humor.”

      PROLOGUE

      (Scene: Chekhov’s “Uncle Vanya”—end of second act. Lillian Gish as Helena)

      First Woman in Front of Me: “They say she’s been playing over twenty-five years.”

      Second Woman in Front of Me: “Goodness! How old is she?”

      “The piece I read said about thirty or so....”

      “Oh, began as a child; is Gish her real name?”

      “I believe so; the piece said....”

      “Do you like these Russian plays?”

      “I like her, in anything. I loved her in ‘Broken Blossoms,’ though it nearly killed me.”

      “I wonder why she left the movies.”

      “Oh, lots of ’em do; the piece said....”

      “Do you suppose that is all her own hair?”

      “Oh, I think so; the piece said....”

      PART ONE

      I

      A GIRL CHILD, BORN WITH A CAUL

      When Lillian was six, she found herself with a company (one night stands, mostly), “trouping” through the Middle West— … the golden-haired child actress who supplied the beauty and pathos in a melodrama variously known as “The Red Schoolhouse” and “In Convict Stripes.” All of which had come about reasonably enough—as reasonably as anything is likely to happen, in a world where nothing seems at all reasonable until we begin taking it to pieces.

      On an evening in October—the 14th, to be exact, 1896—in a very modest dwelling, in Springfield, Ohio, May Gish—Mary Robinson Gish (born McConnell)—waited for her first child. She was barely twenty, and it was hardly more than a year earlier that James Gish, a travelling salesman—young, handsome, winning—had found her at Urbana, and after a whirlwind wooing, had carried her off, a bride, to Springfield.

      No one knew very much of Gish. From that mysterious “Dutch” region of Pennsylvania, he had drifted into Springfield, made friends easily, and found work there, with a wholesale grocery. He might be Dutch himself; “Gish” could easily have been “Gisch”; or French—a legend has it that the name had once been “Guise” or “de Guise” … all rather indefinite, today.

      On the other hand, everybody in Urbana knew about pretty May McConnell, whose Grandfather Robinson had been in the State Senate; who had a President, Zachary Taylor, and a poetess, Emily Ward, somewhere in her family; whose father was a very respectable dealer in saddlery and harness, with a spirited dapple-grey horse in his big show window.

      Oh, well, it is all so “accidental” … even though some of us do not believe in accidents, and talk knowingly of a Great Law … of a Weaver who sits at the Loom of Circumstance....

      Still, it was natural enough that now, within a year from her marriage, pretty May Gish should be looking up from her window at the thronging stars, wondering how a baby soul could find its way among them to her tiny room.

      A girl child, born with a caul … supposed to mean good fortune, even occult power. Mary Gish did not much concern herself with this superstition; she had been rather strictly raised; when she gave her daughter the name of Lillian, and added Diana—Lillian because she was so fair, and Diana because a big moon looked into her window—she thought it a happy combination and hoped well for it—no more than that.

      II

      LIFE AND A LITTLE GIRL

      The little household did not remain in Springfield. At the time of his marriage, or soon after, James Gish gave up his position as a salesman, and opened a small confectionery. Candy-making may have been his trade; at all events, he worked at it now, sometimes leaving “Maysie,” as he called her, to tend shop while he went to nearby fairs and celebrations. Had he persevered, he might have done well enough. As it was, when Lillian was about a year old, he gave up Springfield for Dayton, to which prosperous town Father McConnell had already taken his saddlery and harness business, including the smart dapple-grey horse for the show window. Dorothy Gish, who was born in Dayton, still remembers the impressive horse in Grandfather’s window. Lillian, a fair, sedate little lass, was delighted when Dorothy arrived—fat, rosy, red-haired—full of fun and mischief, almost from the beginning.

      So different, these two. Lillian had been a pensive baby—one to lie quietly, looking at nothing, as one thinking long thoughts—possibly of a pleasanter land, so recently left behind. Dorothy’s arms and legs were perpetually in action … impossible to keep the covers on her. When she could creep about, then walk, it was necessary to grab quickly for one’s possessions.

      Lillian had a doll, probably a tidy rag-doll, or a very small china one, and a little rocker, which she sometimes sat in, holding her doll and singing to it. She never really cared for dolls. Ruddy-haired Dorothy was lovelier than any doll. When Lillian held her, as she did, often, they made a dainty picture: one doll rocking another.

      A tragic thing happened. Lillian sat in her chair alone, one day, when a terrible object looked in the window. It was a workman, who had put on a false face, to frighten her. He succeeded. The terrified child screamed and went into spasms. Always, after that, she was subject to nightmares, from which she awoke, screaming. In later years they came during periods of prolonged rehearsal. Usually they took one of two forms: She was in a wood, at evening … the trees became sinister, drew their roots from the ground and pursued her.... Or in a field, where there were many red poppies … large ones … the California kind. They became very tall, and threatening, like the trees.... They came up and slapped her in the face.

      In summer time Mrs. Gish took her little girls to visit her sister Emily, who had married and lived at Massillon, in the eastern part of the state. It was a happy place for children. There was a green dooryard, with chickens, a cat asleep on the porch, a dog—a kindly dog who would not hurt a little girl and her baby sister.

      And in the house was a wonderful cupboard, where a number of interesting things were kept, including a bottle of Castoria. Lillian was not meddlesome, but she had a complex for Castoria. She would even dose herself

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