Occasionally Mammy would cook the supper in the open, upon a small charcoal furnace, and the "little Miss" would sup from a tiny low table brought from the cabin. Here she was served by the old people in turn, for they never ate until she had finished. Then the little girl was carefully undressed and sung to sleep with one of Mammy's velvet lullabies, in a dainty bed all her own, a berth which hung, shelf-like, against the wall; for the home of this incongruous family was quite as novel as the family itself. Part of the ladies' cabin of an old Mississippi steamboat, still shabbily fine in white paint and dingy gilding, which Israel had reclaimed from an abandoned wreck, formed a wing of the building. This, which, with its furnishings, Mammy called "Blossom's lay-out," communicated by a door with a "lean-to" of weather-stained boards, whose mud chimney and homely front formed a strong contrast to the river entrance of white and gold. This grotesque architectural composite would have attracted attention at another time or place, but as one of a class, made to its need of any available material, it passed unnoticed beyond an occasional casual smile of amusement and sympathy. It was like the composite toilets of the poor blacks during the hard times suggestively called the "reconstruction period," when old women in soldier coats and boots, topped by third-hand feathered finery, waited at the distributing-station for free rations. No one ever thought of laughing at these pathetic grotesques, technically freed but newly enslaved by bitter circumstance. On the night with which this tale begins, when Mammy had put Blossom to sleep and tucked the mosquito-bar snugly around her, she went back to her place beside her husband, and, lighting her pipe, sat for a long time silent. This was so unusual that presently Israel said: "What de matter wid you dis evenin', Hannah? Huccome you ain't a-talkin'?" Hannah did not answer immediately. But after a time she said slowly: "I 's jes a-speculatin', Isrul--jes speculatin'." And, after another pause, she added, quite irrelevantly: "Is you got yo' swimp-sacks all set?" "In co'se I is." Israel's words came through a cloud of smoke. "An' yo' oars brung in?" "In co'se I is!" "An' de skift locked?" "In co'se I is!" "An' Blucher fed?" "What's de matter wid you, Hannah? You reckon I gwine forgit my reg'lar business?" The old woman smoked in silence for some minutes. Then she said: "Isrul!" "What you want, Hannah?" "I say, Isrul, I got some'h'n' on my mind. Hit 's been on my mind more 'n a yeah, an' hit 's a-gittin' wuss." "What is it, Hannah?" "You an' me we 's growin' ole, Isrul--ain't dat so?" "Yas, Hannah." "An' we ain't got long to stay heah, hey, Isrul?" "Yas, ol' 'oman--can't dispute dat." "An'"--hesitatingly. "_You_ knows what 's on my mind, Isrul!" "Hit 's on my mind, too, Hannah. You don't need to 'spress yo'se'f. Hit 's on my mind, day an' night." "_What_'s on yo' mind, Isrul?"