Emerson Hough

Emerson Hough

Gone! (1910)

Summary

Portrait of Emerson Hough Emerson Hough Gone! (1910)

The man at the throttle, great or small, belonged there and not elsewhere, for the ladle and the converter and their child, the ingot, and the screaming bar in the rolls, and the man in the pulpit, and the man at barrow or cab, were all units of one machine—the sacred machine, the Industry.
But when Zulinski from his engine-cab craned up at Matchek on the bridge, hate filled his soul, and he forgot his duty. After all, Rosa at the back door was his, as much as Alice at the front door was Jerolson’s. Was not an engineer better than a barrow-man, different, higher, better?
Source: Wikisource

Portrait of Emerson Hough Emerson Hough Gone! (1910)

Toward this great pot, a dozen feet across of blighting heat, the lever-operator in the “pulpit” turned over now and again the triple hell of the vast egg-shaped “converter,” glowing white hot, full of molten metal, a chaos-case, nebulous, awful as creation before dawn. From this slow-turning cosmos heat Matchek might not shrink at his station on the bridge.
Source: Wikisource

Portrait of Emerson Hough Emerson Hough Gone! (1910)

Was not the master of the mills better than any man beneath him? Did not the paper say that he took what he liked, being rich? The death, the ruin—what matter those, for persons of situation?
So Zulinski slipped down from his cab and stole around into the darkness of the tracks, hid in glooms and groans and the wail of the tortured steel. Matchek could not see Zulinski so well, for the curtain of the converter’s arch of splendid light made an intermediate veil of impenetrable darkness to him
Source: Wikisource

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