My Impressions of America — Story, Setting & Ideas
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For My Impressions of America — Story, Setting & Ideas, the stored edition analysis reports 29,378 words, 2 hr 8 min estimated reading time, and 4 detected text sections.
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There was something for every taste at Miss Gerry's beautiful house. I started by sitting next to my dear old friend Mr. Harry White, and a brilliant stranger Mr. Thomas Ridgeway; went on to play bridge, listened to a fluent pianist, and finished by dancing unknown steps to a wonderful band.
I am enunciating a platitude when I say the Americans are the finest dancers in the world.
III: BOSTON AND WORCESTER
DISCOMFORT OF TRAVEL IN AMERICA--STAGE FRIGHT IN BOSTON--BOSTONIANS INTELLIGENT AND COURTEOUS--JOHN SARGENT'S FRESCOES IN THE MUSEUM
On the 2nd of February, next morning, my friend and secretary Mr. Horton, myself and maid arrived in Boston City after a comfortable journey in a private compartment given to us by the courtesy of our guard. I do not wish to say anything disagreeable, but except for the beauty of the railway stations, the travelling arrangements in America are far inferior to ours. Sitting erect on revolving chairs in public, is a trial not lessened by an atmosphere in which you could force pineapples. We were greeted upon our arrival by reporters and cameras. It distresses me to stand blinking at the sun; as not being a beauty, I know that my nose will always be more of a limb than a feature, and trying to look pleasant results in my teeth coming out like tombstones in the morning papers.
Left to ourselves, we went to examine the Symphony Hall, where I was to speak that night. Arriving on the stage, I stood appalled. Feeling like a midge upon a dreadnought, I looked at the largest hall I have ever seen, except the one in London erected to the sacred memory of good Prince Albert.
"This is a practical joke of the worst kind!" I exclaimed to the gentlemen in attendance, "and not for a million dollars would I insult the Boston people by making myself ridiculous here to-night. I have not been in prison, or divorced; nor have I been to the North or South Pole, or climbed mountains and Matterhorns; I have nothing wonderful to tell about, and instead of one woman shouting, 'Give me back my money--I've had enough of you,' the whole audience will rise to their feet. This is not a hall, it's a railway tunnel! I cannot see the end of it: it's made for engines or aeroplanes"; and I trembled with rage and apprehension.
"It's a concert hall, madam, built for oratorios," they replied, pointing to a vast organ decorating the wall behind me.
"No doubt drums, trumpets, or opera singers could make themselves heard, but a shrimp of a female standing alone here would make the gods laugh, and nothing will induce me to speak!"
"But, dear madam, all Boston is coming to hear you."
Mr. Horton put his arm through mine, saying soothingly, "You are tired; let us go back to the hotel."
Visibly distressed, the gentlemen of the hall assured me that men of meagre voice had lectured many times and been perfectly heard; and as I walked away I saw through the corner of my eyes that my angelic secretary was nodding to assure them that I would keep my contract.
Alone in the taxi I burst into tears, asking what I had done to be so punished; I said that the front rows would be deafened, the centre bewildered, and the balconies indignant. He assured me I had a beautiful voice, an interesting personality and a plucky nature, etc., and that I must certainly go through with it as every seat had been sold.
I dressed with streaming eyes and a scarlet nose, and in snow and silence we drove to the Symphony Hall. The platform and auditorium were crowded, and blind with fear, I walked on to the front of the stage. My chairman, Mr. Arthur Hill (Corporation Counsel of the City of Boston), in introducing me spoke with the greatest ease, and I observed that every word he said was heard; but it was obvious from the perfection of his speech that he had addressed a thousand audiences before and this was only my second public appearance.
I stood up with my knees knocking together as I looked at the sea of expectant faces below me.
Heaven forefend that I should repeat what I said, but for one hour and twenty minutes I did the best I could; beginning with my pleasure at being in America, I continued with stories of my native land, and ended with an account of Windsor Castle and the Disarmament Conference.
Margot Asquith opens her account aboard the Carmania, declaring herself "not a natural tourist" and lacking curiosity—a disclaimer that belies the keen, often acerbic eye she turns on America. The book is structured as a sequence of city-by-city chapters, each recounting a lecture stop, from New York to Kansas City, with interludes in Canada. This episodic framework allows Asquith to shift rapidly between scenes: a chaotic hotel interview by candlelight, a silent audience in Providence, a front-page controversy with Lord Lee. The movement is restless, mirroring the pace of her tour, and the recurring image of trains—"abominable trains" that make even a perambulator seem a relief—anchors her journey in physical discomfort.
The Lecture Hall as Stage
Asquith repeatedly frames her lectures as performances shaped by the audience. In Providence, she notes that "the chairman and the audience make the speech," and she measures success by applause: speaking to people who "never clap is like hitting one's head against a wall." The empty chairs in that hall—"mostly empty chairs"—contrast with the enthusiastic crowds elsewhere. She records audience reactions with precision: a woman who protests they were too absorbed to clap, a reporter who asks about "Princess Mary's underwear and the 'flappers.'" These vignettes reveal a speaker attuned to the room's energy, and her frankness about stage fright in Boston underscores the vulnerability beneath her confident prose.
Encounters with the Press
Newspapers appear as both irritant and echo. Asquith describes reporters lacking in awe, and she is stung by a front-page headline: "LORD LEE DEFENDS AMERICAN YOUNG WOMEN / Mrs. Asquith's Charges Cruel, Ludicrous, and Untrue!" She quotes the charge directly, then rebuts it by insisting Lord Lee would change his opinion after ten days of travel. The episode illustrates her fraught relationship with American journalism, which she elsewhere calls sensational and headline-driven. Yet she also uses the press as a structural device: the New York Times clipping becomes a pivot point, allowing her to shift from personal anecdote to a broader argument about temperance and British politics.
Movement and Discomfort
The journey is marked by physical strain. Asquith complains of "abominable trains" and the inconvenience of Pullman cars, and she takes a midnight train to New York, arriving at six in the morning. These details accumulate into a portrait of travel as endurance. Yet movement also yields beauty: the sky "throbbing with carmine and gold" over a river "sentinelled on either side by high black buildings" evokes a Whistler painting. The contrast between discomfort and aesthetic pleasure recurs—Niagara's natural beauty marred by billboards, the relief of returning to New York as "home." Asquith's eye for such juxtapositions gives her impressions a sensory immediacy.
Voices and Silences
Asquith is attentive to the sound of America. She remarks that "American voices rarely musical," a blunt observation that echoes her broader critique of manners. In Providence, the audience's silence is a form of speech—apathy and lack of manners, as one lady admits. In Ottawa, she notes the "apathy and breeding" of the crowd. These acoustic details extend to her own voice: in Philadelphia, her English is not understood. The book is filled with quoted dialogue—sharp exchanges with reporters, a retort to a young woman who insists on Lloyd George—that gives the text a theatrical, almost scripted quality. Silence, too, becomes a character.
Asquith's impressions are deliberately partial—she offers no systematic survey, only the snap judgments of a traveler who admits her own limitations. Readers should approach the book as a performance in itself, a series of scenes shaped by the author's wit and irritability. The structure rewards attention to recurring motifs: trains, headlines, empty chairs, and the ever-present tension between British reserve and American openness. What emerges is less a portrait of a country than a portrait of a visitor in motion, composing her America from fragments of conversation and fleeting views.
Margot’s lectures left me thinking about how a place can feel both foreign and familiar, how a voice can carry across miles yet stay personal. I found that same quiet ache in Itinerary through Corsica by its rail, carriage & forest roads — Themes and Context, where every stop feels like a small confession. There’s something tender about seeing a country through one person’s unhurried eyes.
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