'To the Western farmer the very word “seeding” is a poem'

Hamlin Garland & His Veritism | Samples from his Short Stories

In this last part to Garland’s greatness, me thought of presenting some wonderful snatches from the legendary writer’s short stories, titled, Prairie Folks.

This work is special for many reasons. It proves a study in realism, in picturesque detailing, and in ingrained factualities of the highest order! Added, Garland’s use of language proves the show-stopper! It helps throw much-o-much light on the people of the Midwestern region, their lives, their work routines, their foibles, their idiosyncrasies etc.

Added, each story begins with a descriptive poem that foregrounds what’s in store for us, in such cryptic ways! Some of the stories border on pathos, while an equal number are replete with such unalloyed humour of sorts! Moreover, his opening lines to each of them are so cute and so charming! Finally, this short story collection is an exemplification or an ensample to his credo and his conviction, much of which he discusses in such detail in his manifesto on art criticism!

Just snippety excerpts from a few of his short story reads, to get a feel of his style and his sway, for us all -

Part I.

UNCLE ETHAN’S SPECULATION IN PATENT MEDICINES

A certain guileless trust in human kind

Too often leads them into nets

Spread by some wandering trader,

Smooth, and deft, and sure.

UNCLE ETHAN RIPLEY

Uncle Ethan had a theory that a man’s character could be told by the way he sat in a wagon seat.

“A mean man sets right plumb in the middle o’ the seat, as much as to say, ‘Walk, gol darn yeh, who cares?’ But a man that sets in one corner o’ the seat, much as to say, ‘Jump in—cheaper t’ ride ‘n to walk,’ you can jest tie to.”

Uncle Ripley was prejudiced in favor of the stranger, therefore, before he came opposite the potato patch, where the old man was “bugging his vines.” The stranger drove a jaded-looking pair of calico ponies, hitched to a clattering democrat wagon, and he sat on the extreme end of the seat, with the lines in his right hand, while his left rested on his thigh, with his little finger gracefully crooked and his elbows akimbo. He wore a blue shirt, with gay-colored armlets just above the elbows, and his vest hung unbuttoned down his lank ribs. It was plain he was well pleased with himself.

As he pulled up and threw one leg over the end of the seat, Uncle Ethan observed that the left spring was much more worn than the other, which proved that it was not accidental, but that it was the driver’s habit to sit on that end of the seat.

“Good afternoon,” said the stranger, pleasantly.

“Good afternoon, sir.”

“Bugs purty plenty?”

“Plenty enough, I gol! I don’t see where they all come fum.”

“Early Rose?” inquired the man, as if referring to the bugs.

“No; Peachblows an’ Carter Reds. My Early Rose is over near the house. The old woman wants ‘em near. See the darned things!” he pursued, rapping savagely on the edge of the pan to rattle the bugs back.

“How do yeh kill ‘em—scald ‘em?”

“Mostly. Sometimes I” —

“Good piece of oats,” yawned the stranger, listlessly.

“That’s barley.”

“So ‘tis. Didn’t notice.”

Uncle Ethan was wondering what the man was. He had some pots of black paint in the wagon, and two or three square boxes.

“What do yeh think o’ Cleveland’s chances for a second term?” continued the man, as if they had been talking politics all the while.

Uncle Ripley scratched his head. “Waal—I dunno—bein’ a Republican—I think “——

“That’s so—it’s a purty scaly outlook. I don’t believe in second terms myself,” the man hastened to say.

“Is that your new barn acrost there?” pointing with his whip.

“Yes, sir, it is,” replied the old man, proudly. After years of planning and hard work he had managed to erect a little wooden barn, costing possibly three hundred dollars. It was plain to be seen he took a childish pride in the fact of its newness.

The stranger mused. “A lovely place for a sign,” he said, as his eyes wandered across its shining yellow broadside.

Uncle Ethan stared, unmindful of the bugs crawling over the edge of his pan. His interest in the pots of paint deepened.

“Couldn’t think o’ lettin’ me paint a sign on that barn?” the stranger continued, putting his locked hands around one knee, and gazing away across the pig-pen at the building.

“What kind of a sign? Gol darn your skins!” Uncle Ethan pounded the pan with his paddle and scraped two or three crawling abominations off his leathery wrist.

It was a beautiful day, and the man in the wagon seemed unusually loath to attend to business. The tired ponies slept in the shade of the lombardies. The plain was draped in a warm mist, and shadowed by vast, vaguely defined masses of clouds—a lazy June day.

***

PART II

THE TEST OF ELDER PILL: THE COUNTRY PREACHER

The lonely center of their social life,

The low, square school-house, stands

Upon the wind-swept plain,

Hacked by thoughtless boyish hands,

And gray, and worn, and warped with strife

Of sleet and autumn rain.

ELDER PILL, PREACHER

I

Old man Bacon was pinching forked barbs on a wire fence one rainy day in July, when his neighbor Jennings came along the road on his way to town. Jennings never went to town except when it rained too hard to work outdoors, his neighbors said; and of old man Bacon it was said he never rested nights nor Sundays.

Jennings pulled up. “Good morning, neighbor Bacon.”

“Mornin’,” rumbled the old man without looking up.

“Taking it easy, as usual, I see. Think it’s going to clear up?”

“May, an’ may not. Don’t make much differunce t’ me,” growled Bacon, discouragingly.

***

Part III

WILLIAM BACON’S HIRED MAN: AND DAUGHTER MARIETTA

... Love and youth pass swiftly: Love sings,

And April’s sun fans warmer sunlight from his wings.

WILLIAM BACON’S MAN

I

The yellow March sun lay powerfully on the bare Iowa prairie, where the plowed fields were already turning warm and brown, and only here and there in a corner or on the north side of the fence did the sullen drifts remain, and they were so dark and low that they hardly appeared to break the mellow brown of the fields.

There passed also an occasional flock of geese, cheerful harbingers of spring, and the prairie-chickens had set up their morning symphony, wide-swelling, wonderful with its prophecy of the new birth of grass and grain and the springing life of all breathing things. The crow passed now and then, uttering his resonant croak, but the crane had not yet sent forth his bugle note.

Lyman Gilman rested on his ax-helve at the wood-pile of Farmer Bacon to listen to the music around him. In a vague way he was powerfully moved by it. He heard the hens singing their weird, raucous, monotonous song, and saw them burrowing in the dry chip-dust near him. He saw the young colts and cattle frisking in the sunny space around the straw-stacks, absorbed through his bare arms and uncovered head the heat of the sun, and felt the soft wooing of the air so deeply that he broke into an unwonted exclamation:

“Glory! we’ll be seeding by Friday, sure.”

This short and disappointing soliloquy was, after all, an expression of deep emotion. To the Western farmer the very word “seeding” is a poem. And these few words, coming from Lyman Gilman, meant more and expressed more than many a large and ambitious spring-time song.

But the glory of all the slumbrous landscape, the stately beauty of the sky with its masses of fleecy vapor, were swept away by the sound of a girl’s voice humming, “Come to the Savior,” while she bustled about the kitchen near by. The windows were open. Ah! what suggestion to these dwellers in a rigorous climate was in the first unsealing of the windows! How sweet it was to the pale and weary women after their long imprisonment!

As Lyman sat down on his maple log to hear better, a plump face appeared at the window, and a clear girl-voice said:

“Smell anything, Lime?”

He snuffed the air. “Cookies, by the great horn spoons!” he yelled, leaping up. “Bring me some, an’ see me eat; it’ll do ye good.”

“Come an’ get ‘m,” laughed the face at the window.

“Oh, it’s nicer out here, Merry Etty. What’s the rush? Bring me out some, an’ set down on this log.”

With a nod Marietta disappeared, and soon came out with a plate of cookies in one hand and a cup of milk in the other.

Well, that’s all for now, folks, from Hamlin – Hamlin Garland. The entire collection is made available in Project Gutenburg online! It’s yours for grabs, entirely!

Wish y’all happy ‘Garland’ing!!!

image: dodo press via goodreadsdotcom