The Moonstone Tramp

"Early in July, soon after Thea's fifteenth birthday, a particularly disgusting sort of tramp came into Moonstone in an empty box car. Thea was sitting in the hammock in the front yard when he first crawled up to the town from the depot, carrying a bundle wrapped in dirty ticking under one arm, and under the other a wooden box with rusty screening nailed over one end. He had a thin, hungry face covered with black hair. It was just before supper-time when he came along, and the street smelled of fried potatoes and fried onions and coffee. Thea saw him sniffing the air greedily and walking slower and slower. He looked over the fence. She hoped he would not stop at their gate, for her mother never turned any one away, and this was the dirtiest and most utterly wretched-looking tramp she had ever seen. There was a terrible odor about him, too. She caught it even at that distance, and put her handkerchief to her nose. A moment later she was sorry, for she knew that he had noticed it. He looked away and shuffled a little faster.

A few days later Thea heard that the tramp had camped in an empty shack over on the east edge of town, beside the ravine, and was trying to give a miserable sort of show there. He told the boys who went to see what he was doing, that he had traveled with a circus. His bundle contained a filthy clown's suit, and his box held half a dozen rattle snakes.

Saturday night, when Thea went to the butcher shop to get the chickens for Sunday, she heard the whine of an accordion and saw a crowd before one of the saloons. There she found the tramp, his bony body grotesquely attired in the clown's suit, his face shaved and painted white,—the sweat trickling through the paint and washing it away, and his eyes wild and feverish. Pulling the accordion in and out seemed to be almost too great an effort for him, and he panted to the tune of "Marching through Georgia." After a considerable crowd had gathered, the tramp exhibited his box of snakes, announced that he would now pass the hat, and that when the onlookers had contributed the sum of one dollar, he would eat "one of these living reptiles." The crowd began to cough and murmur, and the saloon keeper rushed off for the marshal, who arrested the wretch for giving a show without a license and hurried him away to the calaboose.

The calaboose stood in a sunflower patch,—an old hut with a barred window and a padlock on the door. The tramp was utterly filthy and there was no way to give him a bath. The law made no provision to grub-stake vagrants, so after the constable had detained the tramp for twenty-four hours, he released him and told him to "get out of town, and get quick." The fellow's rattlesnakes had been killed by the saloon keeper. He hid in a box car in the freight yard, probably hoping to get a ride to the next station, but he was found and put out. After that he was seen no more. He had disappeared and left no trace except an ugly, stupid word, chalked on the black paint of the seventy-five-foot standpipe which was the reservoir for the Moonstone water-supply; the same word, in another tongue, that the French soldier shouted at Waterloo to the English officer who bade the Old Guard surrender; a comment on life which the defeated, along the hard roads of the world, sometimes bawl at the victorious.

A week after the tramp excitement had passed over, the city water began to smell and to taste. The Kronborgs had a well in their back yard and did not use city water, but they heard the complaints of their neighbors. At first people said that the town well was full of rotting cottonwood roots, but the engineer at the pumping-station convinced the mayor that the water left the well untainted. Mayors reason slowly, but, the well being eliminated, the official mind had to travel toward the standpipe—there was no other track for it to go in. The standpipe amply rewarded investigation. The tramp had got even with Moonstone. He had climbed the standpipe by the handholds and let himself down into seventy-five feet of cold water, with his shoes and hat and roll of ticking. The city council had a mild panic and passed a new ordinance about tramps. But the fever had already broken out, and several adults and half a dozen children died of it."
Willa Cather

The Song of the Lark

It was in the summer that one really lived

 “And it was Summer, beautiful Summer!” Those were the closing words of Thea’s favorite fairy tale, and she thought of them as she ran out into the world one Saturday morning in May, her music book under her arm. She was going to the Kohlers’ to take her lesson, but she was in no hurry.

It was in the summer that one really lived. Then all the little overcrowded houses were opened wide, and the wind blew through them with sweet, earthy smells of garden-planting. The town looked as if it had just been washed. People were out painting their fences. The cottonwood trees were a-flicker with sticky, yellow little leaves, and the feathery tamarisks were in pink bud. With the warm weather came freedom for everybody. People were dug up, as it were. The very old people, whom one had not seen all winter, came out and sunned themselves in the yard. The double windows were taken off the houses, the tormenting flannels in which children had been encased all winter were put away in boxes, and the youngsters felt a pleasure in the cool cotton things next their skin.

Willa Cather

Song of the Lark

Wintering in Gopher Prairie

 

"Fur coats, fur caps, fur mittens, overshoes buckling almost to the knees, gray knitted scarfs ten feet long, thick woolen socks, canvas jackets lined with fluffy yellow wool like the plumage of ducklings, moccasins, red flannel wristlets for the blazing chapped wrists of boys–these protections against winter were busily dug out of moth-ball-sprinkled drawers and tar-bags in closets, and all over town small boys were squealing, “Oh, there’s my mittens!” or “Look at my shoe-packs!” There is so sharp a division between the panting summer and the stinging winter of the Northern plains that they rediscovered with surprise and a feeling of heroism this armor of an Artic explorer.

Winter garments surpassed even personal gossip as the topic at parties. It was good form to ask, “Put on your heavies yet?” There were as many distinctions in wraps as in motor cars. The lesser sort appeared in yellow and black dogskin coats, but Kennicott was lordly in a long raccoon ulster and a new seal cap. When the snow was too deep for his motor he went off on country calls in a shiny, floral, steel- tipped cutter, only his ruddy nose and his cigar emerging from the fur.

Carol herself stirred Main Street by a loose coat of nutria. Her finger-tips loved the silken fur.

Her liveliest activity now was organizing outdoor sports in the motor-paralyzed town.

The automobile and bridge-whist had not only made more evident the social divisions in Gopher Prairie but they had also enfeebled the love of activity. It was so rich-looking to sit and drive–and so easy. Skiing and sliding were “stupid” and “old-fashioned.” In fact, the village longed for the ele- gance of city recreations almost as much as the cities longed for village sports; and Gopher Prairie took as much pride in neglecting coasting as St. Paul–or New York–in going coasting. Carol did inspire a successful skating-party in mid- November. Plover Lake glistened in clear sweeps of gray- green ice, ringing to the skates. On shore the ice-tipped reeds clattered in the wind, and oak twigs with stubborn last leaves hung against a milky sky. Harry Haydock did figure-eights, and Carol was certain that she had found the perfect life.

Sinclair Lewis

Main Street

Down on Rue Morgue Avenue

 Had the routine of our life at this place been known to the world, we should have been regarded as madmen — although, perhaps, as madmen of a harmless nature. Our seclusion was perfect. We admitted no visiters whomsoever. Indeed the locality of our retirement had been carefully kept a secret from my own former associates; and it had been many years since Dupin had ceased to know or be known in Paris. We existed within ourselves alone.

It was a freak of fancy in my friend (for what else shall I call it?) to be enamored of the Night for her own sake; and into this bizarrerie, as into all his others, I quietly fell; giving myself up to his wild whims with an utter abandon. The sable divinity would not herself dwell with us always; but we could counterfeit her presence. At the first dawn of the morning we closed all the massy shutters of our old building, lighting a couple of tapers which, strongly perfumed, threw out only the ghastliest and feeblest of rays. By the aid of these we then busied our souls in dreams — reading, writing, or conversing, until warned by the clock of the advent of the true Darkness. Then we sallied forth into the streets, arm in arm, continuing the topics of the day, or roaming far and wide until a late hour, seeking, amid the wild lights and shadows of the populous city, that infinity of mental excitement which quiet observation would afford.

Poe

"When I came home on leave in 1927 I was already half determined to throw up my job, and one sniff of English air decided me. I was not going back to be a part of that evil despotism. But I wanted much more than merely to escape from my job. For five years I had been part of an oppressive system, and it had left me with a bad conscience. Innumerable remembered faces—faces of prisoners in the dock, of men waiting in the condemned cells, of subordinates I had bullied and aged peasants I had snubbed, of servants and coolies I had hit with my fist in moments of rage (nearly everyone does these things in the East, at any rate occasionally: Orientals can be very provoking)—haunted me intolerably. I was conscious of an immense weight of guilt that I had got to expiate. I suppose that sounds exaggerated; but if you do for five years a job that you thoroughly disapprove of, you will probably feel the same. I had reduced everything to the simple theory that the oppressed are always right and the oppressors are always wrong: a mistaken theory, but the natural result of being one of the oppressors yourself. I felt that I had got to escape not merely from imperialism but from every form of man’s dominion over man. I wanted to submerge myself, to get right down among the oppressed, to be one of them and on their side against their tyrants. And, chiefly because I had had to think everything out in solitude, I had carried my hatred of oppression to extraordinary lengths. At that time failure seemed to me to be the only virtue. Every suspicion of self-advancement, even to ‘succeed’ in life to the extent of making a few hundreds a year, seemed to me spiritually ugly, a species of bullying.

It was in this way that my thoughts turned towards the English working class. It was the first time that I had ever been really aware of the working class, and to begin with it was only because they supplied an analogy. They were the symbolic victims of injustice, playing the same part in England as the Burmese played in Burma. In Burma the issue had been quite simple. The whites were up and the blacks were down, and therefore as a matter of course one’s sympathy was with the blacks. I now realized that there was no need to go as far as Burma to find tyranny and exploitation. Here in England, down under one’s feet, were the submerged working class, suffering miseries which in their different way were as bad as any an Oriental ever knows. The word ‘unemployment’ was on everyone’s lips. That was more or less new to me, after Burma, but the drivel which the middle classes were still talking (‘These unemployed are all unemployables’, etc., etc.) failed to deceive me. I often wonder whether that kind of stuff deceives even the fools who utter it. On the other hand I had at that time no interest in Socialism or any other economic theory. It seemed to me then—it sometimes seems to me now, for that matter—that economic injustice will stop the moment we want it to stop, and no sooner, and if we genuinely want it to stop the method adopted hardly matters."

George Orwell

The Road to Wigan Pier

Delirium Tremens - St. Mary's Revenge

 "In a morbid condition, dreams are often distinguished by their remarkably graphic, vivid, and extremely lifelike quality. The resulting picture is sometimes monstrous, but the setting and the whole process of the presentation sometimes happen to be so probable, and with details so subtle, unexpected, yet artistically consistent with the whole fullness of the picture, that even the dreamer himself would be unable to invent them in reality, though he were as much an artist as Pushkin or Turgenev. Such dreams, morbid dreams, are always long remembered and produce a strong impression on the disturbed and already excited organism of the person."

Fyodor Dostoevsky

Crime and Punishment

Summer Song

"Different strokes for different folks, they say now, and that's cool. So if I say summer to you, you get one set of private, personal images that are all the way different from mine. That's cool. But for me, summer is always going to mean running down the road to the Florida Market with change jingling in my pockets, the temperature in the gay nineties, my feet dressed in Keds. The word conjures an image of the GS&WM railroad tracks running into a perspective-point in the distance, burnished so white under the sun that when you closed your eyes you could still see them there in the dark, only blue instead of white.

But there was more to that summer than our trip across the river to look for Ray Brower, although that looms the largest. Sounds of The Fleetwoods singing, "Come Softly to Me" and Robin Luke singing "Susie Darlin" and Little Anthony popping the vocal on "I Ran All the Way Home." Were they all hits in that summer of 1960? Yes and no. Mostly yes. In the long purple evenings when rock and roll from WLAM blurred into night baseball from WCOU, time shifted. I think it was all 1960 and that the summer went on for a space of years, held magically intact in a web of sounds: the sweet hum of crickets, the machine-gun roar of playing-cards riffling against the spokes of some kid's bicycle as he pedaled home for a late supper of cold cuts and iced tea, the flat Texas voice of Buddy Knox singing "Come along and be my party doll, and I'll make love to you, to you," and the baseball announcer's voice mingling with the song and with the smell of fresh cut grass: "Count's three and two now. Whitey Ford leans over... shakes off the sign... now he's got it... Ford pauses... pitches... and there it goes! Williams got all of that one! Kiss it goodbye! RED SOX LEAD, THREE TO ONE!" Was Ted Williams still playing for the Red Sox in 1960? You bet your ass he was—.316 for my man Ted."

Stephen King

The Body