The Driver — Inside the Classic

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Garrett, Garet, 1878-1954 Project Gutenberg 2021 Not confirmed
Capitalists and financiers -- Fiction; Railroad stories; Antitrust law -- United States -- Fiction Readers of public-domain and historical texts
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Edition facts

Words 72,217
Reading time 314 min
Text sections 7

Before opening The Driver — Inside the Classic, the edition data offers a quick orientation: 72,217 words, 5 hr 14 min estimated reading time, and 7 detected text sections.

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Garet Garrett's 1922 novel opens with a satirical Easter Sunday spectacle in Massillon, Ohio, as the 'Army of the Commonweal of Christ' sets out. The narrative then shifts to boardroom power struggles, introducing Henry M. Galt, who declares himself 'the driver' and confronts a corrupt traffic manager. The language moves from ornate description to terse, forceful dialogue.
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Read the Text

had been selfishly seized by three magazine writers who had no telegraph stuff to file. They had retired. The rest of us took possession of a fairly large lounging room and settled ourselves for the night on cots, pallets and chairs.

The lean-minded man from Cleveland, reclining on the hotel desk with his feet on the cigar case, started an untimely discussion.

“We’ve sent off a lot of guff about this thing,” he said, “and not a word of what it means. Not a man here has tried to tell what it means.”

“Leave that to the editorial writers and go to sleep,” said St. Louis from under his hat. He had made his bed in the swivel chair.

“It means something ... it means something,” said Cleveland.

“Well, what?” asked a petulant voice.

“It’s a joke,” said St. Louis, not moving. “People have to laugh,” he added. “Go to sleep or be still.”

Another voice: “What does it mean, you Cleveland? I saw you reading Plutarch. What does it mean?”

“These people are asking questions to which there is no answer,” said the Cleveland man, lifting on his elbow. “Why is anybody hungry in a land of surplus food? Why are able bodied men out of work while we have such roads as the one we traveled to-day? I don’t know. I’m asking.”

A man whom we had hardly noticed before, anæmic, shrill and hairy, sat up on his mattress and thrust a naked bent arm out of his blanket.

“I’ll tell you what it means,” he shouted. “Wall Street has sucked the country dry. People may perish, but Wall Street will have its profit and interest. Labor may starve, but the banking power will keep money sound. Money in itself is nothing,--merely a convenience, a token by means of which useful things are exchanged. Is that so? Not at all. Money no longer exists for the use of people. We exist for the sake of money. There is plenty everywhere, but people cannot buy because they are unemployed and have no money. Coxey says, ‘Create the money. Make it abundant. Then people may work and be prosperous.’ Well, why not? Wall Street says if you make money abundant you will ruin the country. Hell! The country is already ruined. We laugh. Yet what we have seen to-day is the beginning of revolution. As people have freed themselves from other tyrannies, so they will free themselves from this money tyranny.”

He stopped, out of breath and choking, and a singular hubbub arose. Everyone awake had been listening attentively, and now, just as they lay, not an arm or a leg stirring, all those huddled, inert forms became vocal, shouting:

“Populist! Right-o! Put him out! Douse him!”

Accents of weariness, irritation and raillery were inseparably mingled. Yet the overtone was not unfriendly. We could be light and cruel with the Army of the Commonweal of Christ, because its whole figure was ludicrous, but there was no love among us for Wall Street or the money power. Those names stood for ideas of things which were commonly feared and hated and blamed for all the economic distress of the time.

Above, the plutocratic magazine writers were pounding on the floor. The hairy agitator, breathing heavily, melted back into his mattress, heavy in his conscience, no doubt, for having written a very sarcastic piece about that Easter Day event. We saw it afterward in his Chicago paper. The fat reporter from Cincinnati began to snore.

For a long time I lay awake, thinking.

What were we doing here? Reporting the news. News of what? One hundred inconsequent men dreaming in the mud,--was that news? No, not intrinsically. As a manifestation of the frustrate human spirit it might serve as material for the reflective fictionist, or text for some Olympian humorist, but why was it news to be written hot and dispatched by telegraph?

In their acts of faith, folly, wisdom and curiosity men are moved by ideas. Perhaps, therefore, the discrepancy between the unimportance of this incongruous Easter Day spectacle itself and the interest we bestowed upon it was explained by what it signified--that is, by the motivating idea. This thought I examined carefully.

Two years before this, Jacob S. Coxey, horse breeder, quarry owner, crank, whom no one had heard of until then, proposed to cure the economic disease then afflicting the country by the simple expedient of hiring all the unemployed on public works. Congress should raise half a billion dollars from non-interest bearing bonds and spend the money on national roads. This plan received some publicity as a freak idea; nobody had been really serious about it. What then happens?

The novel begins not with its protagonist but with a densely described public spectacle: Easter Sunday 1894 in Massillon, Ohio, where the 'Army of the Commonweal of Christ' prepares to march. The prose is ornate and ironic, with phrases like 'the Comic God has published a decree' and 'the sad biped, solemn, ludicrous and romantic, shall mount the gilded ass.' Vendors sell buttons, a band plays, and a bearded man on a white horse wears a buckskin coat and amber beads. This carnivalesque opening establishes a voice that is both detached and sardonic, setting the tone for a narrative that will later shift abruptly into the clipped, confrontational language of corporate warfare.

From Carnival to Boardroom

The transition from the opening parade to the boardroom is stark. The first excerpt dwells on sensory detail—'a composite smell of ham sandwiches, peanuts, oranges and cigars'—and uses elaborate, almost biblical cadences. The second excerpt, set eleven months later, strips away that richness. Sentences become shorter, dialogue terse. When Henry M. Galt enters, he 'sat on Harbinger’s desk with his feet in the chair' and announces his authority in blunt terms: 'Hereafter all contracts with shippers ... will be sent to this office for my approval and signature.' The contrast in pace is deliberate: the leisurely, ironic observation of the crowd gives way to the rapid, high-stakes exchange of power.

The Driver's Voice

Galt’s language is a study in minimalism. Asked 'who the hell are you?' he replies, 'Me? I’m the driver.' That single word—'driver'—carries the weight of his self-definition. He does not explain or justify. Later, addressing the traffic manager, he issues ultimatums: 'You choose whether to resign or be fired.' The narrator reports that Galt 'added something in a lower tone that no one else could hear,' a detail that preserves his opacity. The traffic manager’s capitulation is marked by a shift in register: 'Well, it’s damned high time,' he says, adopting Galt’s bluntness. The novel’s voice thus moves from the narrator’s ornate irony to Galt’s laconic command.

Pace as a Tool of Power

The pacing of the boardroom scene mirrors the power dynamics. The meeting itself is described in a single paragraph: 'Valentine was unanimously re-elected president. There was a pause.' Then Mordecai’s lisp breaks the silence. The vote is recorded without drama. But when Galt moves to the traffic manager’s office, the tempo accelerates. He 'walked directly there,' 'sat on Harbinger’s desk,' and 'waived all introductions.' The traffic manager’s reaction is drawn out—'crossed his legs with amazement, dropped his arms, slid down in his chair'—but Galt’s response is immediate. The contrast between the manager’s theatrical disbelief and Galt’s swift, quiet threat creates a rhythm of tension and release.

Readers attentive to shifts in prose style will find that Garrett uses pace and register as instruments of characterization. The opening’s elaborate, ironic tone belongs to a narrator who stands apart; Galt’s scenes are lean, driven by action and implication. Watching how the language contracts when Galt appears offers a way into the novel’s central conflict between spectacle and substance.

There’s something in how Galt calls himself "the driver" that stays with you—that blunt, almost lonely claim of purpose. It made me think, afterward, of an older book I keep near, In colonial days — Context and Discussion, where the same stubbornness shows up in quieter voices. Different century, same ache of trying to steer. I’ve reread both more times than I’d admit.

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