Prairie Gold

Rotating the Crops—Corn Isn't Iowa's Only Product

Prairie Gold

By

Iowa Authors and Artists

Jacket and Frontispiece by

J. N. Darling

Decorations by

Harriet Macy
and
Louise Orwig

The Reilly & Britton Co.
Chicago

Copyright, 1917
By
The Reilly & Britton Co.

To those whose tender, cooling fingers bind up the bleeding wounds of men who go forth to war:

To those who comfort and sustain the widows and the orphans:

To all those swiftly flying carriers of warmth and love and cheer who constitute the workers in that greatest of all humanitarian organizations:

The American Red Cross

Preface

This volume, from the land of the singing corn, is offered to the public by the Iowa Press and Authors' Club as the first bit of co-operative work done by Iowa writers. The anticipated needs of the brave men who have given themselves as a human sacrifice to the establishment of a world-wide democracy, make a strong heart appeal, and the members have come together in spirit to do their bit toward the relief of suffering.

Many members of the club could not be reached during the short time the book was in the making; others doing work every day on schedule time had no opportunity to prepare manuscript for this publication, while still others preferred helping in ways other than with their pens.

The whole is a work of love and representative of the comradeship, the spirit of human sympathy, and the pride of state, existent in the hearts of Iowa authors, artists, playwrights, poets, editors and journalists.

Officers of the club for 1917-18:

• Hamlin Garland, Honorary President.
• Alice C. Weitz, President.
• J. Edward Kirbye, First Vice President.
• Nellie Gregg Tomlinson, Second Vice President.
• Esse V. Hathaway, Secretary.
• Reuben F. Place, Treasurer.
• Editorial Board:
• Johnson Brigham.
• Lewis Worthington Smith.
• Helen Cowles LeCron.

Index

List of Authors

List of Illustrations

believe in Iowa, land of limitless prairies, with rolling hills and fertile valleys, with winding and widening streams, with bounteous crops and fruit-laden trees, yielding to man their wealth and health.

I believe in Iowa, land of golden grains, whose harvests fill the granaries of the nation, making it opulent with the power of earth's fruitfulness.

I believe in Iowa, rich in her men and women of power and might. I believe in her authors and educators, her statesmen and ministers, whose intellectual and moral contribution is one of the mainstays of the republic—true in the hour of danger and steadfast in the hour of triumph.

I believe in Iowa, magnet and meeting place of all nations, fused into a noble unity, Americans all, blended into a free people. I believe in her stalwart sons, her winsome women, in her colleges and churches, in her institutions of philanthropy and mercy, in her press, the voice and instructor of her common mind and will, in her leadership and destiny, in the magnificence of her opportunity and in the fine responsiveness of her citizens to the call of every higher obligation.

I believe in our commonwealth, yet young, and in the process of making, palpitant with energy and faring forth with high hope and swift step; and I covenant with the God of my fathers to give myself in service, mind and money, hand and heart, to explore and develop her physical, intellectual and moral resources, to sing her praises truthfully, to keep her politics pure, her ideals high, and to make better and better her schools and churches, her lands and homes, and to make her in fact what she is by divine right, the queen of all the commonwealths.

—J. Edward Kirbye.

The Wind in the Corn

By Alice C. Weitz

here stands recorded in the Book of Time a fascinating legend of the Sun, whose golden throne allured but for the day; and when the day was ended in great glee he hurried forth beyond the broad horizon toward a secret trysting place. All his impassioned love, it is said, he poured upon the idol of his heart, the boundless plains. Long years were they alone, the Rolling Prairie and the Golden Sun, until at last they found themselves spied upon by curious Man, who, captivated by the beauty of the two, remained and blessed the tryst thereby.

Here Sun and Soil and Man wrought out a work of art; and here Dame Nature smiled as was her wont, and brought rich gifts and blessings manifold. In sweet content Man's children toiled and wrought until upon the bosom of the sunlit plains there nestled close great fields and prosperous abodes.

And since that time a ceaseless music steals throughout the land in wooing cadences, now crying out in weird and wandering tones, now softly soothing in sweet rhythmic chant.

'Tis the music of the wind within the corn—Iowa's Prairie Gold.

It sang itself into the lonely heart of the pioneer with its promise of golden harvest; it became the cradle song of restless souls that even in their youth longed but to free themselves in verse and song; and down through all the prosperous years it steals like a sweet sustaining accompaniment to the countless activities which have builded a great commonwealth.

He who has stood upon the hilltops in his youthful days and listened to the soft, alluring rustle of the wind-swayed leaves retains the music ever in his soul. It draws upon the heart-strings of the absent one, and like the constant singing of the sea insistent calls upon him to return.

Today in spirit come we all to Time's sweet trysting place with story song and jest, to add sweet comfort to the braver ones whose paths lie wide before them, and whose return lies not within our willing. God grant that even in their pains their troubled souls may yet to music be attuned, may know again the solace of that sweetly floating song, the rustle of the wind within the corn.

The Graven Image

By Hamlin Garland

Roger Barnes, son of an elder in the little Iowa Society of Friends and himself "a man of weight," found his faith sorely tried by the death of his young wife, and as the weeks passed without a perceptible lightening of his face, the Meeting came at last to consider his deep grief unseemly and rebellious. He remained deaf to all words of comfort and occupied his Sabbath seat in moody silence, his heart closed to the Spirit, his thought bitter toward life and forgetful of God's grace.

The admonition of the elders at last roused him to defense. "Why should I not ache?" he demanded. "I have been smitten of the rod." And when old Nicholas Asche again reproved him before the assembly, he arose, went out, refusing to return, and several of his friends were greatly troubled, for it was known that for a long time he had been increasingly impatient of the "Discipline" and on terms of undue intimacy with Orrin Bailey, one of "the world's people."

As the spring came on his passionate grief calmed, but a new consideration came, one which troubled him more and more, until at last he opened his heart to his friend.

"Thee knew my wife, friend Bailey. Thee knew her loveliness? Well, now she is gone, and does thee know I am utterly disconsolate, for I have no portrait of her. No image, no shadow of her, exists and I fear I shall lose the memory of her sweet face. Already it is growing dim in my mind. What can I do?"

This was in the days when even daguerreotypes were rare, and Bailey, who had never seen a painted portrait and could not conceive of an artist skillful enough to depict an object he had never known, was not able to advise, and the grieving man's fear remained unassuaged till, some months later, on a trip to Decorah, he came by accident past the gate of a newly established stone-cutter's yard, and there, for the first time in his life, he saw human figures cut enduringly in marble. Cunning cherubs and angels with calm faces and graceful, half-furled wings surrounded granite soldiers standing stiff and straight.

Roger was amazed. The sculptor's magic was an astonishment to him. He had never seen the like, and as he looked upon these figures there came into his sad eyes the light of a startling purpose.

"I will have this workman cut for me an image of my dear Rachel," he resolved and, following this impulse, approached the stone-cutter. "Friend," he said abruptly, "I would have thee chisel for me the form of my dead wife."

Although an aspiring and self-confident artist, Conrad Heffnew was, nevertheless, a little shaken as he drew from his visitor the conditions of this commission. "The lack of even a small drawing or portrait of the subject is discouraging," he said. "If she had a sister, now," he added slowly, "someone about her build, to wear her clothes, I might be able to do the figure."

"She has a sister, Ruth," Roger eagerly answered. "She is slimmer than Rachel was, but her cast of features is much the same. I am sure she will help thee, for she loved Rachel. I will bring her down to see thee."

"Very well," replied Conrad. "If she will sit for me I will see what I can do for you."

Resting upon this arrangement Roger drove away to his prairie home lighter of heart than he had been for many weeks. "Truly an artist is of use in the world after all—one to be honored," he thought.

To Ruth he told the story and expressed his wish, but enjoined secrecy. "Thee knows how some of our elders would pother about this," he added. "Let us conspire together, therefore, so that thee may make the trip to the city without exciting undue comment."

Ruth was quite willing to adventure, for the town far down on the shining river was a lure to her; but the road was long and after a great deal of thought Roger decided to ask the young stone-cutter to come first to Hesper, which he could do without arousing suspicion. "We will contrive to see him afterward in his shop if necessary," he ended decisively, for he could not bring himself to lead Ruth into the society of the world's people to serve as a model, an act which might be mistaken as a wrong-doing.

The sculptor, anticipating a goodly fee (as well as an increase in orders for grave-stones), readily enough consented to visit Hesper, but only to study his problem. He immediately insisted on Ruth's coming to his studio. "I can't do all the work here—I want to make this my best piece," he remarked in explanation. "It is hard to remember the details of face and form. It may require several sittings."

Thereafter, as often as he dared, Roger called at his father-in-law's house for Ruth and drove her down to the sculptor's shop, and although there were many smiling comments on these trips, no one knew their real purpose.

Slowly the figure grew from a harsh marble block into an ever more appealing female figure, and Roger loved to stand beside the artist while he chipped the stone, for Conrad was in very truth a sculptor, a stalwart fist at the chisel, not a weak modeller in clay. He often hummed a tune as he swung his mall; and so, to the lively beat of worldly melodies, the fair form of the Quaker maid emerged from its flinty covering.

One day in early autumn, conditions favoring, Ruth went to town with Roger for the fifth time and ventured timidly into the stone-cutter's yard to gaze with awe upon the nearly-finished snow-white image, and to the artist's skill gave breathless words of praise. "Truly thee is a magician," she said. "Thee has made a beautiful bonnet out of marble and likewise slippers," she added, looking down to where one small foot in its square-toed shoe peeped from the plain skirt. "Thee does right to make it lovely, for my sister was most comely," she ended with a touch of pride.

"My model was also comely," replied Conrad with a glance which made her flush with pleasure.

During all these months Roger had maintained such careful logic in his comings and goings that only Bailey and one or two of his most intimate friends had even a suspicion of what was happening, though many predicted that he and Ruth would wed; for it was known that she had taken his little son to her father's house and was caring for him. Nevertheless Roger well knew that a struggle was preparing for him, and that some of the elders would be shocked by the audacity of his plan, but no fear of man or church could avail against the force of his resolution.

On this final visit, even as they both stood beside him, Conrad threw down his mallet saying: "I can do no more. It is finished," and turning to Ruth, "What do you think of it?" he demanded.

She, gazing upon the finished statue and seeing only her sister in it, said: "I think it beautiful."

And Roger, deeply wrapt in worship of the sculptured face, said: "Thee has done wonders. The sweet smile of my beloved is fixed in marble forever, and my heart is filled with gratitude to thee." All his training was against the graven art, but he gave his hand to the sculptor. "Friend Conrad, I thank thee; thee has made me very happy. Truly thee has caused this cold marble to assume the very image of my Rachel."

As Roger turned again to gaze upon the statue Conrad touched Ruth upon the arm and drew her aside, leaving the bereaved man alone with his memories.

It was all so wonderful, so moving to Roger that he remained before it a long time, absorbed, marveling, exultant. Safe against the years he seemed now, and yet, as he gazed, his pleasure grew into a pain, so vividly did the chiseled stone bring back the grace he had known. Close upon the exultant thought: "Now she can never fade from my memory," came the reflection that his little son would never know how like to his mother this image was. "He will know only the cold marble—his mother will not even be a memory."

One sixth day morning in the eighth month word was brought to Nicholas Asche, leader of the Meeting, that Roger Barnes was about to erect a graven image among the low headstones of the burial grounds, and in amazement and indignation the old man hastened that way.

He found his two sons and several others of the congregation already gathered, gazing with surprise and a touch of awe upon the statue which Conrad and young Bailey had already securely based beneath a graceful young oak in the very centre of his family plot. Gleaming, life-size, it rose above the modest records of the other graves.

As the stern old elder rode up, the throng of onlookers meekly gave way for him. He halted only when he had come so near the offending monument that he could touch it. For a full minute he regarded it with eyes whose anger lit the shadow of his broad-brim, glaring with ever-increasing resentment as he came fully to realize what it meant to have a tall statue thus set up to dwarf the lowly records of its neighbors. It seemed at once impious and rebellious.

Harshly he broke forth: "What has come to thee, Roger Barnes, that thee has broken all the rules of the Discipline relative to burial? Thee well knows our laws. No one could convey a greater insult to the elders, to the dead beneath these other stones, than thee has done by this act. Lay that impious object low or I will fetch thee before the Meeting."

"I will not," replied the young man. "I was even thinking of exalting it still more by putting beneath it another foot of granite block."

"Thee knows full well that by regulation no gravestone can be more than three hands high," Nicholas stormed.

"I know that well, but this is not a gravestone," Roger retorted. "It is a work of art. It is at once a portrait and a thing of beauty."

"That is but paltering. Thee knows well it is at once a forbidden thing and a monument beyond the regulation in height, and therefore doubly offensive to the Meeting. We will not tolerate such folly. I say to thee again, take the unholy thing down. Will thee urge disrespect to the whole Society? Thee knows it is in opposition to all our teaching. What devil's spirit has seized upon thee?"

"Thee may storm," stoutly answered Roger, "but I am not to be frightened. This plot of ground is mine. This figure is also mine. It is a blessed comfort, a sign of love and not a thing of evil—and I will not take it away from here for thee nor for all the elders."

Nicholas, perceiving that Roger was not to be coerced at the moment, ceased argument, but his wrath did not cool.

"Thee shall come before the Meeting forthwith."

The following day a summons was issued calling a council, and a messenger came to Roger calling him before his elders in judgment.

Thereupon a sharp division was set up among the neighbors and the discussion spread among the Friends. The question of "Free Will in Burial Stones" was hotly debated wherever two or three of the members met, so that the mind of each was firmly made up by the time the Meeting came together to try the question publicly. "I see no wrong in it," said some. "It is disgraceful," others heatedly charged.

Roger's act was denounced by his own family as treason to the Meeting, as well as heretical to the faith, and his father, old Nathan Barnes, rising with solemn and mournful dignity, admitted this.

"I know not what I have done that a son of mine should bring such shame and sorrow to my old age. It is the influence of the world's people whose licentious teachings corrupt even the most steadfast of our youth. We came here—to this lonely place—to get away from the world's people. They thicken about us now, these worldlings; hence I favor another journey into a far wilderness where we can live at peace, shut away from the contamination of these greedy and blasphemous idolators."

All realized that he spoke in anger as well as in sorrow, and the more candid and cool-headed of the Friends deplored his words, for they had long since determined that the world's forces must be met and endured; but Jacob Farnum was quick to declare himself.

"The welfare of our Society demands the punishment of Roger Barnes. I move that a committee be appointed to proceed to the burial ground and throw down and break in pieces this graven image."

Here something unexpectedly hot and fierce filled Roger's heart to the exclusion of his peaceful teaching and his lifelong awe of his elders. Rising to his feet he violently exclaimed: "By what right will thee so act? Is it more wicked to have a marble portrait than an ambrotype? It is true that I learned the secrets of sculpture from one of the world's people; it is true that an outsider has cut the stone, but I believe his trade to be worthy and his work justifiable. I believe in such portraits." He addressed himself to Nicholas Asche: "Had thee permitted Rachel to have had a daguerreotype, it would not have been necessary for me to treat with this carver of stone, who is, notwithstanding, a man of probity. I will not have him traduced by anyone present," he ended with a threat in his eyes; "he is my friend."

Thereupon Nicholas Asche curtly answered: "There also thee is gravely at fault. Thee has brought my daughter Ruth under the baleful influence of this worldling; and she is even now filled with admiration for him. She too needs be admonished of the elders for too much thinking upon light affairs. Thee is a traitor to thy sister-in-law, Roger Barnes, as thee is a traitor to the Meeting. To permit thee to go thy present ways would be to open our gates to vanity and envy and all imaginable folly. If thee does not at once remove this graven image from our burial grounds, we will ourselves proceed against it and break it and throw it into the highway."

Then again young Roger rose in his seat and with his strong hands doubled into weapons cried out: "Thee will do well to take this matter guardedly and my words to heart, for I tell thee that whosoever goes near to lay rude hands on that fair form will himself be thrown down. I will break him like a staff across my knee."

He stood thus for a moment like a proud young athlete, meeting the eye of his opponent, then, as no one spoke, turned and strode out, resolute to be first on the ground, ready to defend with his whole strength the marble embodiment of his vanished wife.

And yet, even as he walked away from the church, hot and blinded with anger, he began to ache with an indefinable, increasing sorrow. He had expected opposition, but not such fury as this. He had noted the downcast eyes of his friends. It seemed as if something very precious had gone out of his life—as though the whole world had suddenly become inimical.

"They were ashamed of me," he said and his heart sank, for notwithstanding his resentment he loved the Meeting and its ways. For the most part the faces of the congregation were dear to him and the pain that sprang from a knowledge that he had cut himself off from those he respected soon softened his indignation. Nevertheless he hurried on to the burying ground.

It was a glorious September day and all through the fields the crickets were softly singing as if in celebration of the gathered ample harvest. They spoke from the green grass above the graves with the same insistent cheer as from the sere stubble, but Roger heard them not, for his ears still rang with the elder's stern voice and his eyes were darkened by the lowering brows of his father's moody face. Only when the statue rose before him white and still and fair in the misty sunlight did his mood lighten.

"How beautiful it is," he exclaimed. "How can they desire to destroy it?"

Nevertheless he was smitten with a kind of dismay as he looked around upon the low, drab headstones and perceived with what singular significance the marble rose above them. "In truth I have dared much in doing this thing." It was as if he had been led by some inner spirit braver than himself.

And then—even as he raised a first glance to the statue—a pang of keen surprise shot through his heart. The face was changed. Something new had come into it. It was not his Rachel! With hand pressed upon his chilling heart he studied it with new understanding. He had known that it somewhat resembled Ruth, for Ruth indeed resembled Rachel—but that it was verily in every line and shadow a portrait of the living and not of the dead he now realized for the first time.

"The sculptor has deceived me!" he cried. "He loves Ruth and with the craft of a lover has wrought out his design deliberately and with cunning. He has carved the cold stone to the form of his own desire. How blind I have been."

In complete comprehension he addressed the statue: "Thee is but a symbol of this artist's love for another after all. Nicholas Asche was right. This sculptor under cover of my love—in pretending to work out my ideal—has betrayed me and bewitched Ruth."

Ruth, his constant sunny companion, the keeper, the almost second mother of his child, had been snared by the fowler! He no longer doubted it. He recalled the gladness with which she always accompanied him to the sculptor's studio and her silence and preoccupation on the homeward drive. She loved the artist. She was about to be taken away.

Something fierce and wild clutched at his throat and with a groan he fell upon the ground beneath the figure: "Oh, Ruth, Ruth! Am I to lose thee too?"

At this moment he forgot all else but the sweet girl who had become so necessary to his life. Truly, to lose all hope of her was to be doubly bereaved. "I am now most surely solitary," he mourned. "What will become of me hereafter? Who will care for my little son?"

While still he lay there, dark with despair and lax with weakness, Ruth and the sculptor came up the walk to the gate and saw his prostrate form. Ruth checked the sculptor's advance. "Let me go up to him alone," she said, and approached where Roger lay. She did not know the true cause of his grief, but she pitied him: "Do not grieve, Roger; they will not dare to touch the figure."

He looked up at her with a glance which was at once old and strange, but uttered no word of reply, only steadfastly regarded her; then his head dropped upon his arm and his body shook only with sobbing.

She spoke again: "Thee must not despair. There are quite as many for thee as there are against thee. All the young people are on thy side. No one will dare to harm the statue."

As they stood thus Conrad approached and said: "What does it matter? Come out from among these narrow folk. Ruth is to come out and be my wife. Why do you stay to be worried by the elders who——"

He spoke no further, for Roger waved his hand in dismissal of them and cried out in most lamentable voice: "Leave me. Leave me," and again hid his face in his hands.

In troubled wonder the young people moved away slowly, Ruth with tear-filled eyes, Conrad very grave. Together they took their stand at the gate to guard against the approach of others less sympathetic. "His grief is profound," said Ruth, "but the statue will comfort him."

Roger, overwhelmed now by another emotion—a sense of shame, of deep contrition—was face to face with a clear conception of his disloyalty to the dead. Aye, the statue was Ruth. Its youth, its tender, timid smile, its arch brow, all were hers, and as he remembered how Conrad had taken the small unresisting hand in his, he knew himself to be baser than Nicholas Asche had dared imagine. "I loved thee," he confessed; "not as I loved Rachel—but in a most human way. My life has closed round thee. I have unconsciously thought of thee as the guardian of my child. Thy shining figure I have placed in the glow of my fire."

This was true. Ruth had not displaced the love he still bore for his sweet wife—but she had made it an echo of passion, a dim song, a tender and haunting memory of his youth.

The sun sank and dusk came on while still he lay at the statue's feet in remorseful agony of soul, and those who came near enough to speak with him respected his wish and left him undisturbed.

Softly the darkness rose and a warm and mellow night covered the mourner, clothing the marble maid with mystery.

The crickets singing innumerably all about him came at last to express in some subtle way the futility of his own purpose, the smallness of his own affairs, and as he listened he lost the sharpness of his grief. His despair lightened. He ceased to accuse; his desire of battle died. "How could Conrad know that I had grown disloyal? And how was Ruth to perceive my change of heart? The treachery is mine, all mine, dear angel, but I will atone. I will atone. Forgive me. Come to me and forgive me! Comfort me."

Within his heart the spirit of resentment gave way to one of humbleness, of submission. The contest for a place among these gray old monuments no longer seemed worthy—or rather he felt himself no longer worthy to wage it. His disloyalty to his dead disqualified him as a base act disqualified the knights of old. "My cause is lost because my heart was false!" he said.

So during the long hours of the night he kept remorseful vigil. The moon set, the darkness deepened, cool, odorous, musical with lulling songs of insects; and still he lingered, imploring solace, seeking relief from self-reproach. At last, just before dawn, the spirit of his dead Rachel stepped from the shadow. She approached him and bending above him softly said:

"Dear heart, it is true I am not within the graven image. You have no need of it. Go home. There I am, always near thee and the child. I am not for others; I am thine. Return. Make thy peace with the elders. Thee must not live solitary and sad. Our son waits for thee, and when thee sits beside his bed, I will be there."

He woke chilled and wet with the midnight damp, but in his heart a new-found sense of peace had come. His interest in the statue was at an end. He now knew that it was neither the monument he had desired nor the image of his love. "How gross I have been," he said, addressing himself to the unseen presence, "to think that the beauty of my dead could be embodied in stone! Ruth shall go her ways to happiness with my blessing."

In this mood he rose and went to his home, deeply resolved to put aside his idolatry of Ruth even as he had put behind him the gleaming, beautiful figure beneath the shadow of the oak.

Masterpieces

By Ethel Hueston

Give me my pen,

For I would write fine thoughts, pure thoughts,

To touch men's hearts with tenderness,

To fire with zeal for service grim,

To cheer with mirth when skies are dull;

Give me my pen,

For I would write a masterpiece.

Yet stay a while,

For I must put away these toys,

And wash this chubby, grimy face,

And kiss this little hurting bruise,

And hum a bedtime lullaby—

Take back the pen:

This is a woman's masterpiece.

Bread

By Ellis Parker Butler

They came to Iowa in a prairie schooner with a rounded canvas top and where the canvas was brought together at the rear of the wagon it left a little window above the tailboard. On the floor of the wagon was a heap of hay and an old quilt out of which the matted cotton protruded, and on this Martha and Eben used to sit, looking out of the window. Martha was a little over two years old and Eben was four.

They crossed the Mississippi at Muscatine on the ferry. It was about noon and old Hodges, the crew of the ferry, who was as crooked as the branches of an English oak because the huge branch of an English oak had fallen on him when he was young, took his dinner from his tin pail. He looked up and saw the two eager little faces.

"Want a bite to eat?" he asked, and he peeled apart two thick slices of bread, thickly buttered, and handed them up to the two youngsters. This, a slice of Mrs. Hodges' good wheat bread, was Martha's welcome to Iowa. The butter was as fragrant as a flower and the bread was moist and succulent, delicious to the touch and the taste. Martha ate it all, even to the last crumb of crust, and, although she did not know it, the gift, the acceptance and the eating was a sacrament—the welcome of bountiful Iowa.

As the prairie schooner rolled its slow way inward into the state there were more slices of bread. The father stopped the weary horses at many houses, shacks and dugouts; and always there was a woman to come to the wagon with a slice of bread for Martha, and one for Eben, for that was the Iowa way. Sometimes the bread was buttered, sometimes it was spread with jelly, sometimes it was bread alone. It was all good bread.

There were days at a time, after they reached the new home, when there was nothing to eat but bread, but there was always that. The neighbors did not wait to be asked to lend; they brought flour unasked and Martha's mother kneaded it and set it to rise and baked it. Then the harvests began to come in uninterrupted succession of wealth, and the dugout became a house, and barns arose, and a school was built, and Martha and Eben went along the dusty, unfenced road, barefooted, happy, well fed, or in winter leaped through the snowdrifts. In their well-filled lunch pail there was always plenty and always bread.

In time Martha taught school, now in one district and now in another; and everywhere, wherever she boarded, there was good wheat bread and plenty of it. She remembered the boarding places by their bread. Some had bread as good as her mother's; some had bread not as good. During her first vacation her mother taught her to make bread. Her very first baking was a success. John Cartwright, coming to the kitchen door just as she was drawing the black bread-pan from the oven on that hot July day, saw her eyes sparkle with triumph as she saw the rich brown loaves.

"Isn't it beautiful? It is my first bread, John," she said, as she stood, flushed and triumphant.

"It smells like mother's," he said, "but she don't seem to get her'n so nice and brown."

"I guess Martha is a natural bread-maker," said her mother proudly. "Some is and some ain't."

Always good bread and plenty of it! That was Iowa. And it was of Martha's bread they partook around the kitchen table the next year—Eben and John, Martha and her father and mother—just before the two young men drove to the county seat to enlist.

"I guess we won't get bread like this in the army," John said, and he was right.

"When I'm chawing this sow-belly and hard tack," Eben wrote, "I wish I had some of that bread of yours, Marth. I guess this war won't last long and the minute it is over you'll see me skedaddling home for some of your bread. Tell ma I'm well and——"

They brought his body home because he was not killed outright but lived almost two weeks in the hospital at St. Louis after he was wounded. Martha scraped the dough from her fingers to go to the door when her father drove up with the precious, lifeless form. That day her bread was not as good as usual.

Martha and John were married the month he came back from the war, and the bread that was eaten at the wedding dinner was Martha's own baking. The bread that was eaten by those who came to prepare her mother for the grave and by those who came, a year later, to lay away her father, was Martha's. Once, twice, three times, four times Martha did a double baking, to "last over," so that there might be bread in the house while the babies were being born. Every week, except those four weeks, she baked bread.

In succession the small boys and girls of her own began coming to the kitchen door pleading, "Ma, may I have a piece of bread an' butter?" Always they might. There was always plenty of bread; it was Iowa.

In time Martha became something of a fanatic about flour. One kind was the best flour in the world; she would have no other. Once, when John brought back another brand, she sent him back to town with it. Her bread was so well known that the flour dealer in town was wont to say, "This is the kind Mis' Cartwright uses; I guess I can't say no more'n that." Eight times in twenty years she won the blue ribbon at the county fair for her loaves; the twelve other times John swore the judges were prejudiced. "It ain't the flour; that I do know!" Martha would answer.

Presently there were children of her children coming on Sunday to spend the day with the "old folks," and there was always enough bread for all. Sometime in the afternoon the big loaf would be taken out of the discarded tin boiler that served as a bread-box and the children would have a "piece"—huge slices of bread, limber in the hand, spread with brown sugar, or jelly, or honey, or dripping with jam. Then, one Sunday, young John's wife brought a loaf of her own bread to show Martha. They battled pleasantly for two hours over the merits of two brands of flour, comparing the bread, but Martha would no more have given up her own brand than she would have deserted the Methodist Church to become a Mahometan!

Then came a time when John had difficulty in holding his pipe in his mouth because his "pipe tooth" was gone. He no longer ate the crusts of Martha's bread except when he dipped them in his coffee. There was a strong, young girl to do the housework but Martha still made the bread, just such beautiful, richly browned, fragrant bread as she had made in her younger days. There had never been a week without the good bread, for this was Iowa.

One day, as she was kneading the dough, she stopped suddenly and put her hand to her side, under her heart. She had to wait several minutes before she could go on with the kneading. Then she shaped the bread into loaves and put it in the pan and put the pan in the oven. She went out on the porch, where John was sitting, and talked about the weather, and then of a grandson, Horace, who was the first to enlist for the great war that was wracking the world. She mentioned the poor Belgians.

"And us so comfortable here, and all!" she said. "When I think of them not having bread enough to eat——"

"I warrant they never did have bread like yours to eat, ma," said John.

She rocked slowly, happy and proud that her man thought that, and then she went in to take the fresh loaves from the oven. They were crisp and golden brown as always, great, plump, nourishing loaves of good wheat bread. She carried the pan to the table.

"Bertha," she said, "I'll let you put the bread away. I guess I'll go up and lie down awhile; I don't feel right well."

She stopped at the foot of the stairs to tell John she was going up; that she did not feel very well.

"If I don't come down to supper," she said, "you can have Bertha cut a loaf of the fresh bread, but you'd better not eat too much of it, John; it don't always agree with you. There's plenty of the other loaf left."

She did not come down again, not Martha herself. She did not mourn because she could not come down again. She had lived her life and it had been a good life, happy, well-nourished, satisfying as her own bread had been. And so, when they came back from leaving Martha beside the brother who had died so many years before, the last loaf of her last baking was cut and eaten around the kitchen table—the youngsters biting eagerly into the thick slices, the elders tasting with thoughts not on the bread at all, and old John crumbling the bread in his fingers and thinking of long past years.

At Kamakura: 1917

By Arthur Davison Ficke

The world shakes with the terrible tramp of war

And the foe's menace swirls through every sea.

But here the Buddha still broods ceaselessly

In hush more real than our strange tumults are.

Here where the fighting hosts of long ago

Once clashed and fell, here where the armored hordes

Razed the great city with their flashing swords,

Now only waves flash, only breezes blow.

That Iowa Town

By Oney Fred Sweet

According to the popular songs, we are apt to get the impression that the only section of the country where there is moonlight and a waiting sweetheart and a home worth longing for is down in Dixie. Judging from the movies, a plot to appeal must have a mountain or a desert setting of the West. Fictionists, so many of them, seem to think they must locate their heroines on Fifth Avenue and their heroes at sea. But could I write songs or direct cinema dramas or pen novels I'd get my inspiration from that Iowa town.

Did you ever drive in from an Iowa farm to a Fourth of July celebration? A few years back the land wasn't worth quite so much an acre; the sloughs hadn't been tiled yet and the country hadn't discovered what a limited section of real good corn land there was after all. But she was Iowa then! Remember how the hot sun dawned early to shimmer across the knee-high fields and blaze against the side of the big red barn, how the shadows of the willow windbreak shortened and the fan on top of the tall windmill faintly creaked? The hired man had decorated his buggy-whip with a tiny ribbon of red, white and blue. Buggy-whip—sound queer now? Well, there were only three automobiles in the county then and they were the feature of the morning parade. Remember how the two blocks of Main Street were draped with bunting and flags, and the courthouse lawn was dotted with white dresses? Well, anyhow you remember the girls with parasols who represented the states, and the float bearing the Goddess of Liberty. And then the storm came in the middle of the afternoon. The lightning and the thunder, and the bunting with the red, white and blue somewhat streaked together but still fluttering. And just before sunset, you remember, it brightened up again, and out past the low-roofed depot and the tall grain elevator you could see the streak of blue and the play of the departing sun against the spent clouds. Nowhere else, above no other town, could clouds pile just like that.

You remember that morning, once a year, when the lilacs had just turned purple out by the front gate, and the dew was still wet on the green grass, the faint strains of band-music drifting out above the maples of the town, and flags hanging out on the porches—Decoration Day! How we used to hunt through the freshly awakened woods north of town for the rarest wildflowers! Tender petaled bloodroots there were in plenty, and cowslips down by the spring, and honeysuckles on the creek bank those late May days, but the lady's slippers and the jack in the pulpits—one had to know the hidden recesses where they grew. Withered they became before the hot sun sank, sending rays from the west that made the tombstones gleam like gold. Somehow, on those days, the sky seemed a bluer blue when the words of the speaker at the "Monument of the Unknown Dead" were carried off by the faint breeze that muffled, too, the song of the quartet and the music of the band. But close in your ears were the chirps of the insects in the bluegrass and the robins that hopped about in the branches of the evergreens.

We had our quota of civil war veterans in that Iowa town. We had our company that went down to Chickamauga in '98. And now—well, you know what to expect from the youth of that sort of a community. Prosperity can't rob a place like that of its pioneer virtues. That Iowa town is an American town and it simply wouldn't fit into the German system at all. There's nothing old world about it. The present generation may have it easier than their fathers did; they may ride in automobiles instead of lumber wagons; they may wear pinch back coats and long beak caps instead of overalls and straw hats, but they've inherited something beside material wealth. We who owned none of its surrounding acres when they were cheap and find them now so out of reach, are yet rich, fabulously rich in inheritance. The last I heard from that Iowa town its youth was donning khaki for the purpose of helping to keep the Kaiser on the other side of the sea.

But it was of the town we used to know that I was speaking. Changed? We must realize that. It was the sort that improves rather than grows. But we remember the place as it was before the blacksmith shop was turned into a garage and before the harness shop was given an electric lighted front and transformed into a movie. I guess the new generation has long since passed up the old opera house above the drug store for the rejuvenated harness shop and the actors that come by express in canned celluloid. But at county fair time, you remember, the Cora Warner Comedy Company used to come for a week's engagement, Cora Warner, noticeably wrinkled as she walked through the park from the hotel, donning a blonde wig that enabled her to play soubrette parts of the old school. And then there were the Beach and Bowers minstrels with their band that swung breezily up Main Street to form a circle on the bank corner and lift the whole center of the town out of the commonplace by the blare of trombones and the tenderness of clarinets. You remember how we Boy Scouts, who didn't know we were Boy Scouts, used to clamor for the front row of kitchen chairs after peddling bills for "The Octoroon" or "Nevada, and the Lost Mine"?

Oh, well, we're uninteresting old-timers now. And it used to be that I knew everyone in town—even the transient baker whose family had no garden and chickens but lived up over the furniture store, and the temporary telephone man who sat out in front of the hotel evenings with the pale-faced traveling man. That hotel—haunted with an atmosphere that was brought in from the outside world! Remember how you used to walk past it with awe, the hot sun on the plank sidewalk burning your bare feet, and your eyes wistful as you heard the bus man on the steps call a train? And the time came when we took the train ourselves. And when we came back—

When we came back, the town was still there, but the wondrous age when all life is roseate belonged to us no longer.

And yet that town, to me, will always be as it was in those days when the world was giving me its first pink-tinted impressions. And when my tussle with the world as it really is comes to a close, I want to go back there and take my last long sleep beneath one of those evergreens on the hillside where I know the robins hop along the branches. I know how each season's change comes there—the white drifts, the dew on the bluegrass, the rustling of crimsoned leaves. I'll know that off on the prairies beyond, the cornfields will still wave green in summer, and that from back across the creek, over in the school yard, there will float the old hushed echo of youth at play.

But Once a Year

By R. O'Grady

A shabby little woman detached herself from the steadily marching throng on the avenue and paused before a shop window, from which solid rows of electric bulbs flashed brilliantly into the December twilight. The ever-increasing current of Christmas shoppers flowed on. Now and then it rolled up, like the waters of the Jordan, while a lady with rich warm furs about her shoulders made safe passage from her car to the tropic atmosphere of the great department store.

Warmth, and the savory smells from a bakery kitchen wafted up through the grating of a near-by pavement, modifying the nipping air. The shabby little woman, only half conscious of such gratuitous comfort, adjusted her blinking gaze to the brightness and looked hungrily at the costumes shimmering under the lights. Wax figures draped with rainbow-tinted, filmy evening gowns caught her passing admiration, but she lingered over the street costumes, the silk-lined coats and soft, warm furs. Elbowed by others who like herself were eager to look, even though they could not buy, she held her ground until she had made her choice.

With her wistful gaze still fixed upon her favorite, she had begun to edge her way through the crowd at the window, when she felt, rather than saw, someone different from the rest, close at her side. At the same instant, she caught the scent of fresh-cut flowers and looked up into the eyes of a tall young girl in a white-plumed velvet hat, with a bunch of English violets in her brown mink fur.

As their glances met, the shabby little woman checked a start, and half-defensively dropped her lids. The smile that shone evanescently from the girl's cordial eyes had aroused in her a feeling of something unwonted, and strangely intimate. There had flashed over the mobile face beneath the velvet hat a look of personal interest—an unmistakable impulse to speak.

The thrill of response that set the woman's pulses throbbing died suddenly. The red that mottled her grayish cheeks was the red of shame. Through the window, in a mirrored panel cruelly ablaze with light, she saw herself: her made-over turban, her short, pigeon-tailed jacket of a style long past, and her old otter cape with its queer caudal decorations and its yellowed cracks grinning through the plucked and ragged fur.

One glance at her own image was enough. The little woman pushed determinedly into the slow-moving crush, and headed toward the nearest elevated station, to be carried on irresistibly by the army of pedestrians.

She caught a last glimpse of the tall young girl, coming in her direction, still watching her with that same eager look. But what of that? She knew why women stared curiously at her. By the time her station was reached, the occurrence had assumed in her mind a painful significance which emphasized the sordidness of her evening's routine. She made her way along a narrow, dimly lighted street, walking with the aimless gait of one who neither expects nor is expected.

But, loiter as she might, she soon reached a neighborhood where rows of narrow brick tenements brooded over dingy, cluttered basement shops. Here she found it necessary to accelerate her pace to make way for romping children and bareheaded women hurrying from the shops with their suppers in paper bags.

In spite of the wintry chill, the section had an air of activity all its own. Neither did it lack occasional evidences of Christmas cheer. In the window of a little news and fruit shop, against the smeared and partly frosted glass, a holly wreath was hanging, and within stood a rack of gaudy, tinseled Christmas cards. The woman hesitated, as if about to enter the shop, then abruptly passed on. She ascended one of the stoops that were all alike. Standing in a blur of reddish light that filtered through the broken glass above the door, she looked back the way she had come.

For an instant her pulses quickened again as they had done on the avenue down-town. At the corner, a tall girl with a white-plumed velvet hat was smilingly picking her way through the swarming element so foreign, apparently, to one of her class. As the white plume came nearer and nearer, the tremulous little woman regained her self-control. It was but one of the coincidences of the city, she told herself, turning resolutely away. The door slammed shut behind her.

Odd, she thought, as she groped her way through the dimly lighted lower hall, and the complete darkness of the upper, that such a girl should be living in such a neighborhood. Then, with an effort, she dismissed the matter from her mind.

To find a match and light the sputtering gas required but very few steps in her tiny box of a room. When that was accomplished, she could think of nothing more to do. Her little taste of excitement had spoiled her zest for any of the homy rites which at other times formed the biggest events of her day. As she sank down upon the cot without removing her wraps, she was greeted by the usual creaking of rusty springs; her table with its meager array of dishes, its coffee pot and little alcohol burner, sat as ever in its corner, inviting the preparation of her evening meal. But to-night she did not want to eat. She had not visited the bake-shop on her way home. She had not even bought her daily paper at the corner stand where the postcards were—those gay Christmas cards that bring you greetings from friends.

As she slowly removed her turban, her jacket and fur cape and, without getting up, tossed them across a chair against the opposite wall, the dull ache of dissatisfaction in her heart grew slowly to a sharp pain of desire. She wanted to do something, to have something happen that might break the sordid routine of her existence.

Still, habit and environment would continue to force at least a part of this routine upon her. She glanced at her fingers, stained to an oily, bluish grime by the cheap dye of the garments that furnished her daily work. Mechanically she rose to wash.

While her hands were immersed in the lather of rankly perfumed toilet soap, there came a gentle knock at the door.

"Come in," invited the woman, expecting some famine-pressed neighbor for a spoonful of coffee or a drawing of tea.

The door opened slowly, a tentative aperture.

"May I come in?" asked a voice that was sweeter than the breath of violets that preceded the caller into the room.

With the towel clutched in her dripping hands, the woman flung wide open the door, then hastened to unload the chair which held her wraps—her only chair.

"Thank you; don't bother," urged the visitor. "I shall like sitting on the couch."

There was a melody of enthusiasm in this remark, which the complaining of the cot, as the girl dropped easily upon it, could not wholly drown.

The woman, having absently hung her towel on the doorknob, stared dazedly at the visitant. She could hardly credit her eyes. It was—it was indeed the girl with the white ostrich plume and the bouquet of violets in her brown mink fur.

"I feel like an intruder," began the girl, "and, do you know—" her appraising glance directed to the old fur collar on the chair, was guiltily withdrawn as she spoke—"do you know, I've such a silly excuse for coming." She laughed, and the laugh brought added music to her voice.

The woman, now at last recalled from her abstraction, smiled, and the weariness passed from her face. She seated herself at the extreme end of the humpy, complaining cot.

"I'm sure you'll understand," resumed the girl. "At least, I hope you'll not be offended…. I heard … that is, I noticed you had a rare fur-piece—" her vivid glance returned to the pile of wraps on the chair—"and I want to ask a very great favor of you. I—now please don't be shocked—I've been ransacking the city for something like it, and—" with a determined air of taking the plunge—"I should like to buy it of you!"

"Buy it!" scorned the woman, with a sudden dull red staining her sallow cheeks. "I can't see why anyone would want to pay money for such a thing as that."

"It—it's a rare pattern, you know," groped the girl, her sweet tones assuming an eloquent, persuasive quiver, "and—and you don't know how glad I'd be to have it."

The indignant color faded out of the woman's face. "If you really want the thing—" abruptly she put her bizarre possession into her strange visitor's lap—"If you really want it—but I don't see—" yearning crept into her work-dimmed eyes, a yearning that seemed to struggle with disillusionment. "Tell me," she broke off, "is that all you came here for?"

Apparently oblivious to the question, the young woman rose to her feet. "You'll sell it to me then!" she triumphed, opening her gold-bound purse.

"But, see here," demurred the woman, "I can't—it ain't worth——"

The girl's gloved hands went fumbling into her purse, while the old fur cape hung limply across one velvet arm.

"You leave it to me," she commanded, and smiled, a radiant, winning smile.

Impulsively the woman drew close to her guest. "Excuse me," she faltered, "but, do you know—you look ever-so-much like a little niece of mine back—home?"

"Do I? That's nice." The visitor looked at her watch. A note of abstraction had crept into her beautiful voice, but it still held the caress that invited the woman's confidence.

"Yes, my little niece—excuse me—I haven't seen her for twelve years—most fifteen years, I guess. She'd be growed up, but I thought—when I saw you down-town——"

"Oh, you remember me, then! Forgive me for following—" The girl seized the woman's soap-reddened hands in a sudden fervent clasp. "I understand," she breathed. "You must be lonely…. I'll try to see you again—I surely will…. Good-bye…."

The girl was gone and all at once the room seemed colder and dingier than it ever had before. But the woman was not cold. As she sat huddled on the cot, warmth and vitality glowed within her, kindled by the memory of a recent kindly human touch.

The following evening, after working hours, the shabby woman, wearing a faded scarf about her neck to replace the old fur collar, diffidently accosted a saleslady at the Sixth Avenue department store. She wanted to buy a brown mink collar, just like one worn by a figure in green in the window.

It was unusual to sell expensive furs to such a customer. But people might send what freaks of servants they pleased to do their Christmas shopping, provided they sent the money, too. In this case, the shabby little woman was prepared. She produced three crisp ten-dollar bills—the fabulous sum which the girl had left in her hand at parting—and two dollars more from the savings in her worn little purse. Then, hugging the big flat box against the tight-fitting bosom of her jacket, she triumphantly left the store.

In a sort of tender ecstasy she dallied along until she came to a florist's window. As she paused to gaze at great bunches of carnations and roses, tied with broad and streaming ribbons, the anxious look that attends the doubtful shopper returned to her face. Would it be of any use to go in? Since she must either keep moving or be carried along by the crowd, she edged through the revolving door.

"English violets?—Fifty cents for the small bunches," clipped off the red-cheeked salesgirl, in reply to the woman's groping inquiry.

The perturbed shopper turned reluctantly away, hesitated, and then asked:

"But the roses? A single, half-blown rose—?"

"Twenty-five apiece," replied the girl in the same mechanical tones, while she busied herself in rearranging a basket of flowers.

"I—I'll take the rose."

At the express office, where scores were waiting before her, the woman had ample time to untie her box and slip the rosebud beneath the tissue paper of the inner wrapping. Then, having retied it securely and stuck a "Do-not-open-until-Christmas" tag in a conspicuous place, she took her stand in line. When it finally came her turn at the desk, a stout clerk, who worked like an automaton and breathed like an ox, tore the package from her lingering grasp and dashed across the wrapper the address she gave.

She paid the charges, wadded the receipt into her purse and turned briskly away.

Fresh crullers she took to her room from the bake-shop, having bought them from a dark, greasy woman, whom she wished a "Merry Christmas" in a voice that almost sang. At dusk she had coffee in her room. It was Christmas Eve and she must begin early to get her full share of the season's peculiar indulgences. After she had read her paper for an hour or so by the recklessly flaming gas jet, she bustled about to brew another cup of coffee, and feasted upon crullers for the second time. At last she filled a water-bottle with tepid water from a faucet in the hall, and prepared for bed.

The chill of the bedclothes, upon which the tepid water-bottle had little effect, could not touch the cozy warmth about the woman's heart. Neither were the happy memories of her strange and lovely visitor disturbed by knowledge of an incident that was taking place at that very hour. As she bounced into her cot, humming a little tune, she did not know that at a down-town theater a popular young actress was just responding to an insistent curtain call. Nor could she have recognized the graceful young girl, issuing from the wings in a new character part—an extreme type of eccentric maidenhood—except for the plucked and ragged fur-piece which formed the keynote of the performer's quaint attire.

No knowledge of this episode disturbed the half-drowsy, half-blissful state which supplanted the woman's sleep that night. The incident cast no cloud upon her eager awakening, nor retarded her active leap from bed when the voice of her landlady aroused her with a start on Christmas morning.

"Eggs-press, eggs-press … a package for Miss Law-lor-r-r!"

Full-chested and lingering, the call reverberated up three flights of naked stairs, and by the time the woman had donned her skirt and sweater and had emerged into the twilight of the upper hall, frowsy, curious heads protruded from every door.

She carried the bulky Christmas package to her own room, moving deliberately, in shy, half-guilty triumph, and placed it on the cot. Behind her closed door she untied it, removed the cover and smilingly bent down to draw an eager inhalation from the tissue paper folds. Then, with careful fingers, she parted the crisp inner wrappings and unearthed a wilting, half-blown rose from its nest in the brown mink fur.

The Reminder

By Allan Updegraff

A little Belgian and an old violin—

A short, dumpy, melancholy little Belgian

And a very fine old violin….

An inconsequential small Belgian

Wearing a discouraged bit of mustache,

American "store" clothes that didn't fit,

Cheap American shoes, shined but shapeless….

(And yet he had often played in high honor

Before great audiences in Belgium;

But that was before Hell's lid was lifted

Somewhere in the North of Germany—

May it be clamped down, hard, before long!)

So this shabby, fat, discouraged oldish Belgian

(Too old and fat for military service),

And his very old beautiful violin,

(Borrowed—he'd lost his better one to his conquerors),

Appeared before a dubious tag-end of an audience

In a music hall built in the woods

Near an American summer resort,

And played a dozen selections for forty-five dollars.

Then we learned why he had often played in high honor

Before great audiences in Belgium;

And why his king and his country

Had given him the honors he still wore,

The riches recently taken away

By his conquerors.

Then we saw what manner of man he was,

How that his soul was finely clad, upright,

Nobly statured, crowned with Apollo's bays.

Then we knew, when he played Tartini's sonata for violin,

That Belgium would own once more

Its little place in the sun.

For the old Italian master might have written that sonata

With the devastated Belgium of these days in mind.

First, streaming from beneath the Belgian's sentient bow,

The music told of peace and common things,

With some bickering, some trivialities,

But much melody and deep harmony underneath.

The third movement, affetuoso, awoke to ruin—

To ruin too sudden and complete.

Too bloody and bestial and cruel