I ran such risk taking pictures that I relinquished the task, and it was only the last day at the mill, while still in my working clothes with a camera concealed in my pocket, that I contrived to get a picture or two. I ventured to ask two little boys who swept the mill to stand for their pictures. "I don't kyar to," the older one said. I explained that it would not hurt them, as I thought he was afraid; but his little companion vouchsafed: "We-all ain't got no nickel." When they understood it was a free picture they were as delighted as possible and posed with alacrity, making touching apologies for their greasy, dirty condition. When I asked one of them if he was ever clean, he said: "On Sunday I wash my hands." It was noon, on the day I chose to leave ----, turning my back on the mill that had allured me to its doors and labour. In South Carolina early April is torrid, flies and mosquitoes are rampant. What must this settlement be in midsummer heat? There is no colour in the Southern scene; the clothes of the mill-hands, the houses, the soil are of one tone--and, more strange, there is not one line of red, one dash of life, in the faces of the hundreds of women and children that pass me on their way back to work. Under the existing circumstances they have no outlook, these people, no hope; their appearance expresses accurately the changeless routine of an existence devoted to eternal ignorance, eternal toil. From their short half-hour of mid-noon rest, the whistle, piercing, inanimate call, has dared to command the slavish obedience of animate and intelligent beings. I pause by the trestle over which rumble the cars, heavily laden with the cotton cloth whose perfection has made this Southern mill justly famous.