The Yale Literary Magazine, Vol. 74

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Excerpt from The Yale Literary Magazine, Vol. 74: May, 1909R. Yuma kid was a prominent member of the com munity. On occasion the description notorious had been substituted, but there was something in the ring of the word the described did not particularly relish, and after one or two attempts to introduce it the usage languished. Possibly this was because the Kid didn't look notorious. If he had been born in a death-trap of an east end tenement, no one would have dreamed of styling him notorious. So much for the civilized environment where both fame and right are dependent on physical might. The chances are, however, that he would have drifted into prominence on the precinct blotter just as casually as he did on the rolls of fame in the freer West.With the usual perversity of woman kind, Clotho and Lachesis had conspired to set the scene of his entrance and early existence in this vale of sorrow via that metropolis which, in the absence of any more definite cognomen, had obligingly furnished his first name. During a crowded score of years ensuing, he had successfully evaded the attentions of Atropos. Wherefore he waxed mighty, making a name for himself from the Colorado to the Platte, and men marvelled exceedingly because, as has been pointed out, the Kid was more or less of a joke in appearance. As a matter of fact he was a joke, not precisely the sort reckless observers sometimes laughed at, 'tis true, but a grim practical joke of Nature's on the over-bearing and brow beating of the race.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully, any imperfections that remain are intentionally left to preserve the state of such historical works.