Other Main-Travelled Roads.

by Hamlin Garland.

PREFACE

Nearly all the stories in this volume were written at the same time and under the same impulse as those which compose its companion volume, _Main-Travelled Roads_--and the entire series was the result of a summer-vacation visit to my old home in Iowa, to my father's farm in Dakota, and, last of all, to my birthplace in Wisconsin. This happened in 1887. I was living at the time in Boston, and had not seen the West for several years, and my return to the scenes of my boyhood started me upon a series of stories delineative of farm and village life as I knew it and had lived it. I wrote busily during the two years that followed, and in this revised definitive edition of _Main-Travelled Roads_ and its companion volume, _Other Main-Travelled Roads_ (compiled from other volumes which now go out of print), the reader will find all of the short stories which came from my pen between 1887 and 1889.

It remains to say that, though conditions have changed somewhat since that time, yet for the hired man and the renter farm life in the West is still a stern round of drudgery. My pages present it--not as the summer boarder or the young lady novelist sees it--but as the working farmer endures it.

Not all the scenes of _Other Main-Travelled Roads_ are of farm life, though rural subjects predominate; and the village life touched upon will be found less forbidding in color. In this I am persuaded my view is sound; for, no matter how hard the villager works, he is not lonely.

He suffers in company with his fellows. So much may be called a gain.

Then, too, I admit youth and love are able to transform a bleak prairie town into a poem, and to make of a barbed-wire lane a highway of romance.

HAMLIN GARLAND.

WILLIAM BACON'S MAN

I

The yellow March sun lay powerfully on the bare Iowa prairie, where the ploughed fields were already turning warm and brown, and only here and there in a corner or on the north side of the fence did the sullen drifts remain, and they were so dark and low that they hardly appeared to break the mellow brown of the fields.

There pa.s.sed also an occasional flock of geese, cheerful harbingers of spring, and the prairie-chickens had set up their morning symphony, wide-swelling, wonderful with its prophecy of the new birth of gra.s.s and grain and the springing life of all breathing things. The crow pa.s.sed now and then, uttering his resonant croak, but the crane had not yet sent forth his bugle note.

Lyman Gilman rested on his axe-helve at the woodpile of Farmer Bacon to listen to the music around him. In a vague way he was powerfully moved by it. He heard the hens singing their weird, raucous, monotonous song, and saw them burrowing in the dry chip-dust near him. He saw the young colts and cattle frisking in the sunny s.p.a.ce around the straw-stacks, absorbed through his bare arms and uncovered head the heat of the sun, and felt the soft wooing of the air so deeply that he broke into an unwonted exclamation:--

"Glory! we'll be seeding by Friday, sure."

This short and disappointing soliloquy was, after all, an expression of deep emotion. To the Western farmer the very word "seeding" is a poem.

And these few words, coming from Lyman Gilman, meant more and expressed more than many a large and ambitious springtime song.

But the glory of all the slumbrous landscape, the stately beauty of the sky with its ma.s.ses of fleecy vapor, were swept away by the sound of a girl's voice humming, "Come to the Saviour," while she bustled about the kitchen near by. The windows were open. Ah! what suggestion to these dwellers in a rigorous climate was in the first unsealing of the windows! How sweet it was to the pale and weary women after their long imprisonment!

As Lyman sat down on his maple log to hear better, a plump face appeared at the window, and a clear, girl-voice said:--

"Smell anything, Lime?"

He snuffed the air. "Cookies, by the great horn spoons!" he yelled, leaping up. "Bring me some, an' see me eat; it'll do ye good."

"Come an' get 'm," laughed the face at the window.

"Oh, it's nicer out here, Merry Etty. What's the rush? Bring me out some, an' set down on this log."

With a nod Marietta disappeared, and soon came out with a plate of cookies in one hand and a cup of milk in the other.

"Poor little man, he's all tired out, ain't he?"

Lime, taking the cue, collapsed in a heap, and said feebly, "Bread, bread!"

"Won't milk an' cookies do as well?"

He brushed off the log and motioned her to sit down beside him, but she hesitated a little and colored a little.

"Oh, Lime, s'pose somebody should see us?"

"Let 'em. What in thunder do we care? Sit down an' gimme a holt o' them cakes. I'm just about done up. I couldn't 'a' stood it another minute."

She sat down beside him with a laugh and a pretty blush. She was in her ap.r.o.n, and the sleeves of her dress were rolled to her elbows, displaying the strong, round arms. Wholesome and sweet she looked and smelled, the scent of the cooking round her. Lyman munched a couple of the cookies and gulped a pint of milk before he spoke.

"Whadda we care who sees us sittin' side b' side? Ain't we goin' t' be married soon?"

"Oh, them cookies in the oven!" she shrieked, leaping up and running to the house. She looked back as she reached the kitchen door, however, and smiled with a flushed face. Lime slapped his knee and roared with laughter at his bold stroke.

"Ho! ho!" he laughed. "Didn't I do it slick? Ain't nothin' green in _my_ eye, I guess." In an intense and pleasurable abstraction he finished the cookies and the milk. Then he yelled:--

"Hey! Merry--Merry Etty!"

"Whadda ye want?" sang the girl from the window, her face still rosy with confusion.

"Come out here and git these things."

The girl shook her head, with a laugh.

"Come out an' git 'm, 'r, by jingo, I'll throw 'em at ye! Come on, now!"

The girl looked at the huge, handsome fellow, the sun falling on his golden hair and beard, and came slowly out to him--came creeping along with her hand outstretched for the plate which Lime, with a laugh in his sunny blue eyes, extended at the full length of his bare arm. The girl made a s.n.a.t.c.h at it, but his left hand caught her by the wrist, and away went cup and plate as he drew her to him and kissed her in spite of her struggles.

"My! ain't you strong!" she said, half ruefully and half admiringly, as she shrugged her shoulders. "If you'd use a little more o' _that_ choppin' wood, Dad wouldn't 'a' lost s' much money by yeh."

Lime grew grave.

"There's the hog in the fence, Merry; what's yer dad goin' t' say--"

"About what?"

"About our gitt'n married this spring."

"I guess you'd better find out what _I'm_ a-goin' t' say, Lime Gilman, 'fore you pitch into Dad."

"I _know_ what you're a-goin' t' say."

"No, y' don't."

"Yes, but I _do_, though."

"Well, ask me, and see, if you think you're so smart. Jest as like 's not, you'll slip up."