Fanny seemed scarcely to hear her. With a nod she left Ella, and entered her own room. There she wasted no time. She threw her hat and coat on the bed. Her suitcase was on the baggage stand. She turned on all the lights, swung the closed suitcase up to the table, shoved the table against the wall, up-ended the suitcase so that its leather side presented a smooth surface, and propped a firm sheet of white cardboard against the impromptu rack. She brought her chair up close, fumbled in her bag for the pens she had just purchased. Her eyes were on the blank white surface of the paper. The table was the kind that has a sub-shelf. It prevented Fanny from crossing her legs under it, and that bothered her. While she fitted her pens, and blocked her paper, she kept on barking her shins in unconscious protest against the uncomfortable conditions under which she must work.
She sat staring at the paper now, after having marked it off into blocks, with a pencil. She got up, and walked across the room, aimlessly, and stood there a moment, and came back. She picked up a thread on the floor. Sat down again. Picked up her pencil, rolled it a moment in her palms, then, catching her toes behind either foreleg of her chair, in an attitude that was as workmanlike as it was ungraceful, she began to draw, nervously, tentatively at first, but gaining in firmness and assurance as she went on.
If you had been standing behind her chair you would have seen, emerging miraculously from the white surface under Fanny's pencil, a thin, undersized little figure in sleazy black and white, whose face, under the cheap hat, was upturned and rapturous. Her skirts were wind-blown, and the wind tugged, too, at the banner whose pole she hugged so tightly in her arms. Dimly you could see the crowds that lined the street on either side. Vaguely, too, you saw the faces and stunted figures of the little group of girls she led. But she, the central figure, stood out among all the rest. Fanny Brandeis, the artist, and Fanny Brandeis, the salesman, combined shrewdly to omit no telling detail. The wrong kind of feet in the wrong kind of shoes; the absurd hat; the shabby skirt—every bit of grotesquerie was there, serving to emphasize the glory of the face. Fanny Brandeis' face, as the figure grew, line by line, was a glorious thing, too.
She was working rapidly. She laid down her pencil, now, and leaned back, squinting her eyes critically. She looked grimly pleased. Her hair was rather rumpled, and her cheeks very pink. She took up her pen, now, and began to ink her drawing with firm black strokes. As she worked a little crow of delight escaped her—the same absurd crow of triumph that had sounded that day in Winnebago, years and years before, when she, a school girl in a red tam o' shanter, had caught the likeness of Schabelitz, the peasant boy, under the exterior of Schabelitz, the famous. There sounded a smart little double knock at her door. Fanny did not heed it. She did not hear it. Her toes were caught behind the chair-legs again. She was slumped down on the middle of her spine. She had brought the table, with its ridiculously up-ended suitcase, very near, so that she worked with a minimum of effort. The door opened. Fanny did not turn her head. Ella Monahan came in, yawning. She was wearing an expensive looking silk kimono that fell in straight, simple folds, and gave a certain majesty to her ample figure.
“Well, what in the world—” she began, and yawned again, luxuriously. She stopped behind Fanny's chair and glanced over her shoulder. The yawn died. She craned her neck a little, and leaned forward. And the little girl went marching by, in her cheap and crooked shoes, and her short and sleazy skirt, with the banner tugging, tugging in the breeze. Fanny Brandeis had done her with that economy of line, and absence of sentimentality which is the test separating the artist from the draughtsman.
Silence, except for the scratching of Fanny Brandeis's pen.
“Why—the poor little kike!” said Ella Monahan. Then, after another moment of silence, “I didn't know you could draw like that.”
Fanny laid down her pen. “Like what?” She pushed back her chair, and rose, stiffly. The drawing, still wet, was propped up against the suitcase. Fanny walked across the room. Ella dropped into her chair, so that when Fanny came back to the table it was she who looked over Ella's shoulder. Into Ella's shrewd and heavy face there had come a certain look.
“They don't get a square deal, do they? They don't get a square deal.”
The two looked at the girl a moment longer, in silence. Then Fanny went over to the bed, and picked up her hat and coat. She smoothed her hair, deftly, powdered her nose with care, and adjusted her hat at the smart angle approved by the Galeries Lafayette. She came back to the table, picked up her pen, and beneath the drawing wrote, in large print: