The shoemaker : $b A powerful picture of nature, adapted from Hal Reid's famous drama of the same nameHarper, Olive
General
The shoemaker : $b A powerful picture of nature, adapted from Hal Reid's famous drama of the same name
Harper, Olive
Abduction -- Fiction; Fathers and daughters -- Fiction; Shoemakers -- Fiction; West (U.S.) -- Fiction
At that moment there were steps heard on the rickety cellar-steps, and
in another moment a young man--scarcely more than a boy--came to the
door. He was a typical “Bowery tough,” made so by his life in this
part of the city, with its most unsavory reputation. He wore a faded
corduroy cap, set at an aggressive angle on his frowsy head, and for
the rest of his costume he wore a blue flannel shirt, open at the
throat, and corduroy pantaloons. His shoes looked as though in urgent
need of the services of the shoemaker. His face was dirty, and one
of his eyes was blackened and swollen. And, over it all, there showed
something so depraved and sinister, such a drawn look of pallor and
decay, in spite of his youth, a stranger would not have known how to
classify this strange output of city life, but the initiated would
have summed it all up in one word--dope. This means the unutterable
depravity of opium-smoking. In fact, he was generally known in his
haunts as Dopey.
As he stood on the floor of the shop, Dopey said, in a hoarse voice:
“Hello, Sis. Where’s de main squeeze?”
“Where is what?”
“Why, his gazootses; de motza crusher--de man wit’ de birt’mark o’
t’ree balls on his skull-front--de boss, if I must say it.”
“Do you mean my father?”
“I guess so. Where is ’e?”
“He went out to deliver a pair of shoes he has finished and to bring
back some to be mended.”
“Why, soy, go find ’im. I got a job fer ’im. Dey’s a couple of swell
guys up de street dat needs his ’sisterence. De he guy say dat he’ll
stake me ter a dollar. De moll kicked de heel off her Louie Fourteent’
an’ wants it nailed on. Dat dollar means de hop-joint if I get it, an’
to de bat-house if I don’t. Why, soy, dere’s nuttin’ to it.”
“I’ll go and find him,” said Loney, in his childish voice. He somewhat
understood this Bowery slang better than Dora.
“Dat’s de trick. Be sure ye does, for if I misses dis I kin see de
brassy cop on dis beat pullin’ de hook fer de ambylants, an’ me
t’rowin’ a fit in de suds-tub at de croak-joint--de horspittle. Hully
gee! mosey, kid. Shake yer skates.”
These last words were accompanied by so suggestive a movement that
Loney sprang lightly up the steps and disappeared in search of Mr.
Goldberg. As the child disappeared, he shouted:
“Hop! Go! Git!” Then, turning to Dora, he said: “Dat’s de racket. Your
old man’ll git more coin for dis job dan he ever seen afore.”
“I’ll be glad,” replied Dora, half-afraid of this strange-looking
creature, “for business has been very poor lately.”
There was a darkening of the cellar-door, and Dora raised her eyes to
see a tall, dark, handsome and well-dressed man assisting a lady down
the steps. She was a handsome and very stylishly dressed woman--large
and with a most unwomanly expression on her features. In short, it was
but too evident that she had been drinking and could scarcely maintain
her equilibrium.
Public-domain text, read in full here on John Shaqi.
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