The Heart Line: A Drama of San FranciscoBurgess, Gelett
General
The Heart Line: A Drama of San Francisco
Burgess, Gelett
Bohemianism -- Fiction; Fortune-tellers -- Fiction; San Francisco (Calif.) -- Fiction
One side of the street was still unbuilt upon; on the southern side
stood three houses, each upon its fifty-vara lot, comfortably filling
the short block. That occupied by the Paysons was an old frame
structure of two stories, without attempt at ornamentation, except for
its quaint, Tudoresque pointed windows and a machicolated wooden
battlement round the flat roof. It stood on a gentle slope, surrounded
by an old-fashioned garden, which was hedged in, on either side, by rows
of cypress and eucalyptus trees, protecting it from the trade winds,
which here blow unhampered across the water.
In front, a scene ever-changing in color as the atmospheric conditions
changed, was ranged in a semi-circular pageant, the wild panorama of San
Francisco Bay, from Point Bonita and Golden Gate in the west, past the
Marin County shore with Sausalito twinkling under the long, beautiful
profile of Mount Tamalpais, past Belvedere with its white villas,
Alcatraz and Goat Island floating in the harbor, to the foot-hills
behind Oakland and Berkeley, where, in the east, Mount Diablo’s pointed
peak shimmered in the blue distance.
In the second story of this house Clytie had a bookbinding room, where
she spent most of her spare time. It was large, bare, sunny,
impregnated with the odor of leather skins, clean and orderly. A sewing
frame and a heavy press stood behind her bench and upon a table were
neatly arranged the pages of a book upon which she was working.
Carefully placed in workmanlike precision were her knives, shears, glue
pot and gas heater and a case of stamping irons in pigeonholes.
She was, this afternoon, in a brown gingham pinafore, with her sleeves
rolled up, seated before the table, her sensitive hands moving deftly at
the most delicate operation connected with her craft. Upon a square of
heavy plate glass, she laid a torn, ragged page, and, from several old
fly leaves, selected one that matched it in color. She cut a piece of
paper slightly larger than the missing portion, skived the edges, and
pasted it over the hole or along the frayed margin. The work was
absorbing and exacting to her eyes; to rest them, she went, from time to
time, to the window and looked out upon the bay.
The water was gray-green streaked with a deeper blue. In the "north
harbor" two barks lay at anchor in the stream and ferry-boats plied the
fairway. In and out of the Gate there passed, at intervals, tugs with
sailing ships bound out with lumber or in with nitrates, steamers to
coast ports, or liners from overseas, rusty, weather-beaten tramps,
strings of heavy-going barges, lusty little tugs, lumber schooners
wallowing through the tide rip, Italian fishing smacks, lateen-rigged
with russet sails, saucy launches, and, at last, the magnificent bulk of
a white battleship sliding imperiously into the roadstead along the
waterfront.
Public-domain text, read in full here on John Shaqi.
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