فصل 13

13

My daddy was an angel man. He could look at you and tell where you hurt and he could fix it too. He made a hanging thing for Grandma Baby, so she could pull herself up from the floor when she woke up in the morning, and he made a step so when she stood up she was level. Grandma said she was always afraid a whiteman would knock her down in front of her children. She behaved and did everything right in front of her children because she didn’t want them to see her knocked down. She said it made children crazy to see that.

At Sweet Home nobody did or said they would, so my daddy never saw it there and never went crazy and even now I bet he’s trying to get here. If Paul D could do it my daddy could too. Angel man. We should all be together. Me, him and Beloved. Ma’am could stay or go off with Paul D if she wanted to. Unless Daddy wanted her himself, but I don’t think he would now, since she let Paul D in her bed.

Grandma Baby said people look down on her because she had eight children with different men. Coloredpeople and whitepeople both look down on her for that. Slaves not supposed to have pleasurable feelings on their own; their bodies not supposed to be like that, but they have to have as many children as they can to please whoever owned them. Still, they were not supposed to have pleasure deep down. She said for me not to listen to all that. That I should always listen to my body and love it.

The secret house. When she died I went there. Ma’am wouldn’t let me go outside in the yard and eat with the others. We stayed inside. That hurt. I know Grandma Baby would have liked the party and the people who came to it, because she got low not seeing anybody or going anywhere–just grieving and thinking about colors and how she made a mistake. That what she thought about what the heart and the body could do was wrong. The whitepeople came anyway. In her yard. She had done everything right and they came in her yard anyway. And she didn’t know what to think. All she had left was her heart and they busted it so even the War couldn’t rouse her.

She told me all my daddy’s things. How hard he worked to buy her. After the cake was ruined and the ironed clothes all messed up, and after I heard my sister crawling up the stairs to get back to her bed, she told me my things too. That I was charmed. My birth was and I got saved all the time. And that I shouldn’t be afraid of the ghost. It wouldn’t harm me because I tasted its blood when Ma’am nursed me. She said the ghost was after Ma’am and her too for not doing anything to stop it. But it would never hurt me. I just had to watch out for it because it was a greedy ghost and needed a lot of love, which was only natural, considering. And I do. Love her. I do.

She played with me and always came to be with me whenever I needed her. She’s mine, Beloved. She’s mine. leaves she puts them in a round basket the leaves are not for her she fills the basket she opens the grass I would help her but the clouds are in the way how can I say things that are pictures I am not separate from her there is no place where I stop her face is my own and I want to be there in the place where her face is and to be looking at it too a hot thing All of it is now it is always now there will never be a time when I am not crouching and watching others who are crouching too I am always crouching the man on my face is dead his face is not mine his mouth smells sweet but his eyes are locked some who eat nasty themselves I do not eat the men without skin bring us their morning water to drink we have none at night I cannot see the dead man on my face daylight comes through the cracks and I can see his locked eyes I am not big small rats do not wait for us to sleep someone is thrashing but there is no room to do it in if we had more to drink we could make tears we cannot make sweat or morning water so the men without skin bring us theirs one time they bring us sweet rocks to suck we are all trying to leave our bodies behind the man on my face has done it it is hard to make yourself die forever you sleep short and then return in the beginning we could vomit now we do not now we cannot his teeth are pretty white points someone is trembling I can feel it over here he is fighting hard to leave his body which is a small bird trembling there is no room to tremble so he is not able to die my own dead man is pulled away from my face I miss his pretty white points We are not crouching now we are standing but my legs are like my dead man’s eyes I cannot fall because there is no room to the men without skin are making loud noises I am not dead the bread is sea-colored I am too hungry to eat it the sun closes my eyes those able to die are in a pile I cannot find my man the one whose teeth I have loved a hot thing the little hill of dead people a hot thing the men without skin push them through with poles the woman is there with the face I want the face that is mine they fall into the sea which is the color of the bread she has nothing in her ears if I had the teeth of the man who died on my face I would bite the circle around her neck bite it away I know she does not like it now there is room to crouch and to watch the crouching others it is the crouching that is now always now inside the woman with my face is in the sea a hot thing In the beginning I could see her I could not help her because the clouds were in the way in the beginning I could see her the shining in her ears she does not like the circle around her neck I know this I look hard at her so she will know that the clouds are in the way I am sure she saw me I am looking at her see me she empties out her eyes I am there in the place where her face is and telling her the noisy clouds were in my way she wants her earrings she wants her round basket I want her face a hot thing in the beginning the women are away from the men and the men are away from the women storms rock us and mix the men into the women and the women into the men that is when I begin to be on the back of the man for a long time I see only his neck and his wide shoulders above me I am small I love him because he has a song when he turned around to die I see the teeth he sang through his singing was soft his singing is of the place where a woman takes flowers away from their leaves and puts them in a round basket before the clouds she is crouching near us but I do not see her until he locks his eyes and dies on my face we are that way there is no breath coming from his mouth and the place where breath should be is sweet-smelling the others do not know he is dead I know his song is gone now I love his pretty little teeth instead I cannot lose her again my dead man was in the way like the noisy clouds when he dies on my face I can see hers she is going to smile at me she is going to her sharp earrings are gone the men without skin are making loud noises they push my own man through they do not push the woman with my face through she goes in they do not push her she goes in the little hill is gone she was going to smile at me she was going to a hot thing They are not crouching now we are they are floating on the water they break up the little hill and push it through I cannot find my pretty teeth I see the dark face that is going to smile at me it is my dark face that is going to smile at me the iron circle is around our neck she does not have sharp earrings in her ears or a round basket she goes in the water with my face I am standing in the rain falling the others are taken I am not taken I am falling like the rain is I watch him eat inside I am crouching to keep from falling with the rain I am going to be in pieces he hurts where I sleep he puts his finger there I drop the food and break into pieces she took my face away there is no one to want me to say me my name I wait on the bridge because she is under it there is night and there is day again again night day night day I am waiting no iron circle is around my neck no boats go on this water no men without skin my dead man is not floating here his teeth are down there where the blue is and the grass so is the face I want the face that is going to smile at me it is going to in the day diamonds are in the water where she is and turtles in the night I hear chewing and swallowing and laughter it belongs to me she is the laugh I am the laugher I see her face which is mine it is the face that was going to smile at me in the place where we crouched now she is going to her face comes through the water a hot thing her face is mine she is not smiling she is chewing and swallowing I have to have my face I go in the grass opens she opens it I am in the water and she is coming there is no round basket no iron circle around her neck she goes up where the diamonds are I follow her we are in the diamonds which are her earrings now my face is coming I have to have it I am looking for the join I am loving my face so much my dark face is close to me I want to join she whispers to me she whispers I reach for her chewing and swallowing she touches me she knows I want to join she chews and swallows me I am gone now I am her face my own face has left me I see me swim away a hot thing I see the bottoms of my feet I am alone I want to be the two of us I want the join I come out of blue water after the bottoms of my feet swim away from me I come up I need to find a place to be the air is heavy I am not dead I am not there is a house there is what she whispered to me I am where she told me I am not dead I sit the sun closes my eyes when I open them I see the face I lost Sethe’s is the face that lef me Sethe sees me see her and I see the smile her smiling face is the place for me it is the face I lost she is my face smiling at me doing it at last a hot thing now we can join a hot thing I AM BE LOV ED and she is mine. Sethe is the one that picked flowers, yellow flowers in the place before the crouching. Took them away from their green leaves. They are on the quilt now where we sleep.

She was about to smile at me when the men without skin came and took us up into the sunlight with the dead and shoved them into the sea. Sethe went into the sea. She went there. They did not push her.

She went there. She was getting ready to smile at me and when she saw the dead people pushed into the sea she went also and left me there with no face or hers. Sethe is the face I found and lost in the water under the bridge. When I went in, I saw her face coming to me and it was my face too. I wanted to join. I tried to join, but she went up into the pieces of light at the top of the water. I lost her again, but I found the house she whispered to me and there she was, smiling at last. It’s good, but I cannot lose her again. All I want to know is why did she go in the water in the place where we crouched?

Why did she do that when she was just about to smile at me? I wanted to join her in the sea but I could not move; I wanted to help her when she was picking the flowers, but the clouds of gunsmoke blinded me and I lost her. Three times I lost her: once with the flowers because of the noisy clouds of smoke; once when she went into the sea instead of smiling at me; once under the bridge when I went in to j oin her and she came toward me but did not smile. She whispered to me, chewed me, and swam away. Now I have found her in this house. She smiles at me and it is my own face smiling. I will not lose her again. She is mine.

Tell me the truth. Didn’t you come from the other side?

Yes. I was on the other side.

You came back because of me?

Yes.

You rememory me?

Yes. I remember you.

You never forgot me?

Your face is mine.

Do you forgive me? Will you stay? You safe here now.

Where are the men without skin?

Out there. Way off.

Can they get in here?

No. They tried that once, but I stopped them. They won’t ever come back.

One of them was in the house I was in. He hurt me.

They can’t hurt us no more.

Where are your earrings?

They took them from me.

The men without skin took them?

Yes.

I was going to help you but the clouds got in the way.

There’re no clouds here.

If they put an iron circle around your neck I will bite it away.

Beloved.

I will make you a round basket.

You’re back. You’re back.

Will we smile at me?

Can’t you see I’m smiling?

I love your face.

We played by the creek.

I was there in the water.

In the quiet time, we played.

The clouds were noisy and in the way.

When I needed you, you came to be with me.

I needed her face to smile.

I could only hear breathing.

The breathing is gone; only the teeth are left.

She said you wouldn’t hurt me.

She hurt me.

I will protect you.

I want her face.

Don’t love her too much.

I am loving her too much.

Watch out for her; she can give you dreams.

She chews and swallows.

Don’t fall asleep when she braids your hair.

She is the laugh; I am the laughter.

I watch the house; I watch the yard.

She left me.

Daddy is coming for us.

A hot thing.

Beloved

You are my sister

You are my daughter

You are my face; you are me

I have found you again; you have come back to me

You are my Beloved

You are mine

You are mine

You are mine

I have your milk

I have your smile

I will take care of you

You are my face; I am you. Why did you leave me who am you?

I will never leave you again

Don’t ever leave me again

You will never leave me again

You went in the water

I drank your blood

I brought your milk

You forgot to smile

I loved you

You hurt me

You came back to me

You left me

I waited for you

You are mine

You are mine

You are mine

IT WAS a tiny church no bigger than a rich man’s parlor. The pews had no backs, and since the congregation was also the choir, it didn’t need a stall. Certain members had been assigned the construction of a platform to raise the preacher a few inches above his congregation, but it was a less than urgent task, since the major elevation, a white oak cross, had already taken place. Before it was the Church of the Holy Redeemer, it was a dry-goods shop that had no use for side windows, just front ones for display. These were papered over while members considered whether to paint or curtain them–how to have privacy without losing the little light that might want to shine on them. In the summer the doors were left open for ventilation. In winter an iron stove in the aisle did what it could. At the front of the church was a sturdy porch where customers used to sit, and children laughed at the boy who got his head stuck between the railings. On a sunny and windless day in January it was actually warmer out there than inside, if the iron stove was cold. The damp cellar was fairly warm, but there was no light lighting the pallet or the washbasin or the nail from which a man’s clothes could be hung.

And a oil lamp in a cellar was sad, so Paul D sat on the porch steps and got additional warmth from a bottle of liquor jammed in his coat pocket. Warmth and red eyes. He held his wrist between his knees, not to keep his hands still but because he had nothing else to hold on to. His tobacco tin, blown open, spilled contents that floated freely and made him their play and prey.

He couldn’t figure out why it took so long. He may as well have jumped in the fire with Sixo and they both could have had a good laugh. Surrender was bound to come anyway, why not meet it with a laugh, shouting Seven-O! Why not? Why the delay? He had already seen his brother wave goodbye from the back of a dray, fried chicken in his pocket, tears in his eyes. Mother. Father. Didn’t remember the one. Never saw the other. He was the youngest of three half-brothers (same mother–different fathers) sold to Garner and kept there, forbidden to leave the farm, for twenty years. Once, in Maryland, he met four families of slaves who had all been together for a hundred years: great-grands, grands, mothers, fathers, aunts, uncles, cousins, children. Half white, part white, all black, mixed with Indian. He watched them with awe and envy, and each time he discovered large families of black people he made them identify over and over who each was, what relation, who, in fact, belonged to who.

“That there’s my auntie. This here’s her boy. Yonder is my pap’s cousin. My ma’am was married twice–this my half-sister and these her two children. Now, my wife…”

Nothing like that had ever been his and growing up at Sweet Home he didn’t miss it. He had his brothers, two friends, Baby Suggs in the kitchen, a boss who showed them how to shoot and listened to what they had to say. A mistress who made their soap and never raised her voice. For twenty years they had all lived in that cradle, until Baby left, Sethe came, and Halle took her. He made a family with her, and Sixo was hell-bent to make one with the Thirty-Mile Woman. When Paul D waved goodbye to his oldest brother, the boss was dead, the mistress nervous and the cradle already split. Sixo said the doctor made Mrs. Garner sick. Said he was giving her to drink what stallions got when they broke a leg and no gunpowder could be spared, and had it not been for schoolteacher’s new rules, he would have told her so. They laughed at him. Sixo had a knowing tale about everything. Including Mr. Garner’s stroke, which he said was a shot in his ear put there by a jealous neighbor.

“where’s the blood?” they asked him.

There was no blood. Mr. Garner came home bent over his mare’s neck, sweating and blue-white. Not a drop of blood. Sixo grunted, the only one of them not sorry to see him go. Later, however, he was mighty sorry; they all were.

“Why she call on him?” Paul D asked. “Why she need the schoolteacher?”

“She need somebody can figure,” said Halle.

“You can do figures.”

“Not like that.”

“No, man,” said Sixo. “She need another white on the place.”

“What for?”

“What you think? What you think?”

Well, that’s the way it was. Nobody counted on Garner dying.

Nobody thought he could. How ‘bout that? Everything rested on Garner being alive. Without his life each of theirs fell to pieces. Now ain’t that slavery or what is it? At the peak of his strength, taller than tall men, and stronger than most, they clipped him, Paul D.

First his shotgun, then his thoughts, for schoolteacher didn’t take advice from Negroes. The information they offered he called backtalk and developed a variety of corrections (which he recorded in his notebook) to reeducate them. He complained they ate too much, rested too much, talked too much, which was certainly true compared to him, because schoolteacher ate little, spoke less and rested not at all. Once he saw them playing–a pitching game–and his look of deeply felt hurt was enough to make Paul D blink. He was as hard on his pupils as he was on them–except for the corrections.

For years Paul D believed schoolteacher broke into children what Garner had raised into men. And it was that that made them run off. Now, plagued by the contents of his tobacco tin, he wondered how much difference there really was between before schoolteacher and after. Garner called and announced them men–but only on Sweet Home, and by his leave. Was he naming what he saw or creating what he did not? That was the wonder of Sixo, and even Halle; it was always clear to Paul D that those two were men whether Garner said so or not. It troubled him that, concerning his own manhood, he could not satisfy himself on that point. Oh, he did manly things, but was that Garner’s gift or his own will? What would he have been anyway–before Sweet Home–without Garner? In Sixo’s country, or his mother’s? Or, God help him, on the boat? Did a whiteman saying it make it so? Suppose Garner woke up one morning and changed his mind? Took the word away. Would they have run then? And if he didn’t, would the Pauls have stayed there all their lives? Why did the brothers need the one whole night to decide? To discuss whether they would join Sixo and Halle. Because they had been isolated in a wonderful lie, dismissing Halle’s and Baby Suggs’ life before Sweet Home as bad luck. Ignorant of or amused by Sixo’s dark stories. Protected and convinced they were special.

Never suspecting the problem of Alfred, Georgia; being so in love with the look of the world, putting up with anything and everything, just to stay alive in a place where a moon he had no right to was nevertheless there. Loving small and in secret. His little love was a tree, of course, but not like Brother–old, wide and beckoning.

In Alfred, Georgia, there was an aspen too young to call sapling.

Just a shoot no taller than his waist. The kind of thing a man would cut to whip his horse. Song-murder and the aspen. He stayed alive to sing songs that murdered life, and watched an aspen that confirmed it, and never for a minute did he believe he could escape. Until it rained. Afterward, after the Cherokee pointed and sent him running toward blossoms, he wanted simply to move, go, pick up one day and be somewhere else the next. Resigned to life without aunts, cousins, children. Even a woman, until Sethe.

And then she moved him. Just when doubt, regret and every single unasked question was packed away, long after he believed he had willed himself into being, at the very time and place he wanted to take root–she moved him. From room to room. Like a rag doll.

Sitting on the porch of a dry-goods church, a little bit drunk and nothing much to do, he could have these thoughts. Slow, what-if thoughts that cut deep but struck nothing solid a man could hold on to. So he held his wrists. Passing by that woman’s life, getting in it and letting it get in him had set him up for this fall. Wanting to live out his life with a whole woman was new, and losing the feeling of it made him want to cry and think deep thoughts that struck nothing solid. When he was drifting, thinking only about the next meal and night’s sleep, when everything was packed tight in his chest, he had no sense of failure, of things not working out. Anything that worked at all worked out. Now he wondered what-all went wrong, and starting with the Plan, everything had. It was a good plan, too.

Worked out in detail with every possibility of error eliminated.

Sixo, hitching up the horses, is speaking English again and tells Halle what his Thirty-Mile Woman told him. That seven Negroes on her place were joining two others going North. That the two others had done it before and knew the way. That one of the two, a woman, would wait for them in the corn when it was high–one night and half of the next day she would wait, and if they came she would take them to the caravan, where the others would be hidden.

That she would rattle, and that would be the sign. Sixo was going, his woman was going, and Halle was taking his whole family. The two Pauls say they need time to think about it. Time to wonder where they will end up; how they will live. What work; who will take them in; should they try to get to Paul F, whose owner, they remember, lived in something called the “trace”? It takes them one evening’s conversation to decide.

Now all they have to do is wait through the spring, till the corn is as high as it ever got and the moon as fat.

And plan. Is it better to leave in the dark to get a better start, or go at daybreak to be able to see the way better? Sixo spits at the suggestion. Night gives them more time and the protection of color.

He does not ask them if they are afraid. He manages some dry runs to the corn at night, burying blankets and two knives near the creek.

Will Sethe be able to swim the creek? they ask him. It will be dry, he says, when the corn is tall. There is no food to put by, but Sethe says she will get a jug of cane syrup or molasses, and some bread when it is near the time to go. She only wants to be sure the blankets are where they should be, for they will need them to tie her baby on her back and to cover them during the journey. There are no clothes other than what they wear. And of course no shoes. The knives will help them eat, but they bury rope and a pot as well. A good plan.

They watch and memorize the comings and goings of schoolteacher and his pupils: what is wanted when and where; how long it takes. Mrs. Garner, restless at night, is sunk in sleep all morning.

Some days the pupils and their teacher do lessons until breakfast.

One day a week they skip breakfast completely and travel ten miles to church, expecting a large dinner upon their return. Schoolteacher writes in his notebook after supper; the pupils clean, mend or sharpen tools. Sethe’s work is the most uncertain because she is on call for Mrs. Garner anytime, including nighttime when the pain or the weakness or the downright loneliness is too much for her. So: Sixo and the Pauls will go after supper and wait in the creek for the Thirty Mile Woman. Halle will bring Sethe and the three children before dawn–before the sun, before the chickens and the milking cow need attention, so by the time smoke should be coming from the cooking stove, they will be in or near the creek with the others. That way, if Mrs. Garner needs Sethe in the night and calls her, Sethe will be there to answer. They only have to wait through the spring.

But. Sethe was pregnant in the spring and by August is so heavy with child she may not be able to keep up with the men, who can carry the children but not her.

But. Neighbors discouraged by Garner when he was alive now feel free to visit Sweet Home and might appear in the right place at the wrong time.

But. Sethe’s children cannot play in the kitchen anymore, so she is dashing back and forth between house and quarters-fidgety and frustrated trying to watch over them. They are too young for men’s work and the baby girl is nine months old. Without Mrs. Garner’s help her work increases as do schoolteacher’s demands.

But. After the conversation about the shoat, Sixo is tied up with the stock at night, and locks are put on bins, pens, sheds, coops, the tackroom and the barn door. There is no place to dart into or congregate.

Sixo keeps a nail in his mouth now, to help him undo the rope when he has to.

But. Halle is told to work his extra on Sweet Home and has no call to be anywhere other than where schoolteacher tells him. Only Sixo, who has been stealing away to see his woman, and Halle, who has been hired away for years, know what lies outside Sweet Home and how to get there.

It is a good plan. It can be done right under the watchful pupils and their teacher.

But. They had to alter it–just a little. First they change the leaving.

They memorize the directions Halle gives them. Sixo, needing time to untie himself, break open the door and not disturb the horses, will leave later, joining them at the creek with the Thirty-Mile Woman.

All four will go straight to the corn. Halle, who also needs more time now, because of Sethe, decides to bring her and the children at night; not wait till first light. They will go straight to the corn and not assemble at the creek. The corn stretches to their shoulders–it will never be higher. The moon is swelling. They can hardly harvest, or chop, or clear, or pick, or haul for listening for a rattle that is not bird or snake. Then one midmorning, they hear it. Or Halle does and begins to sing it to the others: “Hush, hush. Somebody’s calling my name. Hush, hush. Somebody’s calling my name. O my Lord, O my Lord, what shall I do?”

On his dinner break he leaves the field. He has to. He has to tell Sethe that he has heard the sign. For two successive nights she has been with Mrs. Garner and he can’t chance it that she will not know that this night she cannot be. The Pauls see him go. From underneath Brother’s shade where they are chewing corn cake, they see him, swinging along. The bread tastes good. They lick sweat from their lips to give it a saltier flavor. Schoolteacher and his pupils are already at the house eating dinner. Halle swings along. He is not singing now.

Nobody knows what happened. Except for the churn, that was the last anybody ever saw of Halle. What Paul D knew was that Halle disappeared, never told Sethe anything, and was next seen squatting in butter. Maybe when he got to the gate and asked to see Sethe, schoolteacher heard a tint of anxiety in his voice–the tint that would make him pick up his ever-ready shotgun. Maybe Halle made the mistake of saying “my wife” in some way that would put a light in schoolteacher’s eye. Sethe says now that she heard shots, but did not look out the window of Mrs. Garner’s bedroom. But Halle was not killed or wounded that day because Paul D saw him later, after she had run off with no one’s help; after Sixo laughed and his brother disappeared. Saw him greased and flat-eyed as a fish. Maybe schoolteacher shot after him, shot at his feet, to remind him of the trespass.

Maybe Halle got in the barn, hid there and got locked in with the rest of schoolteacher’s stock. Maybe anything. He disappeared and everybody was on his own.

Paul A goes back to moving timber after dinner. They are to meet at quarters for supper. He never shows up. Paul D leaves for the creek on time, believing, hoping, Paul A has gone on ahead; certain schoolteacher has learned something. Paul D gets to the creek and it is as dry as Sixo promised. He waits there with the Thirty-Mile Woman for Sixo and Paul A. Only Sixo shows up, his wrists bleeding, his tongue licking his lips like a flame.

“You see Paul A?”

“No.”

“Halle?”

“No.”

“No sign of them?”

“No sign. Nobody in quarters but the children.”

“Sethe?”

“Her children sleep. She must be there still.”

“I can’t leave without Paul A.”

“I can’t help you.”

“Should I go back and look for them?”

“I can’t help you.”

“What you think?”

“I think they go straight to the corn.”

Sixo turns, then, to the woman and they clutch each other and whisper. She is lit now with some glowing, some shining that comes from inside her. Before when she knelt on creek pebbles with Paul D, she was nothing, a shape in the dark breathing lightly.

Sixo is about to crawl out to look for the knives he buried. He hears something. He hears nothing. Forget the knives. Now. The three of them climb up the bank and schoolteacher, his pupils and four other whitemen move toward them. With lamps. Sixo pushes the Thirty-Mile Woman and she runs further on in the creekbed.

Paul D and Sixo run the other way toward the woods. Both are surrounded and tied.

The air gets sweet then. Perfumed by the things honeybees love.

Tied like a mule, Paul D feels how dewy and inviting the grass is.

He is thinking about that and where Paul A might be when Sixo turns and grabs the mouth of the nearest pointing rifle. He begins to sing. Two others shove Paul D and tie him to a tree. Schoolteacher is saying, “Alive. Alive. I want him alive.” Sixo swings and cracks the ribs of one, but with bound hands cannot get the weapon in position to use it in any other way. All the whitemen have to do is wait. For his song, perhaps, to end? Five guns are trained on him while they listen. Paul D cannot see them when they step away from lamplight. Finally one of them hits Sixo in the head with his rifle, and when he comes to, a hickory fire is in front of him and he is tied at the waist to a tree. Schoolteacher has changed his mind: “This one will never be suitable.” The song must have convinced him.

The fire keeps failing and the whitemen are put out with themselves at not being prepared for this emergency. They came to capture, not kill. What they can manage is only enough for cooking hominy.

Dry faggots are scarce and the grass is slick with dew.