The Walking Delegate — Reading Notes

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Scott, Leroy, 1875-1929, Kinney, Margaret West, 1872-1952 [Illustrator], Kinney, Troy, 1871-1938 [Illustrator] Project Gutenberg 2012
New York (N.Y.) -- Fiction; Strikes and lockouts -- Fiction; Labor unions -- Fiction; Construction industry -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words: 95,297
Reading time: 415 min
Text sections: 11
Leroy Scott's 1905 novel follows union foreman Tom Keating and walking delegate Buck Foley in New York's construction industry, using the unfinished St. Etienne Hotel as a central image. The narrative shifts between high steel, back rooms, and street-level conflict, with recurring motifs of precarious footing and physical struggle.
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Driscoll was watching. In the year he had worked for Mr. Driscoll he had learned to be philosophic over that gentleman's gruffness: he didn't like the man, so why should he mind his words?

The men had fastened a sling about a twenty-five foot column and to this had attached the hook of the pulley. The seventy-foot arm of the crane now slowly rose and drew after it the column, dangling vertically. Directed by the signals of Tom's right hand the column sank with precision to its appointed place at one corner of the building. It was quickly fastened to the head of the column beneath it with four bolts. Later the riveters, whose hammers were now maintaining a terrific rattle two floors below, would replace the four bolts by four rows of rivets.

"Get the sling, Pete," ordered Tom.

At this a loosely-jointed man threw off his slouch hat, encircled the column with his arms, and mounted with little springs. Near its top he locked his legs around the column, and, thus supported and working with both hands, he unfastened the rope from the pulley hook and the column, and threw it below. He then stepped into the hook of the pulley, swung through the air to the flooring, picked up his hat and slapped it against his leg.

Sometimes Mr. Driscoll forgot his principle. While Pete was nonchalantly loosening the sling, leaning out over the street, nothing between him and the pavement but the grip of his legs, there was something very like a look of admiration in Mr. Driscoll's aggravating eyes. He moved over to Pete just as the latter was pulling on his slouch hat.

"I get a shiver every time I see a man do that," he said.

"That? That's nothin'," said Pete. "I'd a heap ruther do that than work down in the street. Down in the street, why, who knows when a brick's agoin' to fall on your head!"

"Um!" Mr. Driscoll remembered himself and his eyes clicked. He turned from Pete, and called to the young foreman: "I'll look at the riveters now."

"All right. Oh, Barry!"

There came toward Tom a little, stocky man, commonly known as "Rivet Head." Someone had noted the likeness of his cranium to a newly-hammered rivet, and the nickname had stuck.

"Get the other four columns up out of the street before setting any more," Tom ordered, and then walked with Mr. Driscoll to where the head of a ladder stuck up through the flooring.

Pete, with a sour look, watched Mr. Driscoll's round body awkwardly disappear down the ladder.

"Boys, if I was a preacher, I know how I'd run my business," he remarked.

"How, Pete?" queried one of the gang.

"I'd stand up Driscoll in the middle o' the road to hell, then knock off workin' forever. When they seen him standin' there every blamed sinner'd turn back with a yell an' stretch their legs for the other road."

"I wonder if Tom'll speak to him about them scabs," said another man, with a scowl at a couple of men working along the building's edge.

"That ain't Tom's business, Bill," answered Pete. "It's Rivet Head's. Tom don't like Driscoll any more'n the rest of us do, an' he ain't goin' to say any more to him'n he has to."

"Tom ought to call him down, anyhow," Bill declared.

"You let Foley do that," put in Jake Henderson, a big fellow with a stubbly face and a scar across his nose.

"An' let him peel off a little graft!" sneered Bill.

"Close yer face!" growled Jake.

"Come on there, boys, an' get that crane around!" shouted Barry.

Pete, Bill, and Jake sprang to the wooden lever that extended from the base of the ninety-foot mast; and they threw their weight against the bar, bending it as a bow. The crane slowly turned on its bearings to the desired position. Barry, the "pusher" (under foreman), waved his outstretched hand. The signalman, whose eyes had been alert for this movement, pulled a rope; a bell rang in the ears of an engineer, twenty-one floors below. The big boom slowly came down to a horizontal position, its outer end twenty feet clear of the building's edge. Another signal, and the heavy iron pulley began to descend to the street.

After the pulley had started to slide down its rope there was little for the men to do till it had climbed back up the rope with its burden of steel. Pete--who was usually addressed as "Pig Iron," perhaps for the reason that he claimed to be from Pittsburg--settled back at his ease among the gang, his back against a pile of columns, his legs stretched out.

"I've just picked out the apartment where I'm goin' to keep my celluloid collar when this here shanty's finished," he remarked. "Over in the corner there, lookin' down in both streets. I ain't goin' to do nothin' but wear kid gloves, an' lean out the windows an' spit on you roughnecks as you go by. An' my boodwar is goin' to have about seventeen push-buttons in it. Whenever I want anything I'll just push a button, an' up'll hot-foot a nigger with it in a suit o' clothes that's nothin' but shirt front. Then I'll kick the nigger, an' push another button. That's life, boys. An' I'll have plush chairs, carpets a foot thick, an iv'ry bath-tub----"

Pete's wandering gaze caught one man watching him with serious eyes, and he broke off. "Say, Johnson, wha' d'you suppose I want a bath-tub for?"

Johnson was an anomaly among the iron-workers--a man without a sense of humor. He never knew when his fellows were joking and when serious; he usually took them literally.

"To wash in," he answered.

Pete whistled. "Wash in it! Ain't you got no respect for the traditions o' the workin' class?"

"Hey, Pig Iron; talk English!" Bill demanded. "What's traditions?"

Pete looked puzzled, and a laugh passed about the men. Then his sang-froid returned. "Your traditions, Bill, is the things you'd try to forget about yourself if you had enough coin to move into a place like this."

He turned his lean face back on Johnson. "Don't you know what a bath-tub's for, Johnson? Don't you never read the papers? Well, here's how it is: The landlords come around wearin' about a sixteen-candle-power incandescent smile. They puts in marble bath-tubs all through all the houses. They're goin' to elevate us. The next day they come around again to see how we've improved. They throw up their hands, an' let out a few yells. There's them bath-tubs chuck full o' coal. We didn't know what they was for,--an' they was very handy for coal. That's us. It's down in the papers. An' here you, Johnson, you'd ruin our repitations by usin' the bath-tubs to bathe in."

The pulley toiled into view, dragging after it two columns. Johnson was saved the necessity of response. The men hurried to their places.

"O' course, Pig Iron, you'll be fixed all right when you've moved in here," began Bill, after the boom had reached out and the pulley had started spinning down for the other two columns. "But how about the rest of us fixers? Three seventy-five a day, when we get in only six or seven months a year, ain't makin' bankers out o' many of us."

"Only a few," admitted Pete; "an' them few ain't the whole cheese yet. Me, I can live on three seventy-five, but I don't see how you married men do."

"Especially with scabs stealin' your jobs," growled Bill, glancing again at the two men working along the building's edge.

"I told you Foley'd look after them," said Barry, who had joined the group for a moment. "It hustles most of us to keep up with the game," he went on, in answer to Pete's last remark. "Some of us don't. An' rents an' everything else goin' up. I don't know what we're goin' to do."

"That's easy," said Pete. "Get more money or live cheaper."

"How're we goin' to live cheaper?" demanded Bill.

"Yes, how?" seconded Barry.

"I'm for more money," declared Bill.

"Well, I reckon I wear the same size shoe," said Pete. "More money--that's me."

"And me," "and me," joined in the other men, except Johnson.

"It's about time we were gettin' more," Pete advanced. "The last two years the bosses have been doin' the genteel thing by their own pockets, all right."

"We've got to have more if our kids are goin' to know a couple o' facts more'n we do." Barry went over to the edge of the building and watched the tiny figures attaching the columns to the pulley hook.

"That's right," said Pete. "You don't stand no chance these days to climb up on top of a good job unless you ripped off a lot o' education when you was young an' riveted it on to your mem'ry. I heard a preacher once. He preached about education. He said if you wanted to get up anywhere you had to be educated like hell. He was right, too. If you left school when you was thirteen, why, by the time you're twenty-seven an' had a few drinks you ain't very likely to be just what I'd call a college on legs."

"Keating, he thinks we ought to go after more this spring," said Bill.

"I wonder what Foley thinks?" queried another of the men.

"If Tom's for a strike, why, Foley'll be again' it," one of the gang answered. "You can place your money on that color."

"Tom certainly did pour the hot shot into Foley at the meetin' last night," said Bill, grinning. "Grafter! He called Buck about thirteen diff'rent kind."

"If Keating's all right in his nut he'll not go round lookin' for a head-on collision with Buck Foley," asserted Jake, with a wise leer at Bill.

Bill answered by giving Jake his back. "Foley don't want no strike," he declared. "What's he want to strike for? He's gettin' his hand in the dough bag enough the way things is now."

"See here, the whole bunch o' you roughnecks give me a pain!" broke out Pete. "You shoot off your faces a lot when Buck's not around, but the imitation you give on meetin' nights of a collection o' mummies can't be beat. I ain't in love with Buck--not on your life! You can tell him so, Jake. But he certainly has done the union a lot o' good. Tom'd say that, too. An' you know how much Tom likes Foley. You fixers forget when you was workin' ten hours for two dollars, an' lickin' the boots o' the bosses to hold your jobs."

There was a short silence, then Johnson put forward cautiously: "I don't see the good o' strikin'."

Pete stared at him. "Why?" he demanded.

"Well, I've been in the business longer'n most o' you boys, an' I ain't found the bosses as bad as you make 'em out. When they're makin' more, they'll pay us more."

"Oh, you go tell that to a Sunday school!" snorted Pete. "D'you ever hear of a boss payin' more wages'n he had to? Not much! Them kind 'o bosses's all doin' business up in heaven. If we was actually earnin' twenty a day, d'you suppose we'd get a cent more'n three seventy-five till we'd licked the bosses. You do--hey? That shows the kind of a nut you've got. The boss 'ud buy a tutti-frutti yacht, or a few more automobiles, or mebbe a college or two, where they learn you how to wear your pants turned up; but all the extra money you'd get wouldn't pay for the soap used by a Dago. If ever a boss offers you an extra dollar before you've licked him, yell for a cop. He's crazy."

Pete's tirade completely flustered Johnson. "All the same, what I said's so."

Pete snorted again. "When d'you think you're livin'? You make me tired, Johnson. Go push yourself off the roof!"

The two last columns rose swinging above the chasm's brink, and there was no more talk for that afternoon. For the next hour the men were busy setting the last of the columns which were to support the twenty-second and twenty-third stories. Then they began setting in the cross beams, walking about on these five-inch beams (perhaps on one with the pavement straight beneath it) with the matter-of-fact steps of a man on the sidewalk--a circus act, lacking a safety net below, and lacking flourishes and kisses blown to a thrilled audience.

It was toward the latter part of the afternoon that a tall, angular man, in a black overcoat and a derby hat, stepped from the ladder on to the loose planking, glanced about and walked over to the gang of men about the south crane.

"Hello, Buck," they called out on sight of him.

"Hello, boys," he answered carelessly.

He stood, with hands in the pockets of his overcoat, smoking his cigar, watching the crane accurately swing a beam to its place, and a couple of men run along it and bolt it at each end to the columns. He had a face to hold one's look--lean and long: gray, quick eyes, set close together; high cheek bones, with the dull polish of bronze; a thin nose, with a vulturous droop; a wide tight mouth; a great bone of a chin;--a daring, incisive, masterful face.

When the beam had been bolted to its place, Barry, with a reluctance he tried to conceal, walked over to Foley.

"How's things?" asked the new-comer, rolling his cigar into the corner of his mouth and slipping his words out between barely parted lips.

Barry was the steward on the job,--the union's representative. "Two snakes come on the job this mornin'," he reported. "Them two over there,--that Squarehead an' that Guinea. I was goin' to write you a postal card about 'em to-night."

"Who put 'em to work?"

"They said Duffy, Driscoll's superintendent."

Foley grunted, and his eyes fastened thoughtfully on the two non-union men.

"When the boys seen they had no cards, o' course they said they wouldn't work with the scabs. But I said we'd stand 'em to-day, an' let you straighten it out to-morrow."

"We'll fix it now." The walking delegate, with deliberate steps, moved toward the two men, who were sitting astride an outside beam fitting in bolts.

He paused beside the Italian. "Clear out!" he ordered quietly. He did not take his hands from his pockets.

The Italian looked up, and without answer doggedly resumed twisting a nut.

Foley's eyes narrowed. His lips tightened upon his cigar. Suddenly his left hand gripped the head of a column and his right seized the shirt and coat collar of the Italian. He jerked the man outward, unseating him, though his legs clung about the beam, and held him over the street. The Italian let out a frightful yell, that the wind swept along under the clouds; and his wrench went flying from his hand. It struck close beside a mason on a scaffold seventeen stories below. The mason gave a jump, looked up and shook his fist.

"D'youse see the asphalt?" Foley demanded.

The man, whose down-hanging face was forced to see the pavement far below, with the little hats moving about over it, shrilled out his fear again.

"In about a minute youse'll be layin' there, as flat as a picture, if youse don't clear out!"

The man answered with a mixture of Italian, English, and yells; from which Foley gathered that he was willing to go, but preferred to gain the street by way of the ladders rather than by the direct route.

Foley jerked him back to his seat, and a pair of frantic arms gripped his legs. "Now chase yourself, youse scab! Or----" Foley knew how to swear.

The Italian rose tremblingly and stepped across to the flooring. He dropped limply to a seat on a prostrate column, and moaned into his hands.

Without glancing at him or at the workmen who had eyed this measure doubtfully, Foley moved over to the Swede and gripped him as he had the Italian. "Now youse, youse sneakin' Squarehead! Get out o' here, too!"

The Swede's right hand came up and laid hold of Foley's wrist with a grip that made the walking delegate start. The scab rose to his feet and stepped across to the planking. Foley was tall, but the Swede out-topped him by an inch.

"I hold ma yob, yes," growled the Swede, a sudden flame coming into his heavy eyes.

Foley had seen that look in a thousand scabs' eyes before. He knew its meaning. He drew back a pace, pulled his derby hat tightly down on his head and bit into his cigar, every lean muscle alert.

"Get off the job! Or I'll kick youse off!"

The Swede stepped forward, his shoulders hunched up. Foley crouched back; his narrowed gray eyes gleamed. The men in both gangs looked on from their places about the cranes and up on the beams in statued expectation. Barry and Pig Iron hurried up to Foley's support.

"Keep back!" he ordered sharply. They fell away from him.

A minute passed--the two men standing on the loosely-planked edge of a sheer precipice, watching each other with tense eyes. Suddenly a change began in the Swede; the spirit went out of him as the glow from a cooling rivet. His arms sank to his side, and he turned and fairly slunk over to where lay an old brown overcoat.

The men started with relief, then burst into a jeering laugh. Foley moved toward Barry, then paused and, with hands back in his pockets, watched the two scabs make their preparation to leave, trundling his cigar about with his thin prehensile lips. As they started down the ladder, the Swede sullen, the Italian still trembling, he walked over to them with sudden decision.

"Go on back to work," he ordered.

The two looked at him in surprised doubt.

"Go on!" He jerked his head toward the places they had left.

They hesitated; then the Swede lay off his old coat and started back to his place, and the Italian followed, his fearful eyes on the walking delegate.

Foley rejoined Barry. "I'm goin' to settle this thing with Driscoll," he said to the pusher, loudly, answering the amazed questioning he saw in the eyes of all the men. "I'm goin' to settle the scab question for good with him. Let them two snakes work till youse hear from me."

He paused, then asked abruptly: "Where's Keating?"

"Down with the riveters."

"So-long, boys," he called to Barry's gang; and at the head of the ladder he gestured a farewell to the gang about the other crane. Then his long body sank through the flooring.

At the bottom of the thirty-foot ladder he paused and looked around through the maze of beams and columns. This floor was not boarded, as was the one he had just left. Here and there were little platforms on which stood small portable forges, a man at each turning the fan and stirring the rivets among the red coals; and here and there were groups of three men, driving home the rivets. At regular intervals each heater would take a white rivet from his forge, toss it from his tongs sizzling through the air to a man twenty feet away, who would deftly catch it in a tin can. This man would seize the glowing bit of steel with a pair of pincers, strike it smartly against a beam, at which off would go a spray of sparks like an exploding rocket, and then thrust it through its hole. Immediately the terrific throbbing of a pneumatic hammer, held hard against the rivet by another man, would clinch it to its destiny of clinging with all its might. And then, flashing through the gray air like a meteor at twilight, would come another sparkling rivet.

And on all sides, beyond the workmen calmly playing at catch with white-hot steel, and beyond the black crosswork of beams and columns, Foley could see great stretches of housetops that in sullen rivalry strove to overmatch the dinginess of the sky.

Foley caught sight of Tom with a riveting gang at the southeast corner of the building, and he started toward him, walking over the five-inch beams with a practiced step, and now and then throwing a word at some of the men he passed, and glancing casually down at the workmen putting in the concrete flooring three stories below. Tom had seen him coming, and had turned his back upon his approach.

"H'are you, Buck!" shouted one of the gang.

The St. Etienne Hotel, still only a steel framework, dominates the opening of Leroy Scott's The Walking Delegate. Mr. Driscoll, a contractor, stands on its loosely-planked twenty-first story, watching his men work while a raw February wind pushes through his office-tendered flesh. The building is not yet a hotel—it is a black pier supporting the grimy arch of heaven, a structure defined by gaps his men are wont to leap. This unfinished tower becomes the novel's central image: a place where labor, capital, and violence meet, and where every step requires care.

High Steel and Low Rooms

The novel moves between two kinds of space: the exposed heights of construction and the enclosed interiors where deals are struck. The opening chapter places us on the twenty-first story, where the wind scrapes under dirty clouds and the view is a grid of roofs, water, and more roofs. Later scenes shift to Foley's 'office'—likely a back room—and to the cramped quarters where men like Nels Petersen live. The contrast is not merely scenic: the high steel demands physical nerve, while the low rooms test moral nerve. Scott uses these settings to frame the action, so that a fall from a beam and a fall from power are parallel risks.

The Walking Delegate as a Figure of Motion

The title character, Buck Foley, is defined by his role as a walking delegate—a union official who moves between job sites, men, and bosses. The excerpts show him orchestrating violence and negotiation alike, never static. In one scene, he directs a struggle from the sidelines, calling out orders while others grapple. His authority depends on being in motion, on appearing where he is needed. The novel's structure mirrors this: chapters shift rapidly between characters and locations, from the hotel framework to the streets to private conferences. Foley's mobility is both his strength and his vulnerability, as the narrative keeps him always within reach of his enemies.

Struggle as a Recurring Pattern

Physical combat recurs throughout the excerpts, often described in precise, mechanical detail. The fight between Petersen, Smoky, and Kaffir Bill is a tangle of arms, legs, and grunts, with each combatant trying to gain a positional advantage. Tom Keating's struggle with Jake over a revolver is equally static and desperate: 'like that of two bulls which stand braced, with locked horns.' These fights are not just action set-pieces; they echo the larger conflicts of the strike and the union election. Scott renders each grapple as a deadlock that must be broken by a shift in leverage, whether physical or political. The wounded man crawling for the gun, leaving a moist trail on the bare floor, is a reminder that every struggle has consequences that stain the ground.

The Unfinished Building as a Character

The St. Etienne Hotel is more than a setting; it is a presence that shapes the novel's language and tension. It is described as 'bulky and garishly magnificent' in potential, but in the present it is only a skeleton. The men work on loose planks, leaping gaps, exposed to the wind. This unfinished state mirrors the plot's central instability: the union election, the strike, the alliances—all are in progress, none resolved. The building will eventually be a hotel, but the novel never shows it finished. Instead, it remains a framework on which the characters act out their conflicts. Scott uses the building to give the narrative a vertical dimension, with power and danger distributed across its incomplete floors.

Readers should attend to the novel's spatial logic: who stands above, who below, who moves and who is pinned. The unfinished hotel is not a backdrop but an active element in every scene set upon it. Scott's prose is lean and physical, favoring action over interior monologue. The excerpts suggest a work that earns its conflicts through concrete detail rather than abstract argument.

The rain drummed on the windows while I followed Tom’s precarious steps across the unfinished hotel's steel beams, the city a blurred threat below. That sense of faith tested by shaky ground lingered long after I closed it, leading me later that week to a quieter story about belief’s private reckonings, They Looked and Loved; Or, Won by Faith — Text and Context, where the footing was emotional, not iron.

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