Friendship Village Love Stories. Gale Zona
the unpleasant matters which they themselves have somehow heard, but only pleasant matters may be added by accretion.
The rest of society may say whatever it "has a mind." But this mind, as I believe, is not harsh, since nobody ever gossips except to people who gossip back.
"Mis' Toplady told me last night that Calliope Marsh is coming home for the Java entertainment, next week," my neighbour imparted first. And this was the best news that she could have given me.
It has been a great regret to me that this summer Calliope is not in the village. She has gone to the city to nurse some distant kinswoman more lonely than she, and until ill-health came, long forgetful of Calliope. But she is to come back now and again, to this and to that, for the village interests are all her own. I have never known any one in whom the tribal sense is so persistently alive as in Calliope.
I asked my neighbour what this Java entertainment would be, which was to give back Calliope, and she looked her amazement that I did not know. It would be, it appeared, one of those great fairs which the missionary society is always projecting and carrying magnificently forward.
"It's awful feet-aching work," said my neighbour, reflectively; "but honestly, Calliope seems to like it. I donno but I do, too. The Sodality meant to have one when they set out to pave Daphne Street, but it turned out it wasn't needed. Well, big affairs like that makes it seem as if we'd been born into the whole world and not just into Friendship Village."
My neighbour told me that a new public library had been opened in a corner of the post-office store, and that "a great crowd" was drawing books, though for this she herself cannot vouch, since the library is only open Saturday evenings, and "Saturday," she says with decision, "is a bad night." It is, in fact, I note, very difficult to find a free night in the village, save only Tuesday. Monday, because of its obvious duties and incident fatigue, is as impossible as Sunday; Wednesday is club day; Thursday "is prayer-meeting"; Friday is sacred to church suppers and entertainments and the Ladies' Aid Society; and Saturday is invariably denominated a bad night and omitted without question. We are remote from society, but Tuesday is literally our only free evening.
"Of course it won't be the same with you about books," my neighbour admits. "You can send your girl down to get a book for you. But I have to be home to get out the clean clothes. How's your girl going to like the country?" she asked.
I am to have here in the village, I find, many a rebuke for habits of mine which lag behind my theories. For though I try to solve my share of a tragic question by giving to my Swedish maid, Elfa, the self-respect and the privilege suited to a human being dependent on me, together with ways of comfort and some leisure, yet I find the homely customs of the place to have accomplished more than my careful system. And though, when I took her from town I scrupulously added to the earnings of my little maid, I confess that it had not occurred to me to wonder whether or not she would like Friendship Village. We seem so weary-far from the conditions which we so facilely conceive. Especially, I seem far. I am afraid that I engaged Elfa in the first place with less attention to her economic fitness than that she is so trim and still and wistful, with such a peculiarly winning upward look; and that her name is Elfa. I told my neighbour that I did not know yet, whether Elfa would like it here or not; and for refuge I found fault with the worms on the rose bushes. Also I made a note in my head to ask Elfa how she likes the country. But the spirit of a thing is flown when you make a note of it in your head. How does Elfa like the town, for that matter? I never have asked her this, either.
"She'll be getting married on your hands, anyway," my neighbour observed; "the ladies here say that's one trouble with trying to keep a hired girl. They will get married. But I say, let 'em."
At least here is a matter in which my theory, like that of my neighbour's, outruns those of certain folk of both town and village. For I myself have heard women complain of their servants marrying and establishing families, and deplore this shortsightedness in not staying where there is "a good home, a nice room, plenty to eat, and all the flat pieces sent to the laundry."
"Speaking of books," said my neighbour, "have you seen Nicholas Moor?"
"I see almost no new books," I told her guiltily.
"Me either," she said; "I don't mean he's a book. He's a boy. Nicholas Moor—that does a little writin' himself? I guess you will see him. He'll be bringin' some of his writing up to show you. He took some to the new school principal, I heard, and to the invalid that was here from the city. He seems to be sort of lonesome, though he has got a good position. He's interested in celluloid and he rings the Catholic bell. Nicholas must be near thirty, but he hasn't even showed any signs."
"Signs?" I hazarded.
"Of being in love," she says simply. And I have pondered pleasantly on this significant ellipsis of hers which takes serenely for granted the basic business of the world. Her elision reminds me of the delicate animism of the Japanese which says, "When the rice pot speaks with a human voice, then the demon's name is Kanjo." One can appraise a race or an individual by the class of things which speech takes for granted, love or a demon or whatever it be.
And apropos of "showing signs," do I remember Liva Vesey and Timothy Toplady, Jr.? I am forced to confess that I remember neither. I recall, to be sure, that the Topladys had a son, but I had thought of him as a kind of qualifying clause and it is difficult to conceive of him as the subject of a new sentence. When I hear of Liva Vesey I get her confused with a pink gingham apron and a pail of buttermilk which used sometimes to pass my house with Liva combined. Fancy that pink gingham and that pail becoming a person! And my neighbour tells me that the Qualifying Clause and the Pink Gingham are "keeping company," and perhaps are to determine the cut of indeterminate clauses and aprons, world without end.
"The young folks will couple off," says my neighbour; "and," she adds, in a manner of spontaneous impression, "I think it's nice. And it's nice for the whole family, too. I've seen families that wouldn't ever have looked at each other come to be real friends and able to see the angels in each other just by the young folks pairing off. This whole town's married crisscross and kittering, family into family. I like it. It kind o' binds the soil."
My neighbour told me of other matters current in the village, pleasant commonplaces having for her the living spirit which the commonplace holds in hostage. ("I'm breathing," Little Child soberly announced to me that first day of our acquaintance. And I wonder why I smiled?) My neighbour slowly crossed her garden and I followed on the walk—these informal colloquies of no mean length are perfectly usual in the village and they do not carry the necessity for an invitation within the house or the implication of a call. The relations of hostess and guest seem simply to be suspended, and we talk with the freedom of spirits met in air. Is this not in its way prophetic of the time when we shall meet, burdened of no conventions or upholstery or perhaps even words, and there talk with the very freedom of villagers? Meanwhile I am content with conventions, and passive amid upholstery. But I do catch myself looking forward.
Suddenly my neighbour turned to me with such a startled, inquiring manner that I sent my attention out as at an alarm to see what she meant. And then I heard what I had not before noted: a thin, wavering line of singing, that had begun in the street beyond our houses, and now floated inconsequently to us, lifting, dipping, wandering. I could even hear the absurd words.
"My Mary Anna Mary, what you mean I never know.
You don't make me merry, very, but you make me sorry, oh—"
the "oh" prolonged, undulatory, exploring the air.
To say something was like interrupting my neighbour's expression; so I waited, and,
"It's old Cary," she explained briefly. "When he does that it's like something hurts you, ain't it?"
I thought that this would be no one of my acquaintance, and I said so, but tentatively, lest I should be forgetting some inherent figure of the village.
"He's come here in the year," she explained—and, save about the obvious import of old Cary's maudlin song, she maintained that fine, tribal reticence of hers. "Except for the drinking," she even said, "he seems to be a quiet, nice