African American families -- Fiction; Domestic fiction; Rural-urban migration -- United States -- Fiction
And Joe went, feeling vaguely that he had been sat upon.
Kit flew home with joyous heart to tell her mother of her good
prospects. She burst into the room, crying, "Oh, ma, ma, Miss Hattie
thinks I 'll do to go on the stage. Ain't it grand?"
She did not meet with the expected warmth of response from her mother.
"I do' know as it 'll be so gran'. F'om what I see of dem stage people
dey don't seem to 'mount to much. De way dem gals shows demse'ves is
right down bad to me. Is you goin' to dress lak dem we seen dat night?"
Kit hung her head.
"I guess I 'll have to."
"Well, ef you have to, I 'd ruther see you daid any day. Oh, Kit, my
little gal, don't do it, don't do it. Don't you go down lak yo' brothah
Joe. Joe 's gone."
"Why, ma, you don't understand. Joe 's somebody now. You ought to 've
heard how Miss Hattie talked about him. She said he 's been her friend
for a long while."
"Her frien', yes, an' his own inimy. You need n' pattern aftah dat gal,
Kit. She ruint Joe, an' she 's aftah you now."
"But nowadays everybody thinks stage people respectable up here."
"Maybe I 'm ol'-fashioned, but I can't believe in any ooman's ladyship
when she shows herse'f lak dem gals does. Oh, Kit, don't do it. Ain't
you seen enough? Don't you know enough already to stay away f'om dese
hyeah people? Dey don't want nothin' but to pull you down an' den laugh
at you w'en you 's dragged in de dust."
"You must n't feel that away, ma. I 'm doin' it to help you."
"I do' want no sich help. I 'd ruther starve."
Kit did not reply, but there was no yielding in her manner.
"Kit," her mother went on, "dey 's somep'n I ain't nevah tol' you dat I
'm goin' to tell you now. Mistah Gibson ust to come to Mis' Jones's lots
to see me befo' we moved hyeah, an' he 's been talkin' 'bout a good
many things to me." She hesitated. "He say dat I ain't noways ma'ied to
my po' husban', dat a pen'tentiary sentence is de same as a divo'ce, an'
if Be'y should live to git out, we 'd have to ma'y ag'in. I would n't
min' dat, Kit, but he say dat at Be'y's age dey ain't much chanst of his
livin' to git out, an' hyeah I 'll live all dis time alone, an' den have
no one to tek keer o' me w'en I git ol'. He wants me to ma'y him, Kit.
Kit, I love yo' fathah; he 's my only one. But Joe, he 's gone, an' ef
yo go, befo' Gawd I 'll tell Tawm Gibson yes."
The mother looked up to see just what effect her plea would have on her
daughter. She hoped that what she said would have the desired result.
But the girl turned around from fixing her neck-ribbon before the glass,
her face radiant. "Why, it 'll be splendid. He 's such a nice man, an'
race-horse men 'most always have money. Why don't you marry him, ma?
Then I 'd feel that you was safe an' settled, an' that you would n't be
lonesome when the show was out of town."
"You want me to ma'y him an' desert yo' po' pa?"
Public-domain text, read in full here on John Shaqi.
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