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            <title>Other People’s Troubles: An Antidote to Your Own [Part 4]</title>
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               <resp>Transcriber</resp>
               <name ref="#SC1">Sijia Cheng</name>
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               <name ref="#SC1">Sijia Cheng</name>
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         <ab type="citations"><listBibl><bibl type="mla" n="MLA" xml:id="OtherPeoplesTroubles4_citation_MLA"><author><name ref="people.xml#WE1">Watanna, Onoto</name></author>.
                     <title level="m">Other People’s Troubles: An Antidote to Your Own [Part
                     4]</title>. <publisher ref="organizations.xml#Farm"><title level="j">Farm and Ranch
                        Review</title></publisher>, <date when="1919-04-05">5 Apr. 1919</date>, p.
                     <biblScope unit="page">406</biblScope>. <title level="m">The Winnifred Eaton Archive</title>, edited by <editor>Mary Chapman</editor> and <editor>Jean Lee Cole</editor>, <edition n="2.0">v. 2.0</edition>, <date when="2024-02-03">03 February 2024</date>, <ref target="https://winnifredeatonarchive.org/OtherPeoplesTroubles4.html">https://winnifredeatonarchive.org/OtherPeoplesTroubles4.html</ref>.</bibl></listBibl></ab></publicationStmt>
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                     <bibl xml:id="bibl107"><author><name ref="#WE1">Watanna, Onoto</name></author>.
                     <title level="m">Other People’s Troubles: An Antidote to Your Own [Part
                     4]</title>. <publisher ref="#Farm"><title level="j">Farm and Ranch
                        Review</title></publisher>, <date when="1919-04-05">5 Apr. 1919</date>, p.
                     <biblScope unit="page">406</biblScope>.</bibl>
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                        <p>Facsimile from University of Saskatchewan Library</p>
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               <persName>
                  <reg>Sijia Cheng</reg>
                  <forename>Sijia</forename>
                  <surname>Cheng</surname>
               </persName>

               <note><p>Sijia Cheng completed an MA student in English Language and Literatures at the University of British Columbia and was a research assistant for <title level="m">The Winnifred Eaton Archive</title>. Her research focuses primarily on Asian Canadian literature and queer theory.</p></note>

               <note><p>Sijia Cheng is an MA student in English Language and Literatures at the
                     University of British Columbia and a research assistant for <title level="m">The Winnifred Eaton Archive</title>. Her research focuses primarily on
                     Asian Canadian literature and queer theory.</p></note>
            </person><person xml:id="WE1" copyOf="people.xml#WE1">
               <persName>
                  <reg>Winnifred Eaton</reg>
                  <forename>Winnifred</forename>
                  <surname>Eaton</surname>
               </persName>
               <birth when="1875-08-21"/>
               <death when="1954-04-08"/>
               <note>
                  <p>See the <ref target="timeline.xml">Biographical Timeline</ref> for biographical
                     information on Winnifred Eaton.</p>
               </note>
            </person><person xml:id="JT1" copyOf="people.xml#JT1">
               <persName>
                  <reg>Joey Takeda</reg>
                  <forename>Joey</forename>
                  <surname>Takeda</surname>
               </persName>
               <note>
                  <p>Joey Takeda is the Technical Director of <title level="m">The Winnifred Eaton
                        Archive</title> and a Developer at Simon Fraser University’s <ref target="https://dhil.lib.sfu.ca">Digital Humanities Innovation Lab</ref>
                     (DHIL). He is a graduate of the M.A. program in English at the University of
                     British Columbia where he specialized in Indigenous and diasporic literature,
                     science and technology studies, and the digital humanities.</p>
               </note>
            </person><person xml:id="SL1" copyOf="people.xml#SL1">
               <persName>
                  <reg>Sydney Lines</reg>
                  <forename>Sydney</forename>
                  <surname>Lines</surname>
               </persName>
               <note><p>Sydney Lines is a Ph.D. candidate in English at the University of British
                     Columbia and Project Manager of <title level="m">The Winnifred
                        Eaton Archive</title>. She is writing a dissertation on Winnifred Eaton
                        and Laura Goodman Salverson.</p></note>
            </person><person xml:id="MC1" copyOf="people.xml#MC1">
               <persName>
                  <reg>Mary Chapman</reg>
                  <forename>Mary</forename>
                  <surname>Chapman</surname>
               </persName>
               <note>
                  <p>Mary Chapman is the Director of <title level="m">The Winnifred Eaton
                        Archive</title>, a Professor of English, and Academic Director of the Public
                     Humanities Hub at University of British Columbia. She is the author of the
                     award-winning monograph <title level="m"><ref target="https://global.oup.com/academic/product/making-noise-making-news-9780190634506">Making Noise, Making News: Suffrage Print Culture and US
                        Modernism</ref></title> (Oxford UP) and of numerous articles about American
                     literature and women writers. She has also edited <ref target="https://www.mqup.ca/becoming-sui-sin-far-products-9780773547223.php"><title level="m">Becoming Sui Sin Far: Early Fiction, Journalism and
                           Travel Writing by Edith Maude Eaton</title></ref> (McGill-Queen’s UP) and
                     published essays on the Eaton sisters in <title level="j">American
                        Quarterly</title>, <title level="j">MELUS</title>, <title level="j">Legacy</title>, <title level="j">Canadian Literature</title>, and <title level="j">American Periodicals</title>. Her current research project is a
                     microhistory of the Eaton family. For more information, see <ref target="http://faculty.arts.ubc.ca/mchapman/">http://faculty.arts.ubc.ca/mchapman/</ref>. </p>
               </note>
            </person></listPerson><listOrg><org xml:id="Farm" resp="people.xml#SB2" copyOf="organizations.xml#Farm">
               <orgName>Farm and Ranch Review</orgName>
               <note><p>Popular and respected Calgary-based monthly periodical focused on Western-Canadian agriculture foundd by Malcolm Geddes, E. L. Richardson, and C. W. Peterson in 1904 and in print from 1905-1966. Tied to the Country Life Movement.</p></note>
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      <body>
         <head>Other People’s Troubles</head>
         
         <head type="subtitle">An Antidote for Your Own [Part 4]</head>
         <opener>
            <byline>By <name key="Winnifred Reeve" ref="#WE1">Winnifred Reeve</name> (<name key="Onoto Watanna" ref="#WE1">Onoto
               Watanna</name>)</byline> 
            <note>Author of <q>A Japanese Nightingale</q>, <q>Heart of
               Hyacinth</q>, <q>Wisteria</q>, <q>Marion</q>, <q>Me</q>, <q>Delia</q>, etc., etc.</note></opener>
         <div type="paratext">
            <p>Synopsis:—<q>Other People’s Troubles</q> is the new type of a continued story
               wherein each episode is a complete story itself, but the whole is connected through
               the central figure of Dr. Carpenter, a very fine character, who believes that to get
               interested in other people’s troubles is the best cure for your own. Dr. Carpenter
               has his niece, Laura, living with him, and also the servant, Katy. Laura, too, has
               had some trouble, and the doctor is trying his medicine upon her by telling her of
               the great sorrow of Lenox Holt, a lawyer, who has been accused of killing his wife’s
               lover, and, although let free by the court, has the stigma of murder attached to his
               name. To him the doctor is going to entrust Laura’s case. In the last episode, the
               doctor is sum­moned to attend a little chorus girl, Bonnie, who has had a slight
               accident and thereby lost chance of advancement. He starts giving her the history of
               a famous actress, Mme. Mazurka, who gave up her profession for marriage.</p>
         </div>
         <div type="content">
            <div>
            <p><q>And he made her pathway very rosy, or he was as much in love with her as he was with
               him</q>.<note type="editorial" resp="#SC1">No end quotation mark in original.</note></p>
            <p><q>The deterioration of his fortunes as more gradual than is the case usually with men
               of his sort. They found themselves obliged to cut down, to some extent their living
               expenses. She did this willingly and prettily, but he oomed over it, and, as he told
               me afterwards, his nerve for the first time, began to fail him. He acquired the
               rnicious habit of a prophetic imagination, and literally tortured himself by
               imagining this or that possible mis­fortune. And strangely enough, just as he feared
               and imagined things, so they came to pass</q>.<note type="editorial" resp="#SC1">No end quotation mark in original.</note></p>
            <p><q>The time came when they found themselves part of another social life, simpler
               suburban community, and it as at this time he should have saved himself. But he
               thought his wife meant only for luxury. He wanted her crowned with diamonds and
               roses, and he plunged and fought frantically to win back the fortune he had lost</q>. <note type="editorial" resp="#SC1">No end quotation mark in original.</note></p>
            <p><q>She did not tell him so, but there had come to her meanwhile, an irresistible desire
               to return to the stage, and for her husband’s failing fortunes, she thought she now
               saw an excuse. She could appear for just a short season. would be a brief triumphant
               tour, and then, with the money earned, they could settle down happily once more</q>.<note type="editorial" resp="#SC1">No end quotation mark in original.</note></p>
            <p><q>Now, like many men who have married women of the stage, he had the most unreasonable
               prejudice against it. Though her associates had been of the best, he had cut her
               apart from them all. It irritated him even to have her allude to her past, and the
               thought of her returning to the footlights was beyond his darkest dreams</q>.<note type="editorial" resp="#SC1">No end quotation mark in original.</note></p>
            <p><q>He first learned of her intentions through the chance remark of an acquaintance, who
               knew the manager to whom she had gone. He rushed home like a madman, there to
               over­whelm her with reproaches and plead­ings. She had ceased to love him, so he
               said. She had but loved the luxury with which he had surrounded her, and now that it
               was gone, she too, meant to desert him. All her protestations and tears were
               unavailing, and he finally literally wrung from her, not a mere promise, but an oath,
               that she would never act upon the stage again</q>.<note type="editorial" resp="#SC1">No end quotation mark in original.</note></p>
            <p><q>And now he began a furious cam­paign to win back the fortune that would make the
               woman he loved supremely happy once again. That year was a bad one anyhow, and more
               than one firm went under in the panic</q>.<note type="editorial" resp="#SC1">No end quotation mark in original.</note></p>
            <p><q>Mazurka’s husband when he learn­ed the truth, that his last throw,—for he had
                  staked practically all they had left—had failed, and he was now penniless, went
                  into a public telephone booth, called up his wife, and then while the frantic
                  woman heard the shot at the other end, and the telephone girl without saw the act
                  through the glass door of the booth, blew his distracted brains out</q>.</p>
            <p>Bonnie’s eyes were almost starting from her head. She was literally hanging upon
               every word spoken by the doctor.</p>
            <p><q>Tell me</q>, she cried, breathlessly, <q>did she keep her oath?</q></p>
            <p><q>For—fifteen years</q>, said the doctor slowly. <q>I don’t know exactly what she did
               during that period, but she managed to live somehow. She must have reached a pretty
               desperate condition, however, before she brought herself to return to the stage, for
               she told me that her life was literally a haunted one. She blamed herself for her
               husband’s death, because she fancied his sudden knowledge of her stage plans was what
               first drove him to his frenzied end. For some time afterwards, she said, she used to
               pace up and down her room, just repeating the oath he had extracted from her</q>.<note type="editorial" resp="#SC1">No end quotation mark in original.</note></p>
            <p><q>For a time she lived with some old friends—stage folk, like yourself, Bonnie—for
               oddly enough the only ones who rallied about her at this time, were the people she
               had known when she was on the stage. None of the fine friends they had made after her
               marriage seemed to remember her existence even; but her old stage associates rallied
               about her at that time. I know there was some benefit given on her account, at which
               many notable actors and actresses played, and for a time at least her needs were
               cared for. But even her actor friends had no sympathy with her determination not to
               appear again, and gradually they too, slipped away from her, and she was left alone
               again, neglected and forlorn, —she who had known nothing but adulation and
               flattery</q>.<note type="editorial" resp="#SC1">No end quotation mark in original.</note></p>
            <p><q>As I said, it was fifteen years before she returned to the stage. She was then a
               woman of fifty-eight, broken of spirit and of heart. There was not even a ghost of
               her old imperial beauty to recall her past. No one shows age so sadly as an old
               actress. I sometimes think all the lines and creases they have painted in their faces
               in the past seem to become a deep reality. Weakly they resort to the make-up tricks
               which in their youth they have reserved for the footlights only. There is nothing so
               ghastly as peroxide hair on an old woman; unless it be her rouged cheeks and
               lips</q>.<note type="editorial" resp="#SC1">No end quotation mark in original.</note></p>
            <p><q>How shall I tell you of her pathetic, wandering life from this time on. At first she
               inspired compassion at least among the profession, and she appeared here and there;
               but pretty soon her voice went out, for she suffered from asthma, and even to play
               the part of an old woman a certain strength is necessary. Mazurka wandered about from
               company to company, and then there came a time when she could not get even the
               smallest of engagements</q>.<note type="editorial" resp="#SC1">No end quotation mark in original.</note></p>
            <p><q>When the end came she was in a room so tiny that—it barely was large enough for her
               bed. It looked out upon an almost completely dark court, and the room next to it was
               the family’s kitchen. The people she lived with were desperately poor, too, and I
               suspect at some time she must have befriended them, for although they would not bury
               her—or perhaps could not—they seemed to feel her death in a really sincere way</q>.<note type="editorial" resp="#SC1">No end quotation mark in original.</note></p>
            <p><q>I went myself, to two of the news­paper offices, and got in a story about Mazurka’s
               life and its pitiful ending. This, as I had expected, brought a number of noisy
               contributions from members of the theatrical profession, who got themselves written
               up as burying the famous old actress</q>.<note type="editorial" resp="#SC1">No end quotation mark in original.</note></p>
            <p><q>I never understood why Mazurka did not enter some home or institution. I presume
                  her pride kept her from this. After she was buried, scores of her friends wrote to
                  me, and to the papers, claiming in the past to have constantly helped her and
                  expressing surprise at her utter destitution. But destitute she was, whether she
                  heedlessly spent the money when she had it, in the shiftless manner of people of
                  her temperament, or whether the assertions of her friends were untrue, and she had
                  been unsuccored, as it seemed</q>.</p>
            <p>Bonnie’s head, back on the pillow, moved restlessly. After a moment’s silence she
               said gravely: <q>Doctor, I guess you think me a pretty mean little lot, eh?</q></p>
            <p><q>Why should I, Bonnie?</q></p>
            <p><q>Oh, to make all that scream about my own petty tale of woe. Gee! when I think of
                  that other actress—well, I tell you what, Doctor, I just feel’s if—well, as if I’d
                  never had a real trouble in the world at all</q>.</p>
            <p>An illuminating smile of satisfaction lighted up the doctor’s tired face.</p>
            <p><q>And that’s exactly how I like my patients to feel!</q> he said.</p>
         </div>
         <div>
            <head>VIII</head>
            <p><q>That bell has rung exactly eleven times since I sat down to lunch</q>, said the
               doctor reflectively.</p>
            <p><q>Yes</q>, said Laura, <q>but all the same you are going to finish it. They can
                  wait. It isn’t quite one yet anyhow</q>.</p>
            <p>Katy flounced through the dining-room back into her kitchen. She had been kept pretty
                  busy with waiting on the table and answering the bell, and now, as she returned
                  from the eleventh rime, to her kitchen, her face was wrathful. But she was back in
                  an in­stant <choice><sic>wth</sic><corr>with</corr></choice> some hot scones and honey, and these she slapped down before the
                  doctor. Then she stood back, her hands on her hips, and surveyed him defiantly—one
                  might say commandingly. For the doctor had folded his napkin and had pushed back
                  his chair.</p>
            <p><q>Ye’ll be eating these</q>, said Katy in a very ominous voice, <q>and before they
                  fall flat, what’s more</q>, she added.</p>
            <p>The doctor glanced up warily over his glasses at Katy. Then he drew his chair up
               hastily to the table again.</p>
            <p><q>Why certainly, Katy, certainly. They’re very fine indeed, and—er­-hum! don’t you
                  think you might spare a few for——</q>
            </p>
            <p><q>Is it furnishing them now wid me hot bishkits ye’d have me?</q> she de­manded.</p>
            <p>The doctor smiled apologetically.</p>
            <p><q>I thought you might save a few for Miss Scovel, Katy. Didn’t you say she was out
               there? You know she doesn’t get—she’d appreciate some­thing exceptionally fine like
               these!</q><note type="editorial" resp="#SC1">No end quotation mark in original.</note></p>
            <p>Katy looked a bit mollified.</p>
            <p><q>Well, sure she’s wilcome to some, but not out there, wid the rest of them looking
                  on. Shure the bunch of them wud be schrambling for thim thimselves. Hawiver, I’ll
                  shlip a fresh pan into me oven, and ye’ll send Miss Scovel back here in exactly
                  twinty minutes, no sooner nor later</q>.</p>
            <p><q>Thank you, Katy, and I’m sure she’ll enjoy them as much as I did</q>.</p>
            <p>He had pushed back his chair, ex­amined his vest for any errant crumb adhering, and
               with a slight throw back of his chest, strutted professionally down the hall, Laura
               following him. She saw him safely seated at his desk in the alcove, ere she opened
               the door of the reception room and threw a quick glance at the various waiting
               patients.</p>
            <p><q>Who was first?</q> she asked, and two women instantly pushed forward. The one
               regarded the other with in­dignant scorn, and the younger one with an insinuating
               smile shook Laura by the hand.</p>
            <p><q>Dear Miss Laurence, I’ve been here since 11.30 really, though I didn’t come in,
                  knowing your uncle’s hours. In fact he let me in himself, and told me he would see
                  me at once</q>.</p>
            <p><q>I got here</q>, said the other woman angrily, <q>before the doctor himself,
                  and——</q>
            </p>
            <p>Off in a corner of the room a baby whimpered, and then fell to coughing desperately.
               The doctor’s head sud­denly appeared between the portieres.</p>
            <p><q>Bring me that baby</q>, said he, and withdrew just as the two warring females
               turned toward him. They watched the thin, shabby little woman carry the baby wearily
               across the room, and their glances met, but neither of them spoke.</p>
            <p>Laura had discreetly withdrawn, end the other inmates of the room continued staring
               apathetically before them, or turned over the pages of the magazines and
               journals.</p>
            <p>From inside the doctor’s office came a sudden wailing from the infant, and the voice
               of the mother raised in alarm. Then a sound of choking and coughing.</p>
            <p><q>You shouldn’t have brought Buster out on a day like this</q>, said the doctor,
               gravely. <q>There’s a great deal of congestion here, and I wish you would heed my
                  orders and keep the child indoors for the present</q>.</p>
            <p><q>I can’t do that</q>, she said bitterly, <q>for I’ve got to go about my
               work</q>.</p>
            <p><q>You don’t mean to tell me you tale the baby <choice><sic>wth</sic><corr>with</corr></choice> you?</q></p>
            <p><q>Yes, I do</q>, she said wearily, <q>I’m afraid to leave him alone. I read in the
                  paper of some children burning up when their mother was away, and I couldn’t work
                  if I had that on my mind</q>.</p>
            <p>The doctor drew his brows together, pursed up his lips thoughtfully. </p>
            <p><q>What are your hours?</q></p>
            <p><q>Well, they change, doctor. I’m on the night shift just now, and working from
                  eleven till eight in the morning. I’m a scrubwoman, you know, at the Grand Central
                  Hotel</q>.</p>
            <p><q>You mean you take the baby out with you at night?</q></p>
            <p><q>Yes. I have to</q>.</p>
            <p><q>Why didn’t you tell me this before? You’ll kill the child. No wonder it’s not
                  improving. A baby with a bad case of congestion like this can’t be taken out
                  nights—or in the day-time either for that matter</q>.</p>
            <p><q>I roll him under my shawl, doctor, —and they’re real good about it at the hotel.
               My cousin there is head of the laundry and ——</q><note type="editorial" resp="#SC1">Single end quotation mark in original.</note>
            </p>
         </div>
            <div>
            <p>(To be continued)</p>
         </div>
         </div>
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