The Open Window: Tales of the MonthsWright, Mabel Osgood
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The Open Window: Tales of the Months
Wright, Mabel Osgood
American fiction -- 20th century; Short stories, American
Among other traditions that he brought with him and never seemed to have
lost in his forty years of city trading, was a love for the sound of cow
bells, the sight of sheep grazing on the rough hillsides where they were
almost indistinguishable from the rocks, the sight and smell of snowy
“May” or Hawthorn, big bushes of which grew in his house yard, a love of
lying prone on green grass, hands behind head to watch the sky, and an
intense respect for the game laws. It was this latter quality that had
begun an intimacy between Peter and Evan, and together they had formed
an alliance to put down the trapping, ferreting, and snaring among the
hills, about which the country lad, native by a few generations, has no
conscience.
Wild geese had been flying these two weeks, and Peter Salop was minded
that if a flock dropped to rest and feed on his pond, there should be
none lacking in their onward flight. Moreover, with the wild-fowl in
mind, he never cut the heavy-seeded marsh grasses and sedges that grew
in the pond’s backwater, and had scattered wild rice until it had become
naturalized. So now Peter paced up and down the highway that skirted his
property on the west, hands behind back, his eyes first resting upon the
pond that, here and there, glistened silver-like between the meshed
alders that hedged it like coin within a knitted purse, then sweeping
the road up which either the mail man or the home-coming cattle might at
any time be expected.
For the moment, a flock of white geese held the right of way with
half-raised wings and heads erect, forcing their master to one side; for
this was before the day of heartless motor cars, when in rural regions,
at least, the road belonged to the females, who drove buggies with
sundry twitches of the reins as though they were pulling in fish, and to
the ducks, geese, and portly hens escorting young chickens.
The other human figure in the picture was working steadily back of the
cow barns, occasionally looking across the pond toward the sunset, but
without once ceasing his toil of carrying hay from the stack and making
ready for milking. What he thought, if he thought at all, left no trace
upon his flat features, that were tanned and weathered to the deep hue
of sole leather, although his long, light hair, and scant, bristling
mustache, showed that originally he must have been fair of skin; his
short, thick-set, yet lean body, with its long arms, worked like a
machine until one would have supposed that an overseer was standing by
him with a lash.
This unceasing labour was a sort of inborn habit, one of the few
traditions that Ivan Gronski had brought with him. He never stopped to
think why he worked so incessantly. Peter Salop would have told you that
Ivan worked but never thought about his work, and in this way he stood
in his own light, adding, “By ’n by he’ll get to thinkin’, no doubt, and
then he’ll most like not work at all.”
Public-domain text, read in full here on John Shaqi.
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