The Trufflers: A Story

In Short

Set in the Greenwich Village of the 1910s, this story follows a circle of struggling artists, playwrights, and bohemians as they navigate the clash between conventional morality and the "new" radicalism of the era. At its center is Peter Ericson Mann, a fading playwright who attempts to exploit the life of a young woman named Sue Wilde for his own professional gain. By contrasting Peter’s performative ego with the quiet, earnest search for genuine connection among his peers, the narrative offers a sharp, enduring critique of vanity and the masks people wear.

The Story

Peter Ericson Mann is a playwright whose career is stalling. Desperate for a hit, he becomes obsessed with the "modern bachelor girl" as a subject, specifically fixating on Sue Wilde, a young woman living in the Village who embraces bohemian ideals. Peter’s envy and confusion culminate in a scheme to turn her life—and a play written by his associate, Zanin—into a commercial success. He attempts to manipulate those around him, including his friend Hy Lowe and the observant, thoughtful Henry Bates, known as "The Worm."

The plot moves toward the creation of a "nature film" company. Peter and Zanin, driven by ego and a desire for fame, clash violently over the direction of their project, their professional rivalry mirroring their personal emptiness. While Peter remains trapped in a cycle of failed romances and self-serving theatrics, Sue begins to realize that the radical, "free" lifestyle of the Village is often a hollow pose. She finds herself increasingly drawn to the steady, grounded nature of Henry Bates, who looks past the surface-level rebellion to see the human being beneath.

As the film debuts, the artifice of the industry is laid bare. Peter successfully claims credit for the play’s triumph through staged applause and cunning publicity, yet he remains spiritually bankrupt, unable to form a real connection with anyone. Meanwhile, Hy Lowe—the quintessential city bachelor who prides himself on avoiding responsibility—finds his life upended when he faces unemployment and the reality of his own lack of direction.

The story concludes with a shift in perspective. Henry Bates and Sue Wilde, having moved past the performative "Truffler" culture of the Village—a term Peter uses to describe those who prioritize enjoyment over duty—find a new foundation for their relationship. While Peter continues to chase fame and validation, convinced of his own importance, Henry and Sue choose to build a life together, grounded in the very stability and commitment that the "Village" crowd once mocked. Peter remains in his echo chamber, the "Truffler" he described but never truly understood, while Sue and Henry find a quiet, lasting peace in their own shared home.

How It Unfolds

The struggle for inspiration Peter sits in his Washington Square studio, unable to write, frustrated by his own fading genius and the changing social norms of his time. He views the "modern" woman with both fear and fascination, unable to reconcile his desire for traditional stability with his ambition for fame.

The anonymous interference Driven by professional desperation and personal jealousy, Peter sends an anonymous letter to Sue’s father, hoping to expose her life in the Village. This act of spite backfires, deepening his obsession and drawing him further into a web of his own machinations.

The film production takes hold Peter, Zanin, and Sue join forces to create a "nature film," blending artistic ambition with commercial greed. The venture leads to physical and emotional confrontations, highlighting the fragility of their supposed artistic freedom.

The triumph of artifice The film opens to wild, manufactured success, cementing Peter’s professional standing. Behind the scenes, the chaos of the production and the disintegration of his relationships reveal the hollowness of his victory.

A new understanding Henry Bates reflects on the nature of the "Truffler," realizing that the label applies not to the free-spirited Sue, but to Peter himself. The story ends with Henry and Sue choosing a life of mutual commitment, leaving the performative world of the Village behind.

The People

Peter Ericson Mann is a playwright whose ego governs his every move. Driven by a fear of irrelevance, he manipulates those around him to secure fame. He ends the story as he began: self-absorbed, wealthy in ego but poor in character.

Sue Wilde begins as an independent spirit navigating the bohemian life. She is a target of Peter’s exploitation but possesses an underlying sincerity that allows her to recognize the emptiness of the "radical" lifestyle, eventually choosing a more grounded path with Henry.

Henry Bates (The Worm) serves as the story’s moral anchor. Initially an observer, he realizes that his cynical detachment is a form of cowardice. His growth comes from stepping out of the shadows to offer the commitment and stability that Peter cannot comprehend.

Hy Lowe acts as a foil to the more introspective characters. As a self-proclaimed bachelor who avoids responsibility, his arc is one of realization; the loss of his livelihood and his entanglement with others force him to confront the limits of his selfish freedom.

In Its Own Voice

Regarding the performative nature of the Village, the author writes:

“You know--I don't want to knock; got too much respect for the real idealists here in the Village--but you fellows do know how you get to anticipating that stuff and discounting it before it comes.”

Describing the underlying hollowness of the artistic life, the author observes:

“People take you for granted; assume your greatness without exactly knowing why you are great.”

Reflecting on Peter's own lack of self-awareness, the author notes:

“He has described himself. That little analysis is a picture of his own life these past years.”

What It's Really About

At its heart, the book is an argument against the dangers of "self-expression" when that expression is untethered from responsibility. It questions whether the search for personal freedom is a path to enlightenment or merely a mask for hedonism. The author suggests that the "modern" desire to live without constraints often results in a form of shallow, performative existence that leaves the individual more isolated than before. By exposing the vanity of the professional artist and the social posturing of the Greenwich Village set, the narrative posits that true substance is found in the willingness to build, to commit, and to serve something—or someone—other than one's own ego.

Why Read It Today

Readers who enjoy a sharp, cynical look at the literary life—reminiscent of the atmosphere of early 20th-century New York—will find much to admire here. The narrative feels remarkably modern in its portrayal of the "performer," the person who curates an identity for public consumption while remaining fundamentally hollow. It is a portrait of people who are exhausted by the effort of pretending to be free.

The book is not without its challenges; the period prose can be dense, and the attitudes toward gender and "modernity" are very much products of 1916. You may find the dialogue occasionally stilted, and the characters’ self-seriousness can be grating. However, the author’s keen eye for the absurdity of the ego makes it a rewarding read. What stays with you is the quiet tragedy of Peter Mann—a man so busy trying to be a "genius" that he forgets how to be a person. If you are interested in the history of the bohemian myth and why people so often mistake selfishness for authenticity, this book provides a biting, honest, and ultimately warm-hearted correction to that common delusion.