African American families -- Fiction; Domestic fiction; Rural-urban migration -- United States -- Fiction
"Now, now," he would shout, "the left foot on that beat. Bah, bah, stop!
You walk like a lot of tin soldiers. Are your joints rusty? Do you want
oil? Look here, Taylor, if I did n't know you, I 'd take you for a
truck. Pick up your feet, open your mouths, and move, move, move! Oh!"
and he would drop his head in despair. "And to think that I 've got to
do something with these things in two weeks--two weeks!" Then he would
turn to them again with a sudden reaccession of eagerness. "Now, at it
again, at it again! Hold that note, hold it! Now whirl, and on the left
foot. Stop that music, stop it! Miss Coster, you 'll learn that step in
about a thousand years, and I 've got nine hundred and ninety-nine years
and fifty weeks less time than that to spare. Come here and try that
step with me. Don't be afraid to move. Step like a chicken on a hot
griddle!" And some blushing girl would come forward and go through the
step alone before all the rest.
Kitty contemplated the scene with a mind equally divided between fear
and anger. What should she do if he should so speak to her? Like the
others, no doubt, smile sheepishly and obey him. But she did not like to
believe it. She felt that the independence which she had known from
babyhood would assert itself, and that she would talk back to him, even
as Hattie Sterling did. She felt scared and discouraged, but every now
and then her friend smiled encouragingly upon her across the ranks of
moving singers.
Finally, however, her thoughts were broken in upon by hearing Mr. Martin
cry: "Oh, quit, quit, and go rest yourselves, you ancient pieces of
hickory, and let me forget you for a minute before I go crazy. Where 's
that new girl now?"
Kitty rose and went toward him, trembling so that she could hardly walk.
"What can you do?"
"I can sing," very faintly.
"Well, if that 's the voice you 're going to sing in, there won't be
many that 'll know whether it 's good or bad. Well, let 's hear
something. Do you know any of these?"
And he ran over the titles of several songs. She knew some of them, and
he selected one. "Try this. Here, Tom, play it for her."
It was an ordeal for the girl to go through. She had never sung before
at anything more formidable than a church concert, where only her
immediate acquaintances and townspeople were present. Now to sing before
all these strange people, themselves singers, made her feel faint and
awkward. But the courage of desperation came to her, and she struck into
the song. At the first her voice wavered and threatened to fail her. It
must not. She choked back her fright and forced the music from her lips.
When she was done, she was startled to hear Martin burst into a raucous
laugh. Such humiliation! She had failed, and instead of telling her, he
was bringing her to shame before the whole company. The tears came into
her eyes, and she was about giving way when she caught a reassuring nod
and smile from Hattie Sterling, and seized on this as a last hope.
Public-domain text, read in full here on John Shaqi.
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