The Candidate: A Political Romance — Inside the Classic

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Altsheler, Joseph A. (Joseph Alexander), 1862-1919 Project Gutenberg 2008 Not confirmed
Political fiction; Political campaigns -- Fiction Readers of public-domain and historical texts
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Words 126,987
Reading time 553 min
Text sections 11

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An editorial note on Joseph A. Altsheler's 'The Candidate: A Political Romance,' focusing on the narrative's shifts between political convention drama and a stark desert interlude, with attention to voice and pacing.
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Harley had believed this evening that the nomination of Grayson was at hand. It was an intuitive sense, a sort of premonition that the battalions were closing in for the final conflict, and he did not doubt the result. He had just returned from a war on the other side of the world, where he had been present as the correspondent of a great New York journal on many battle-fields, and he often noticed this strained, breathless feeling that the moment had come, just before the combat was joined. Now this convention-hall was none the less a battle-field though the weapons were ballots, not bullets, and Harley believed in his intuition. At midnight the flood-tide swept in, bearing Grayson on its crest, and, when they saw that he was the man, everybody flocked to him, making the nomination unanimous by a rising vote.

Harley now stood a moment at the door, listening to the cheers as they swelled again, then he stepped out and ran swiftly down the street. A fat policeman, taking him for a fleeing pickpocket, shouted to him to stop, but he flitted by and was gone.

It was only two or three blocks to the hotel, where Mr. Grayson sat quietly in his room, and Harley was running swiftly, but in the minute or two that elapsed much passed through his mind. After his long stay abroad he had returned with a renewed sense, not alone of the power and might of his own country, but also of its goodness; it was here, and here alone, that all careers were open to all; nowhere else in the world could a relatively obscure young lawyer have been put forward, and peacefully, too, for the headship of ninety million people. It was this thought that thrilled him, and it was why he wished to be the first who should tell the young lawyer of it. He had made the acquaintance of Jimmy Grayson the day before; the two had talked for a while about public questions, and each had felt that it was the beginning of a friendship, so he had no hesitation now in making himself an unannounced herald.

He ran into the hotel, darted up the stairway--Jimmy Grayson's rooms were on the first floor--and knocked at the door of the nominee. A light shone from the transom, and he heard a quick, strong step approaching. Then the door was thrown open by Mr. Grayson himself, and Mrs. Grayson, who stood in the centre of the room, looked with inquiry at the correspondent.

"Why, Mr. Harley, I'm glad to see you," said Mr. Grayson, with a welcoming tone in his voice. "Come in, but I warn you that you cannot interview me any further I'm not worth it; I've told you all I know."

Harley said nothing, but stepped into the room, closing the door behind him. He saw that they yet knew nothing--there had been no messenger, no telephone call, and the news was his to tell. He bowed to Mrs. Grayson, and then he felt a moment of embarrassment, but his long experience and natural poise came quickly to his aid.

"I do want to interview you, Mr. Grayson," he said, quietly; "and it is upon a subject to which we did not allude in our former talk."

Mr. Grayson glanced at his wife, and her look, replying to his, indicated the same puzzling state. Both knew that the chief correspondent of one of the greatest journals in the world would not leave a Presidential convention in the hour of birth to secure an irrelevant interview.

"If I can serve you, Mr. Harley, I shall be glad to do so," said Jimmy Grayson, somewhat dryly; "but I really do not see how I can."

"I am quite sure that you can," said Harley, with emphasis.

He listened a moment, but he did not hear any step in the hall nor the jingling of any telephone bell. Both Mr. and Mrs. Grayson waited expectantly, curious to see what he had in mind.

"If you were to be nominated for the Presidency, I should like to tell the _Gazette_ what your programme would be--that is, what sort of a campaign you would conduct," said Harley, deliberately.

Mr. Grayson laughed and glanced again at his wife.

"It is a wise rule for a man in public life never to answer hypothetical questions; of that I am sure, Mr. Harley," he said.

"I am sure of it, too," said Harley.

Jimmy Grayson bit his lip. It seemed to him that the correspondent would make a jest, and the hour was unfitting.

"I shall answer your question when I am nominated," he said.

"Then you will answer it now," said Harley.

Joseph A. Altsheler's The Candidate: A Political Romance opens with a swift, crowded scene: the convention hall still ringing with applause, Harley slipping from his desk to be the first to tell Grayson of his nomination. The prose moves with the urgency of a reporter, compressing days of political maneuvering into a few paragraphs. Yet the novel soon shifts to a different register entirely—a snowbound stop in a deserted mining town called Queen City. This abrupt change in setting and pace is one of the book's most striking features, and it rewards attention to how Altsheler handles tempo and tone.

From Convention Hall to Dead City

The opening chapter establishes a breathless, almost journalistic style. Harley's thoughts run quickly over events; the narrative summarizes the political landscape with broad strokes: 'the democracy had grown more democratic and the republic was more republican.' The language is efficient, focused on action and exposition. But when the party reaches Queen City, the prose slows and thickens. The guide's dry laugh and the description of the hotel register—'some fragments of paper fastened to a chain'—introduce a different kind of attention. Altsheler lets the scene breathe, allowing the reader to feel the 'weirdness' that Harley tries to shake off. The contrast between the two modes is deliberate: the political machinery is fast and abstract; the desert town is concrete and eerie.

Voice and Dialogue as Tonal Markers

The novel's dialogue shifts markedly between settings. In the convention hall, speech is formal and declarative; characters speak in complete sentences about strategy and reputation. But in Queen City, the guide takes over with a vernacular that is both comic and grounded: 'I'll take straight whiskey, an' after that I ain't partic'ler whether I get patty-de-foy-graw or hummin'-bird tongues.' His voice breaks the tension and provides a foil to the candidate's measured politeness. Altsheler uses these shifts in register to signal changes in mood. The guide's casualness, his habit of addressing the lady with a lemonade, and his practical jokes ('it'll be nice for the lady') create a texture that the political scenes lack. The novel's voice is not uniform; it adapts to its environment.

Pacing Through Physical Detail

Altsheler controls pace by alternating summary with sensory detail. The convention is rendered in compressed time: 'hour after hour' is summarized in a paragraph. But the arrival at Queen City unfolds in real time. The reader sees the snow thin, the buildings rise 'gaunt and grim,' the horses enter the dining-room, the party re-enter by the front door. Each step is narrated. The hotel register 'spoke so vividly of both life and death that the five stopped.' This pause—the characters stopping, the narrative stopping—is a deliberate deceleration. The storm rises outside, and inside the parlor they sit on saddles. The pacing mirrors the characters' own shift from urgency to forced stillness, and it gives the reader time to absorb the desolation.

Readers attentive to narrative craft will find in The Candidate a study in contrasts: the rapid-fire political opening versus the lingering, almost gothic interlude in Queen City. Altsheler's willingness to change pace and voice mid-novel suggests a flexibility beyond the typical political romance. The excerpts offer only a partial view, but they indicate a work that uses setting and dialogue to modulate tension. Approach the text with an ear for these shifts, and the novel's structure may reveal more than its plot alone.

Reading about the convention’s roar fading into that stark desert pause, I remembered sitting on a porch swing, the heat heavy, while a story hushed me into stillness. The Scarlet Feather — A Closer Reading once did that—made the loud world go quiet, leaving only the weight of a single, slow scene, like a held breath.

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