story."

A negro appeared, switched on a string of small lights under the
awning, and began setting the wicker table for supper. And while
they ate cold sliced chicken, salad, artichokes and strawberry
jam from the plentiful larder below, Carlyle began to talk,
hesitatingly at first, but eagerly as he saw she was interested.
Ardita scarcely touched her food as she watched his dark young
face--handsome, ironic faintly ineffectual.

He began life as a poor kid in a Tennessee town, he said, so poor
that his people were the only white family in their street. He
never remembered any white children--but there were inevitably a
dozen pickaninnies streaming in his trail, passionate admirers
whom he kept in tow by the vividness of his imagination and the
amount of trouble he was always getting them in and out of. And
it seemed that this association diverted a rather unusual musical
gift into a strange channel.

There had been a colored woman named Belle Pope Calhoun who
played the piano at parties given for white children--nice white
children that would have passed Curtis Carlyle with a sniff. But
the ragged little "poh white" used to sit beside her piano by the
hour and try to get in an alto with one of those kazoos that
boys hum through. Before he was thirteen he was picking up a
living teasing ragtime out of a battered violin in little cafes
round Nashville. Eight years later the ragtime craze hit the
country, and he took six darkies on the Orpheum circuit. Five of
them were boys he had grown up with; the other was the little
mulatto, Babe Divine, who was a wharf nigger round New York, and