The River's Children: An Idyl of the MississippiStuart, Ruth McEnery
General
The River's Children: An Idyl of the Mississippi
Stuart, Ruth McEnery
African Americans -- Fiction; Conduct of life -- Fiction; Mississippi River -- Fiction; Poverty -- Fiction
"Well, when I say 'Harry Le Duc,' seem like he got kind o' seasick, de
way he bent his head down, an' I ax him how he come on--ef he got de
miz'ry anywhars. An' wid dat he sort o' give out a dry laugh, an' den
what you reckon he ax me? He say, 'Uncle, is you married?' An' wid dat
_I_ laughed. 'T war n't no trouble for me to laugh at dat. I 'spon',
'Yas, sirree! You bet I is! Does I look like air rovin' bachelor?' I was
jes about half mad by dis time.
"Well, so he kep' on quizzifyin' me: ax me whar I live, an' I tol' 'im I
was a ole risidenter on de levee heah for five years past; an' so we run
on, back an' fo'th, tell we teched de sho'. An' time de skift bumped de
landin' he laid his han' on me an' he say, 'Unc' Isrul, whar's Mammy
Hannah?' An' den--bless Gord! I knowed him! But I ain't trus' myself to
speak. I des nachelly clawed him an' drug him along to you. I seen de
fulfilment o' promise, an' my heart was bustin' full, but I ain't got no
halleluiah tongue like you. I jes passed him along to you an' made for
de woodpile!"
It was a great moment for Harold, this meeting with the only people
living who could tell all there was to know of those who were gone.
Hannah's memory was too photographic for judicious reminiscence. The
camera's great imperfection lies in its very accuracy in recording
non-essentials, with resulting confusion of values. So the old woman,
when she turned her mental search-light backward, "beginning at the
beginning," which to Harold seemed the end of all--the day of his
departure,--recounted every trivial incident of the days, while Harold
listened through the night, often suffering keenly in his eagerness to
know the crucial facts, yet fearing to interrupt her lest some precious
thing be lost.
A reflected sunrise was reddening the sky across the river when she
reached the place in the story relating to the baby. Her description
needed not any coloring of love to make it charming, and while he
listened the father murmured under his breath:
"And then to have lost her!"
"What dat you say, Marse Harol'?" Hannah gasped, her quick ears having
caught his despairing tone.
"Oh, nothing, Mammy. Go on. It did seem cruel to have the little one
drowned. But I don't blame you. It is a miracle that you old people
saved yourselves."
The old woman turned to her husband and threw up her hands.
"Wh-why, Isrul!" she stammered.
"What's de matter wid you--to set heah all night an' listen at me
talkin' all roun' de baby--an' ain't named her yit!"
She rose and, drawing Harold after her, entered the door at her back. As
she pulled aside the curtain a ray of sunlight fell full upon the
sleeping child.
"Heah yo' baby, Baby!" Her low voice, steadied by its passages through
greater crises, was even and gentle.
She laid her hand upon the child.
"Wek up, baby! Wek up!" she cried. "Yo' pa done come! Wek up!"
Public-domain text, read in full here on John Shaqi.
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