the muscles of his body play into the movement of the waves until he and his green canoe and the white capped waves are all one motif of the whole symphony. Men play around the yacht club like a lot of school boys, and now—"Shoot," they push a long slim racer into the water. Dainty white yachts go dipping to the waves and seem like lovely young girls in among the sturdier boats.

Now the fishermen come in from their night's work, making music all in an orderly procession, and every boat of them a brilliant blue inside. I'd like to catch a Maine fisherman allowing color in his boat, like a "dago" or a "wop."

Over all the swing and dip and rhythm of the sea gulls. How beautifully they accent the movement of the symphony, like the baton of some great leader—this great beautiful Sunday morning symphony.

Then there is Alcatraz. Oh, Alcatraz, why should they have placed a prison there as a monument to men's failure to order their lives in harmony with nature. Alcatraz, most beautiful island in the most beautiful bay, you sound an ugly, sinister, most unhappy undertone in the morning's symphony.

Still it is a symphony. A symphony of San Francisco Bay. Why shouldn't the composers put it into music. We're sick of the song of the huntsman by the brasses, the strings and the wood instruments. With Whitman we exclaim: "Come, Muse, migrate from Aeonia," and come out here to the West, and conserve the symphony of the bay which is already composed and waiting.

And for the argument, the overture, the prelude, there could be a sailing schooner with sails all set coming into the Golden Gate, in the full brilliant sunlight, or mysteriously through a fog, or against a sunset sky. It should be "full and by" like that beautiful painting by Coulter in the stock exchange of the Merchants' Building.

Symphony of San Francisco Bay, boom of fog horns, calls and answers of the ferries, chug of the fishermen's boats, twink of lights in the harbor at night, rhythm of sea gulls, and the brooding fog to soften it all. "Come, Muse, migrate from Aeonia."

Safe on the Sidewalk

Are there others, I wonder, who feel as I do about crossing the street? There must be. Now I, when I cross, say Market street at Third, I run. I take my life and my bundles in my hand and run, darting swift glances to the left and to the right. It looks "hick." I know it looks "hick." And I care. But I prefer to be alive and countrified than sophisticated in an ambulance and so I run.

At corners, too. I think corners are worse. For there the machines may turn around and chase me, which they often do. It's a horrible feeling.

There must be others who feel as I do about crossing the street, but they never betray it. I watch to see and when they cross, they just cross—that's all. Not with nonchalance exactly, but with ease and assurance. Once I actually saw a man, a native son, I'm sure, roll a cigarette as he crossed at a point where even the traffic cop looked nervous.

No one ever gets killed or even injured. But always everybody is getting almost killed and almost injured. They like it. It's a sort of sport. I've noticed it more since the city's gone dry. The game is, if you are walking, to see how close to a machine you can come and not hit it.

Street cars, machines and people all go straight ahead and they all come out right. It's the only city where it's done with such abandon. They never stop for anything except taxis—not even fire engines.

The secret of it is, I think, that no one ever hesitates. This is understood by all San Franciscans—that, no one is ever going to hesitate. That's why there are no accidents. It's the unexpected in people that makes disasters and creates a demand for traffic cops.

I try to cross the street as others cross. I choose a chalk mark and, pretending I am a native daughter, launch out. I get on fine—suddenly a monster machine is on me. Or would be if I did not jump back. I shouldn't have jumped back it seems. But how was I to know? In the jaws of death you don't reason, you jump. In jumping back I hit another machine and it stops. And that stops a street car. That stops something else. And in a minute Market street, the famous Market street, is all balled up because I jumped back. Drivers, red in the face, swear at me, not because they are cross, but scared-more scared than I.

Next time I am more careful. I look to the traffic cop for attention but, being a handsome man, he thinks I'm trying to flirt. Policemen should be homely. So I wait until the street is entirely empty. I wait a long time—it is empty—I run like a steer—and suddenly out of nowhere a machine is yelling at me individually and I know no more until, breathless and red, I reach the haven of the sidewalk.

Once I heard a horrible story of a man who lost control of his machine and ran up on to the sidewalk.

Port O'Missing Men

They say that San Francisco is known all over as the Port o' Missing Men. That it is a city where a man may lose himself if he chooses, and that by the same token it is a good place to look for "my wandering boy tonight." I can believe all this especially on Third street. Third street should be called by some other name or it should have a nickname. If it were in Seattle it would be known as "skid row." Third street doesn't describe it at all.

When I see a lot of men like that, wanderers, family men out of work, vagabonds, nobodies, somebodies, "rich man, poor man, beggar man, thief; doctor, lawyer, merchant, chief," I always get to thinking how once each one was a tiny baby in a thin white dress, and how before that each one of them was born of a woman. If I could ever forget that, I could perhaps sometimes call men "a lot of cattle." Come to think of it, it is men who call other men "cattle." At any rate, I like to think that no woman would ever see men as less than the sons of mothers.

The Port o' Missing Men is like the Port of San Francisco, and these men are like boats in from a foreign port, tramp steamers some of them, out of nowhere, going nowhere, no baggage, no traditions, men who'll never get lost because they are on their way to Nowhere.

Yet, the majority of these men are going to some place, but where I do not know. What do they talk about in groups down there, tall, young fellows and strong middle-aged men and reminiscent, old ones down in the Port o' Missing Men? If they're out of work where do they sleep at night, and what do they have to eat? And have they any women folks?

Not all kinds of men are down there, but many kinds. There are Mexicans, Sinn Feiners, old American stock, and once in awhile a venturesome Yankee. There are lumberjacks in from the North, and Chinamen in shuffling slippers, and philosophers and Swedes, half-breeds and just plain men. Some are Vagabonds who can't help their roving, and others are very tired and would like to lie over in port for or a long spell. There are Italians, and Portuguese, and many Greeks, and turbaned Hindus, tall and skinny, always traveling in pairs like nuns. Sometimes the Port is fairly crowded.

New England is a section of the country where men leave home, and I have heard mothers sing with tears in their voices: "Oh, where is my wandering boy tonight?" On Third street down at the Port o' Missing Men, I have a fancy that I would like to write back to all those mothers that here are their boys. But, after all, what good would that do, for who can tell which is which?

Market St. Scintillations

Oh, the things our eyes discover as we walk along on Market street. Such a medley—infinite, incongruous, comical, pathetic, motley and sublime.

Harding in a window with "pure