by Jon E. Lewis
The porter took their bag, and as the train began to slow they moved forward to the hooded platform of the car. Presently the two engines and their long string of coaches rushed into the station of Yellow Sky.
“They have to take water here,” said Potter, from a constricted throat and in mournful cadence, as one announcing death. Before the train stopped, his eye had swept the length of the platform, and he was glad and astonished to see there was none upon it but the station-agent, who, with a slightly hurried and anxious air, was walking toward the water-tanks. When the train had halted, the porter alighted first and placed in position a little temporary step.
“Come on, girl,” said Potter hoarsely. As he helped her down they each laughed on a false note. He took the bag from the negro, and bade his wife cling to his arm. As they slunk rapidly away, his hang-dog glance perceived that they were unloading the two trunks, and also that the station-agent far ahead near the baggage-car had turned and was running toward him, making gestures. He laughed, and groaned as he laughed, when he noted the first effect of his marital bliss upon Yellow Sky. He gripped his wife’s arm firmly to his side, and they fled. Behind them the porter stood chuckling fatuously.
II
The California Express on the Southern Railway was due at Yellow Sky in twenty-one minutes. There were six men at the bar of the “Weary Gentleman” saloon. One was a drummer who talked a great deal and rapidly; three were Texans who did not care to talk at that time; and two were Mexican sheep-herders who did not talk as a general practice in the “Weary Gentleman” saloon. The barkeeper’s dog lay on the board walk that crossed in front of the door. His head was on his paws, and he glanced drowsily here and there with the constant vigilance of a dog that is kicked on occasion. Across the sandy street were some vivid green grass plots, so wonderful in appearance amid the sands that burned near them in a blazing sun that they caused a doubt in the mind. They exactly resembled the grass mats used to represent lawns on the stage. At the cooler end of the railway station a man without a coat sat in a tilted chair and smoked his pipe. The fresh-cut bank of the Rio Grande circled near the town, and there could be seen beyond it a great, plum-colored plain of mesquite.
Save for the busy drummer and his companions in the saloon, Yellow Sky was dozing. The new-comer leaned gracefully upon the bar, and recited many tales with the confidence of a bard who has come upon a new field.
“– and at the moment that the old man fell down stairs with the bureau in his arms, the old woman was coming up with two scuttles of coal, and, of course—”
The drummer’s tale was interrupted by a young man who suddenly appeared in the open door. He cried: “Scratchy Wilson’s drunk, and has turned loose with both hands.” The two Mexicans at once set down their glasses and faded out of the rear entrance of the saloon.
The drummer, innocent and jocular, answered: “All right, old man. S’pose he has. Come in and have a drink, anyhow.”
But the information had made such an obvious cleft in every skull in the room that the drummer was obliged to see its importance. All had become instantly solemn. “Say,” said he, mystified, “what is this?” His three companions made the introductory gesture of eloquent speech, but the young man at the door forestalled them.
“It means, my friend,” he answered, as he came into the saloon, “that for the next two hours this town won’t be a health resort.”
The barkeeper went to the door and locked and barred it. Reaching out of the window, he pulled in heavy wooden shutters and barred them. Immediately a solemn, chapel-like gloom was upon the place. The drummer was looking from one to another.
“But, say,” he cried, “what is this, anyhow? You don’t mean there is going to be a gun-fight?”
“Don’t know whether there’ll be a fight or not,” answered one man grimly. “But there’ll be some shootin’ – some good shootin’.”
The young man who had warned them waved his hand. “Oh, there’ll be a fight fast enough if anyone wants it. Anybody can get a fight out there in the street. There’s a fight just waiting.”
The drummer seemed to be swayed between the interest of a foreigner and a perception of personal danger.
“What did you say his name was?” he asked.
“Scratchy Wilson,” they answered in chorus.
“And will he kill anybody? What are you going to do? Does this happen often? Does he rampage around like this once a week or so? Can he break in that door?”
“No, he can’t break down that door,” replied the barkeeper. “He’s tried it three times. But when he comes you’d better lay down on the floor, stranger. He’s dead sure to shoot at it, and a bullet may come through.”
Thereafter the drummer kept a strict eye upon the door. The time had not yet been called for him to hug the floor, but, as a minor precaution, he sidled near to the wall. “Will he kill anybody?” he said again.
The men laughed low and scornfully at the question.
“He’s out to shoot, and he’s out for trouble. Don’t see any good in experimentin’ with him.”
“But what do you do in a case like this? What do you do?”
A man responded: “Why, he and Jack Potter—”
“But,” in chorus, the other men interrupted, “Jack Potter’s in San Anton’.”
“Well, who is he? What’s he got to do with it?”
“Oh, he’s the town marshal. He goes out and fights Scratchy when he gets on one of these tears.”
“Wow,” said the drummer, mopping his brow. “Nice job he’s got.”
The voices had toned away to mere whisperings. The drummer wished to ask further questions which were born of an increasing anxiety and bewilderment; but when he attempted them, the men merely looked at him in irritation and motioned him to remain silent. A tense waiting hush was upon them. In the deep shadows of the room their eyes shone as they listened for sounds from the street. One man made three gestures at the barkeeper, and the latter, moving like a ghost, handed him a glass and a bottle. The man poured a full glass of whisky, and set down the bottle noiselessly. He gulped the whisky in a swallow, and turned again toward the door in immovable silence. The drummer saw that the barkeeper, without a sound, had taken a Winchester from beneath the bar. Later he saw this individual beckoning to him, so he tiptoed across the room.
“You better come with me back of the bar.”
“No, thanks,” said the drummer, perspiring. “I’d rather be where I can make a break for the back door.”
Whereupon the man of bottles made a kindly but peremptory gesture. The drummer obeyed it, and finding himself seated on a box with his head below the level of the bar, balm was laid upon his soul at sight of various zinc and copper fittings that bore a resemblance to armor-plate. The barkeeper took a seat comfortably upon an adjacent box.
“You see,” he whispered, “this here Scratchy Wilson is a wonder with a gun – a perfect wonder – and when he goes on the war trail, we hunt our holes – naturally. He’s about the last one of the old gang that used to hang out along the river here. He’s a terror when he’s drunk. When he’s sober he’s all right – kind of simple – wouldn’t hurt a fly – nicest fellow in town. But when he’s drunk – whoo!”
There were periods of stillness. “I wish Jack Potter was back from San Anton’,” said the barkeeper. “He shot Wilson up once – in the leg – and he would sail in and pull out the kinks in this thing.”
Presently they heard from a distance the sound of a shot, followed by three wild yowls. It instantly removed a bond from the men in the darkened saloon. There was a shuffling of feet. They looked at each other. “Here he comes,” they said.
III
A man in a maroon-colored flannel shirt, which had been purchased for purposes of decoration and made, principally, by some Jewish women on the east side of New York, rounded a corner and walked into the middle of the main street of Yellow Sky. In either hand the man held a long, heavy, blue-black revolver. Often he yelled, and these cr
ies rang through a semblance of a deserted village, shrilly flying over the roofs in a volume that seemed to have no relation to the ordinary vocal strength of a man. It was as if the surrounding stillness formed the arch of a tomb over him. These cries of ferocious challenge rang against walls of silence. And his boots had red tops with gilded imprints, of the kind beloved in winter by little sledding boys on the hillsides of New England.
The man’s face flamed in a rage begot of whisky. His eyes, rolling and yet keen for ambush, hunted the still doorways and windows. He walked with the creeping movement of the midnight cat. As it occurred to him, he roared menacing information. The long revolvers in his hands were as easy as straws; they were moved with an electric swiftness. The little fingers of each hand played sometimes in a musician’s way. Plain from the low collar of the shirt, the cords of his neck straightened and sank, straightened and sank, as passion moved him. The only sounds were his terrible invitations. The calm adobes preserved their demeanor at the passing of this small thing in the middle of the street.
There was no offer of fight; no offer of fight. The man called to the sky. There were no attractions. He bellowed and fumed and swayed his revolvers here and everywhere.
The dog of the barkeeper of the “Weary Gentleman” saloon had not appreciated the advance of events. He yet lay dozing in front of his master’s door. At sight of the dog, the man paused and raised his revolver humorously. At sight of the man, the dog sprang up and walked diagonally away, with a sullen head, and growling. The man yelled, and the dog broke into a gallop. As it was about to enter an alley, there was a loud noise, a whistling, and something spat the ground directly before it. The dog screamed, and, wheeling in terror, galloped headlong in a new direction. Again there was a noise, a whistling, and sand was kicked viciously before it. Fear-stricken, the dog turned and flurried like an animal in a pen. The man stood laughing, his weapons at his hips.
Ultimately the man was attracted by the closed door of the “Weary Gentleman” saloon. He went to it, and hammering with a revolver, demanded drink.
The door remaining imperturbable, he picked a bit of paper from the walk and nailed it to the framework with a knife. He then turned his back contemptuously upon this popular resort, and walking to the opposite side of the street, and spinning there on his heel quickly and lithely, fired at the bit of paper. He missed it by a half inch. He swore at himself, and went away. Later, he comfortably fusilladed the windows of his most intimate friend. The man was playing with this town. It was a toy for him.
But still there was no offer of fight. The name of Jack Potter, his ancient antagonist, entered his mind, and he concluded that it would be a glad thing if he should go to Potter’s house and by bombardment induce him to come out and fight. He moved in the direction of his desire, chanting Apache scalp-music.
When he arrived at it, Potter’s house presented the same still front as had the other adobes. Taking up a strategic position, the man howled a challenge. But this house regarded him as might a great stone god. It gave no sign. After a decent wait, the man howled further challenges, mingling with them wonderful epithets.
Presently there came the spectacle of a man churning himself into deepest rage over the immobility of a house. He fumed at it as the winter wind attacks a prairie cabin in the North. To the distance there should have gone the sound of a tumult like the fighting of 200 Mexicans. As necessity bade him, he paused for breath or to reload his revolvers.
IV
POTTER and his bride walked sheepishly and with speed. Sometimes they laughed together shamefacedly and low.
“Next corner, dear,” he said finally.
They put forth the efforts of a pair walking bowed against a strong wind. Potter was about to raise a finger to point the first appearance of the new home when, as they circled the corner, they came face to face with a man in a maroon-colored shirt who was feverishly pushing cartridges into a large revolver. Upon the instant the man dropped his revolver to the ground, and, like lightning, whipped another from its holster. The second weapon was aimed at the bridegroom’s chest.
There was silence. Potter’s mouth seemed to be merely a grave for his tongue. He exhibited an instinct to at once loosen his arm from the woman’s grip, and he dropped the bag to the sand. As for the bride, her face had gone as yellow as old cloth. She was a slave to hideous rites gazing at the apparitional snake.
The two men faced each other at a distance of three paces. He of the revolver smiled with a new and quiet ferocity.
“Tried to sneak up on me,” he said. “Tried to sneak up on me!” His eyes grew more baleful. As Potter made a slight movement, the man thrust his revolver venomously forward. “No, don’t you do it, Jack Potter. Don’t you move a finger toward a gun just yet. Don’t you move an eyelash. The time has come for me to settle with you, and I’m goin’ to do it my own way and loaf along with no interferin’. So if you don’t want a gun bent on you, just mind what I tell you.”
Potter looked at his enemy. “I ain’t got a gun on me, Scratchy,” he said. “Honest, I ain’t.” He was stiffening and steadying, but yet somewhere at the back of his mind a vision of the Pullman floated, the sea-green figured velvet, the shining brass, silver, and glass, the wood that gleamed as darkly brilliant as the surface of a pool of oil – all the glory of the marriage, the environment of the new estate. “You know I fight when it comes to fighting, Scratchy Wilson, but I ain’t got a gun on me. You’ll have to do all the shootin’ yourself.”
His enemy’s face went livid. He stepped forward and lashed his weapon to and fro before Potter’s chest. “Don’t you tell me you ain’t got no gun on you, you whelp. Don’t tell me no lie like that. There ain’t a man in Texas ever seen you without no gun. Don’t take me for no kid.” His eyes blazed with light, and his throat worked like a pump.
“I ain’t takin’ you for no kid,” answered Potter. His heels had not moved an inch backward. “I’m takin’ you for a—fool. I tell you I ain’t got a gun, and I ain’t. If you’re goin’ to shoot me up, you better begin now. You’ll never get a chance like this again.”
So much enforced reasoning had told on Wilson’s rage. He was calmer. “If you ain’t got a gun, why ain’t you got a gun?” he sneered. “Been to Sunday-school?”
“I ain’t got a gun because I’ve just come from San Anton’ with my wife. I’m married,” said Potter. “And if I’d thought there was going to be any galoots like you prowling around when I brought my wife home, I’d had a gun, and don’t you forget it.”
“Married!” said Scratchy, not at all comprehending.
“Yes, married. I’m married,” said Potter distinctly.
“Married?” said Scratchy. Seemingly for the first time he saw the drooping, drowning woman at the other man’s side. “No!” he said. He was like a creature allowed a glimpse of another world. He moved a pace backward, and his arm with the revolver dropped to his side. “Is this the lady?” he asked.
“Yes, this is the lady,” answered Potter.
There was another period of silence.
“Well,” said Wilson at last, slowly, “I s’pose it’s all off now.”
“It’s all off if you say so, Scratchy. You know I didn’t make the trouble.” Potter lifted his valise.
“Well, I ‘low it’s off, Jack,” said Wilson. He was looking at the ground. “Married!” He was not a student of chivalry; it was merely that in the presence of this foreign condition he was a simple child of the earlier plains. He picked up his starboard revolver, and placing both weapons in their holsters, he went away. His feet made funnel-shaped tracks in the heavy sand.
WILLA CATHER
On the Divide
WILLA CATHER (1873–1947) was born in Virginia, but moved to Nebraska with her family when she was six. Her talent for writing showed itself while she was a student at Nebraska University, and after graduating she moved to New York (via Pittsburgh) to work as a journalist, eventually editing McClure’s magazine. Her first novel, Alexande
r’s Bridge, was published in 1912, but her career as a writer of fiction truly blossomed when she started writing stories about the Nebraska of her childhood and the European immigrants who scratched a living on its prairie landscape. Among the results were her great novels O Pioneers! (1913), My Antonia (1918), The Lost Lady (1925), and the short stories collected in Obscure Destinies (1932).
“On the Divide” is from Overland Monthly, 1896, and portrays the lives of its pioneer subjects with a vividness and compassion typical of Cather’s Western fiction.
NEAR RATTLESNAKE CREEK, on the side of a little draw, stood Canute’s shanty. North, east, south, stretched the level Nebraska plain of long rust-red grass that undulated constantly in the wind. To the west the ground was broken and rough, and a narrow strip of timber wound along the turbid, muddy little stream that had scarcely ambition enough to crawl over its black bottom. If it had not been for the few stunted cottonwoods and elms that grew along its banks, Canute would have shot himself years ago. The Norwegians are a timber-loving people, and if there is even a turtle pond with a few plum bushes around it they seem irresistibly drawn toward it.
As to the shanty itself, Canute had built it without aid of any kind, for when he first squatted along the banks of Rattlesnake Creek there was not a human being within twenty miles. It was built of logs split in halves, the chinks stopped with mud and plaster. The roof was covered with earth and was supported by one gigantic beam curved in the shape of a round arch. It was almost impossible that any tree had ever grown in that shape. The Norwegians used to say that Canute had taken the log across his knee and bent it into the shape he wished. There were two rooms, or rather there was one room with a partition made of ash saplings inter-woven and bound together like big-straw basket work. In one corner there was a cook stove, rusted and broken. In the other a bed made of unplaned planks and poles. It was fully eight feet long, and upon it was a heap of dark bed clothing. There was a chair and a bench of colossal proportions. There was an ordinary kitchen cupboard with a few cracked dirty dishes in it, and beside it on a tall box a tin washbasin. Under the bed was a pile of pint flasks, some broken, some whole, all empty. On the wood box lay a pair of shoes of almost incredible dimensions. On the wall hung a saddle, a gun, and some ragged clothing, conspicuous among which was a suit of dark cloth, apparently new, with a paper collar carefully wrapped in a red silk handkerchief and pinned to the sleeve. Over the door hung a wolf and a badger skin, and on the door itself a brace of thirty or forty snake skins whose noisy tails rattled ominously every time it opened. The strangest things in the shanty were the wide window sills. At first glance they looked as though they had been ruthlessly hacked and mutilated with a hatchet, but on closer inspection all the notches and holes in the wood took form and shape. There seemed to be a series of pictures. They were, in a rough way, artistic, but the figures were heavy and labored, as though they had been cut very slowly and with very awkward instruments. There were men plowing with little horned imps sitting on their shoulders and on their horses’ heads. There were men praying with a skull hanging over their heads and little demons behind them mocking their attitudes. There were men fighting with big serpents, and skeletons dancing together. All about these pictures were blooming vines and foliage such as never grew in this world, and coiled among the branches of the vines there was always the scaly body of a serpent, and behind every flower there was a serpent’s head. It was a veritable Dance of Death by one who had felt its sting. In the wood box lay some boards, and every inch of them was cut up in the same manner. Sometimes the work was very rude and careless, and looked as though the hand of the workman had trembled. It would sometimes have been hard to distinguish the men from their evil geniuses but for one fact, the men were always grave and were either toiling or praying, while the devils were always smiling and dancing. Several of these boards had been split for kindling and it was evident that the artist did not value his work highly.
