The Jungle

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THE JUNGLE

by Upton Sinclair


(1906)





Chapter 1


It was four o'clock when the ceremony was over and the carriages began
to arrive. There had been a crowd following all the way, owing to the
exuberance of Marija Berczynskas. The occasion rested heavily upon
Marija's broad shoulders--it was her task to see that all things went in
due form, and after the best home traditions; and, flying wildly
hither and thither, bowling every one out of the way, and scolding and
exhorting all day with her tremendous voice, Marija was too eager to see
that others conformed to the proprieties to consider them herself. She
had left the church last of all, and, desiring to arrive first at the
hall, had issued orders to the coachman to drive faster. When that
personage had developed a will of his own in the matter, Marija had
flung up the window of the carriage, and, leaning out, proceeded to
tell him her opinion of him, first in Lithuanian, which he did not
understand, and then in Polish, which he did. Having the advantage of
her in altitude, the driver had stood his ground and even ventured to
attempt to speak; and the result had been a furious altercation, which,
continuing all the way down Ashland Avenue, had added a new swarm of
urchins to the cortege at each side street for half a mile.

This was unfortunate, for already there was a throng before the door.
The music had started up, and half a block away you could hear the dull
"broom, broom" of a cello, with the squeaking of two fiddles which vied
with each other in intricate and altitudinous gymnastics. Seeing
the throng, Marija abandoned precipitately the debate concerning the
ancestors of her coachman, and, springing from the moving carriage,
plunged in and proceeded to clear a way to the hall. Once within, she
turned and began to push the other way, roaring, meantime, "Eik! Eik!
Uzdaryk-duris!" in tones which made the orchestral uproar sound like
fairy music.

"Z. Graiczunas, Pasilinksminimams darzas. Vynas. Sznapsas. Wines and
Liquors. Union Headquarters"--that was the way the signs ran. The
reader, who perhaps has never held much converse in the language of
far-off Lithuania, will be glad of the explanation that the place was
the rear room of a saloon in that part of Chicago known as "back of the
yards." This information is definite and suited to the matter of fact;
but how pitifully inadequate it would have seemed to one who understood
that it was also the supreme hour of ecstasy in the life of one of
God's gentlest creatures, the scene of the wedding feast and the
joy-transfiguration of little Ona Lukoszaite!

She stood in the doorway, shepherded by Cousin Marija, breathless from
pushing through the crowd, and in her happiness painful to look upon.
There was a light of wonder in her eyes and her lids trembled, and
her otherwise wan little face was flushed. She wore a muslin dress,
conspicuously white, and a stiff little veil coming to her shoulders.
There were five pink paper roses twisted in the veil, and eleven bright
green rose leaves. There were new white cotton gloves upon her hands,
and as she stood staring about her she twisted them together feverishly.
It was almost too much for her--you could see the pain of too great
emotion in her face, and all the tremor of her form. She was so
young--not quite sixteen--and small for her age, a mere child; and she
had just been married--and married to Jurgis,* (*Pronounced Yoorghis) of
all men, to Jurgis Rudkus, he with the white flower in the buttonhole of
his new black suit, he with the mighty shoulders and the giant hands.

Ona was blue-eyed and fair, while Jurgis had great black eyes with
beetling brows, and thick black hair that curled in waves about his
ears--in short, they were one of those incongruous and impossible
married couples with which Mother Nature so often wills to
confound all prophets, before and after. Jurgis could take up a
two-hundred-and-fifty-pound quarter of beef and carry it into a car
without a stagger, or even a thought; and now he stood in a far corner,
frightened as a hunted animal, and obliged to moisten his lips with
his tongue each time before he could answer the congratulations of his
friends.

Gradually there was effected a separation between the spectators and
the guests--a separation at least sufficiently complete for working
purposes. There was no time during the festivities which ensued when
there were not groups of onlookers in the doorways and the corners;
and if any one of these onlookers came sufficiently close, or looked
sufficiently hungry, a chair was offered him, and he was invited to the
feast. It was one of the laws of the veselija that no one goes hungry;
and, while a rule made in the forests of Lithuania is hard to apply
in the stockyards district of Chicago, with its quarter of a million
inhabitants, still they did their best, and the children who ran in
from the street, and even the dogs, went out again happier. A charming
informality was one of the characteristics of this celebration. The men
wore their hats, or, if they wished, they took them off, and their coats
with them; they ate when and where they pleased, and moved as often as
they pleased. There were to be speeches and singing, but no one had to
listen who did not care to; if he wished, meantime, to speak or sing
himself, he was perfectly free. The resulting medley of sound distracted
no one, save possibly alone the babies, of which there were present a
number equal to the total possessed by all the guests invited. There was
no other place for the babies to be, and so part of the preparations
for the evening consisted of a collection of cribs and carriages in one
corner. In these the babies slept, three or four together, or wakened
together, as the case might be. Those who were still older, and could
reach the tables, marched about munching contentedly at meat bones and
bologna sausages.


The room is about thirty feet square, with whitewashed walls, bare save
for a calendar, a picture of a race horse, and a family tree in a gilded
frame. To the right there is a door from the saloon, with a few loafers
in the doorway, and in the corner beyond it a bar, with a presiding
genius clad in soiled white, with waxed black mustaches and a carefully
oiled curl plastered against one side of his forehead. In the opposite
corner are two tables, filling a third of the room and laden with
dishes and cold viands, which a few of the hungrier guests are already
munching. At the head, where sits the bride, is a snow-white cake, with
an Eiffel tower of constructed decoration, with sugar roses and two
angels upon it, and a generous sprinkling of pink and green and yellow
candies. Beyond opens a door into the kitchen, where there is a glimpse
to be had of a range with much steam ascending from it, and many women,
old and young, rushing hither and thither. In the corner to the left are
the three musicians, upon a little platform, toiling heroically to make
some impression upon the hubbub; also the babies, similarly occupied,
and an open window whence the populace imbibes the sights and sounds and
odors.

Suddenly some of the steam begins to advance, and, peering through it,
you discern Aunt Elizabeth, Ona's stepmother--Teta Elzbieta, as they
call her--bearing aloft a great platter of stewed duck. Behind her is
Kotrina, making her way cautiously, staggering beneath a similar burden;
and half a minute later there appears old Grandmother Majauszkiene, with
a big yellow bowl of smoking potatoes, nearly as big as herself. So, bit
by bit, the feast takes form--there is a ham and a dish of sauerkraut,
boiled rice, macaroni, bologna sausages, great piles of penny buns,
bowls of milk, and foaming pitchers of beer. There is also, not six feet
from your back, the bar, where you may order all you please and do not
have to pay for it. "Eiksz! Graicziau!" screams Marija Berczynskas, and
falls to work herself--for there is more upon the stove inside that will
be spoiled if it be not eaten.

So, with laughter and shouts and endless badinage and merriment, the
guests take their places. The young men, who for the most part have
been huddled near the door, summon their resolution and advance; and the
shrinking Jurgis is poked and scolded by the old folks until he consents
to seat himself at the right hand of the bride. The two bridesmaids,
whose insignia of office are paper wreaths, come next, and after them
the rest of the guests, old and young, boys and girls. The spirit of the
occasion takes hold of the stately bartender, who condescends to a plate
of stewed duck; even the fat policeman--whose duty it will be, later in
the evening, to break up the fights--draws up a chair to the foot of the
table. And the children shout and the babies yell, and every one laughs
and sings and chatters--while above all the deafening clamor Cousin
Marija shouts orders to the musicians.

The musicians--how shall one begin to describe them? All this time they
have been there, playing in a mad frenzy--all of this scene must be
read, or said, or sung, to music. It is the music which makes it what
it is; it is the music which changes the place from the rear room of
a saloon in back of the yards to a fairy place, a wonderland, a little
corner of the high mansions of the sky.

The little person who leads this trio is an inspired man. His fiddle
is out of tune, and there is no rosin on his bow, but still he is an
inspired man--the hands of the muses have been laid upon him. He plays
like one possessed by a demon, by a whole horde of demons. You can
feel them in the air round about him, capering frenetically; with their
invisible feet they set the pace, and the hair of the leader of the
orchestra rises on end, and his eyeballs start from their sockets, as he
toils to keep up with them.

Tamoszius Kuszleika is his name, and he has taught himself to play the
violin by practicing all night, after working all day on the "killing
beds." He is in his shirt sleeves, with a vest figured with faded gold
horseshoes, and a pink-striped shirt, suggestive of peppermint candy.
A pair of military trousers, light blue with a yellow stripe, serve to
give that suggestion of authority proper to the leader of a band. He is
only about five feet high, but even so these trousers are about eight
inches short of the ground. You wonder where he can have gotten them or
rather you would wonder, if the excitement of being in his presence left
you time to think of such things.

For he is an inspired man. Every inch of him is inspired--you might
almost say inspired separately. He stamps with his feet, he tosses his
head, he sways and swings to and fro; he has a wizened-up little face,
irresistibly comical; and, when he executes a turn or a flourish, his
brows knit and his lips work and his eyelids wink--the very ends of
his necktie bristle out. And every now and then he turns upon his
companions, nodding, signaling, beckoning frantically--with every inch
of him appealing, imploring, in behalf of the muses and their call.

For they are hardly worthy of Tamoszius, the other two members of
the orchestra. The second violin is a Slovak, a tall, gaunt man with
black-rimmed spectacles and the mute and patient look of an overdriven
mule; he responds to the whip but feebly, and then always falls
back into his old rut. The third man is very fat, with a round, red,
sentimental nose, and he plays with his eyes turned up to the sky and a
look of infinite yearning. He is playing a bass part upon his cello,
and so the excitement is nothing to him; no matter what happens in the
treble, it is his task to saw out one long-drawn and lugubrious note
after another, from four o'clock in the afternoon until nearly the same
hour next morning, for his third of the total income of one dollar per
hour.

Before the feast has been five minutes under way, Tamoszius Kuszleika
has risen in his excitement; a minute or two more and you see that he is
beginning to edge over toward the tables. His nostrils are dilated and
his breath comes fast--his demons are driving him. He nods and shakes
his head at his companions, jerking at them with his violin, until at
last the long form of the second violinist also rises up. In the end
all three of them begin advancing, step by step, upon the banqueters,
Valentinavyczia, he cellist, bumping along with his instrument between
notes. Finally all three are gathered at the foot of the tables, and
there Tamoszius mounts upon a stool.

Now he is in his glory, dominating the scene. Some of the people are
eating, some are laughing and talking--but you will make a great mistake
if you think there is one of them who does not hear him. His notes
are never true, and his fiddle buzzes on the low ones and squeaks and
scratches on the high; but these things they heed no more than they heed
the dirt and noise and squalor about them--it is out of this material
that they have to build their lives, with it that they have to utter
their souls. And this is their utterance; merry and boisterous, or
mournful and wailing, or passionate and rebellious, this music is their
music, music of home. It stretches out its arms to them, they have
only to give themselves up. Chicago and its saloons and its slums fade
away--there are green meadows and sunlit rivers, mighty forests and
snowclad hills. They behold home landscapes and childhood scenes
returning; old loves and friendships begin to waken, old joys and griefs
to laugh and weep. Some fall back and close their eyes, some beat upon
the table. Now and then one leaps up with a cry and calls for this song
or that; and then the fire leaps brighter in Tamoszius' eyes, and he
flings up his fiddle and shouts to his companions, and away they go in
mad career. The company takes up the choruses, and men and women cry out
like all possessed; some leap to their feet and stamp upon the floor,
lifting their glasses and pledging each other. Before long it occurs to
some one to demand an old wedding song, which celebrates the beauty of
the bride and the joys of love. In the excitement of this masterpiece
Tamoszius Kuszleika begins to edge in between the tables, making his
way toward the head, where sits the bride. There is not a foot of space
between the chairs of the guests, and Tamoszius is so short that he
pokes them with his bow whenever he reaches over for the low notes; but
still he presses in, and insists relentlessly that his companions must
follow. During their progress, needless to say, the sounds of the cello
are pretty well extinguished; but at last the three are at the head, and
Tamoszius takes his station at the right hand of the bride and begins to
pour out his soul in melting strains.

Little Ona is too excited to eat. Once in a while she tastes a little
something, when Cousin Marija pinches her elbow and reminds her; but,
for the most part, she sits gazing with the same fearful eyes of wonder.
Teta Elzbieta is all in a flutter, like a hummingbird; her sisters,
too, keep running up behind her, whispering, breathless. But Ona seems
scarcely to hear them--the music keeps calling, and the far-off look
comes back, and she sits with her hands pressed together over her heart.
Then the tears begin to come into her eyes; and as she is ashamed to
wipe them away, and ashamed to let them run down her cheeks, she turns
and shakes her head a little, and then flushes red when she sees that
Jurgis is watching her. When in the end Tamoszius Kuszleika has reached
her side, and is waving his magic wand above her, Ona's cheeks are
scarlet, and she looks as if she would have to get up and run away.

In this crisis, however, she is saved by Marija Berczynskas, whom
the muses suddenly visit. Marija is fond of a song, a song of lovers'
parting; she wishes to hear it, and, as the musicians do not know it,
she has risen, and is proceeding to teach them. Marija is short, but
powerful in build. She works in a canning factory, and all day long she
handles cans of beef that weigh fourteen pounds. She has a broad
Slavic face, with prominent red cheeks. When she opens her mouth, it
is tragical, but you cannot help thinking of a horse. She wears a blue
flannel shirt-waist, which is now rolled up at the sleeves, disclosing
her brawny arms; she has a carving fork in her hand, with which she
pounds on the table to mark the time. As she roars her song, in a voice
of which it is enough to say that it leaves no portion of the room
vacant, the three musicians follow her, laboriously and note by note,
but averaging one note behind; thus they toil through stanza after
stanza of a lovesick swain's lamentation:--

"Sudiev' kvietkeli, tu brangiausis;
Sudiev' ir laime, man biednam,
Matau--paskyre teip Aukszcziausis,
Jog vargt ant svieto reik vienam!"

When the song is over, it is time for the speech, and old Dede Antanas
rises to his feet. Grandfather Anthony, Jurgis' father, is not more than
sixty years of age, but you would think that he was eighty. He has been
only six months in America, and the change has not done him good. In his
manhood he worked in a cotton mill, but then a coughing fell upon him,
and he had to leave; out in the country the trouble disappeared, but he
has been working in the pickle rooms at Durham's, and the breathing of
the cold, damp air all day has brought it back. Now as he rises he is
seized with a coughing fit, and holds himself by his chair and turns
away his wan and battered face until it passes.

Generally it is the custom for the speech at a veselija to be taken out
of one of the books and learned by heart; but in his youthful days Dede
Antanas used to be a scholar, and really make up all the love letters
of his friends. Now it is understood that he has composed an original
speech of congratulation and benediction, and this is one of the events
of the day. Even the boys, who are romping about the room, draw near and
listen, and some of the women sob and wipe their aprons in their eyes.
It is very solemn, for Antanas Rudkus has become possessed of the idea
that he has not much longer to stay with his children. His speech leaves
them all so tearful that one of the guests, Jokubas Szedvilas, who keeps
a delicatessen store on Halsted Street, and is fat and hearty, is moved
to rise and say that things may not be as bad as that, and then to go on
and make a little speech of his own, in which he showers congratulations
and prophecies of happiness upon the bride and groom, proceeding to
particulars which greatly delight the young men, but which cause Ona
to blush more furiously than ever. Jokubas possesses what his
wife complacently describes as "poetiszka vaidintuve"--a poetical
imagination.

Now a good many of the guests have finished, and, since there is no
pretense of ceremony, the banquet begins to break up. Some of the men
gather about the bar; some wander about, laughing and singing; here
and there will be a little group, chanting merrily, and in sublime
indifference to the others and to the orchestra as well. Everybody is
more or less restless--one would guess that something is on their minds.
And so it proves. The last tardy diners are scarcely given time to
finish, before the tables and the debris are shoved into the corner, and
the chairs and the babies piled out of the way, and the real celebration
of the evening begins. Then Tamoszius Kuszleika, after replenishing
himself with a pot of beer, returns to his platform, and, standing up,
reviews the scene; he taps authoritatively upon the side of his violin,
then tucks it carefully under his chin, then waves his bow in an
elaborate flourish, and finally smites the sounding strings and closes
his eyes, and floats away in spirit upon the wings of a dreamy waltz.
His companion follows, but with his eyes open, watching where he treads,
so to speak; and finally Valentinavyczia, after waiting for a little and
beating with his foot to get the time, casts up his eyes to the ceiling
and begins to saw--"Broom! broom! broom!"

The company pairs off quickly, and the whole room is soon in motion.
Apparently nobody knows how to waltz, but that is nothing of any
consequence--there is music, and they dance, each as he pleases, just
as before they sang. Most of them prefer the "two-step," especially the
young, with whom it is the fashion. The older people have dances from
home, strange and complicated steps which they execute with grave
solemnity. Some do not dance anything at all, but simply hold each
other's hands and allow the undisciplined joy of motion to express
itself with their feet. Among these are Jokubas Szedvilas and his wife,
Lucija, who together keep the delicatessen store, and consume nearly
as much as they sell; they are too fat to dance, but they stand in the
middle of the floor, holding each other fast in their arms, rocking
slowly from side to side and grinning seraphically, a picture of
toothless and perspiring ecstasy.

Of these older people many wear clothing reminiscent in some detail
of home--an embroidered waistcoat or stomacher, or a gaily colored
handkerchief, or a coat with large cuffs and fancy buttons. All these
things are carefully avoided by the young, most of whom have learned to
speak English and to affect the latest style of clothing. The girls wear
ready-made dresses or shirt waists, and some of them look quite pretty.
Some of the young men you would take to be Americans, of the type of
clerks, but for the fact that they wear their hats in the room. Each of
these younger couples affects a style of its own in dancing. Some hold
each other tightly, some at a cautious distance. Some hold their
hands out stiffly, some drop them loosely at their sides. Some dance
springily, some glide softly, some move with grave dignity. There are
boisterous couples, who tear wildly about the room, knocking every one
out of their way. There are nervous couples, whom these frighten, and
who cry, "Nusfok! Kas yra?" at them as they pass. Each couple is paired
for the evening--you will never see them change about. There is Alena
Jasaityte, for instance, who has danced unending hours with Juozas
Raczius, to whom she is engaged. Alena is the beauty of the evening,
and she would be really beautiful if she were not so proud. She wears
a white shirtwaist, which represents, perhaps, half a week's labor
painting cans. She holds her skirt with her hand as she dances, with
stately precision, after the manner of the grandes dames. Juozas is
driving one of Durham's wagons, and is making big wages. He affects a
"tough" aspect, wearing his hat on one side and keeping a cigarette in
his mouth all the evening. Then there is Jadvyga Marcinkus, who is also
beautiful, but humble. Jadvyga likewise paints cans, but then she has
an invalid mother and three little sisters to support by it, and so she
does not spend her wages for shirtwaists. Jadvyga is small and delicate,
with jet-black eyes and hair, the latter twisted into a little knot and
tied on the top of her head. She wears an old white dress which she
has made herself and worn to parties for the past five years; it is
high-waisted--almost under her arms, and not very becoming,--but that
does not trouble Jadvyga, who is dancing with her Mikolas. She is small,
while he is big and powerful; she nestles in his arms as if she would
hide herself from view, and leans her head upon his shoulder. He in turn
has clasped his arms tightly around her, as if he would carry her away;
and so she dances, and will dance the entire evening, and would dance
forever, in ecstasy of bliss. You would smile, perhaps, to see them--but
you would not smile if you knew all the story. This is the fifth year,
now, that Jadvyga has been engaged to Mikolas, and her heart is sick.
They would have been married in the beginning, only Mikolas has a father
who is drunk all day, and he is the only other man in a large family.
Even so they might have managed it (for Mikolas is a skilled man) but
for cruel accidents which have almost taken the heart out of them. He is
a beef-boner, and that is a dangerous trade, especially when you are on
piecework and trying to earn a bride. Your hands are slippery, and your
knife is slippery, and you are toiling like mad, when somebody happens
to speak to you, or you strike a bone. Then your hand slips up on the
blade, and there is a fearful gash. And that would not be so bad, only
for the deadly contagion. The cut may heal, but you never can tell.
Twice now; within the last three years, Mikolas has been lying at home
with blood poisoning--once for three months and once for nearly seven.
The last time, too, he lost his job, and that meant six weeks more of
standing at the doors of the packing houses, at six o'clock on bitter
winter mornings, with a foot of snow on the ground and more in the air.
There are learned people who can tell you out of the statistics that
beef-boners make forty cents an hour, but, perhaps, these people have
never looked into a beef-boner's hands.

When Tamoszius and his companions stop for a rest, as perforce they
must, now and then, the dancers halt where they are and wait patiently.
They never seem to tire; and there is no place for them to sit down
if they did. It is only for a minute, anyway, for the leader starts up
again, in spite of all the protests of the other two. This time it is
another sort of a dance, a Lithuanian dance. Those who prefer to, go on
with the two-step, but the majority go through an intricate series of
motions, resembling more fancy skating than a dance. The climax of it is
a furious prestissimo, at which the couples seize hands and begin a mad
whirling. This is quite irresistible, and every one in the room joins
in, until the place becomes a maze of flying skirts and bodies quite
dazzling to look upon. But the sight of sights at this moment is
Tamoszius Kuszleika. The old fiddle squeaks and shrieks in protest, but
Tamoszius has no mercy. The sweat starts out on his forehead, and he
bends over like a cyclist on the last lap of a race. His body shakes and
throbs like a runaway steam engine, and the ear cannot follow the flying
showers of notes--there is a pale blue mist where you look to see his
bowing arm. With a most wonderful rush he comes to the end of the tune,
and flings up his hands and staggers back exhausted; and with a final
shout of delight the dancers fly apart, reeling here and there, bringing
up against the walls of the room.