Art students -- Fiction; Aunts -- Fiction; Love stories; New York (N.Y.) -- Juvenile fiction; Orphans -- Fiction; Young women -- Fiction
“If there’s any real reason why you should sleep upstairs you can, but
you must tell me first what you’re afraid of.”
The negress leaned toward her, whispering:
“It’s him—that devil-man, George; he a voodoo and he’s practisin’ black
magic down there. I cain’t sleep in the same paht of the house. I’m
goin’ to give notice in the mawnin’—please, Mis’ Ruth, take me up with
yo’—”
For a moment Ruth did not know what to say. She knew that all negroes
are superstitious, but looking into the rolling eyes of Amy, there in
the midnight silence of the house, she was not able to laugh.
“I’m surprised at you, Amy. I thought you were more sensible. What’s
George doing? He hasn’t tried to hurt you, has he?”
“No, not me, he ain’t goin’ hu’t me—I don’t expec’ you-all to
understand. I don’t care whether you understands or not, jus’ let me go
up with yo’.”
“What’s George doing?” demanded Ruth again. She would much rather have
given consent at once and ended the argument, but she could not control
a feeling both of curiosity and nervousness, and was now protesting more
against her own fears than those of Amy.
“He tol’ me to go to baid. He orders me roun’ li’e I was his nigger, and
I went, but I could see him through the keyhole—he’s in our
settin’-room—it’s between his room and mine. There’s another do’ to my
room and I wen’ right out through it. I didn’t waste no time. But don’t
you-all try to stop him. He’s at black magic—oh-o-o-o-o-o—”
Her tense whisper trailed off into a suppressed wail.
“Come with me,” said Ruth with sudden determination. “I’ll see for
myself.”
She started off down the hall, through the thick blue haze which she
could now tell was issuing from the servants’ quarters, and Amy,
protesting, but evidently fearing to remain behind, walked behind her.
Ruth had never been in the servants’ quarters, but she knew that they
had rooms on the first floor, which was partly below the street level.
As she passed she switched on the lights in the hall, illuminating the
short flight of steps that led below. The door at the bottom was closed.
At the top of the steps, Amy caught her arm.
“Don’t go, Mis’ Ruth—jes’ look through the keyhole once. The do’s
locked—don’t knock, jes’ look once—”
Public-domain text, read in full here on John Shaqi.
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