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O Pioneers
O Pioneers
O Pioneers
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O Pioneers

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A Beautiful Story of Love and Resilience

“I've seen it before. There are women who spread ruin through no fault of theirs, just by being too beautiful, too full of life and love. They can't help it. People come to them as people go to a warm fire in winter.” ― Willa Cather, O Pioneers!

O Pioneers by Willa Cather is story of a family of Swedish immigrants who settle in a fictional town in Nebraska. When her father dies, Alexandra Bergson inherits the family farm and is determined to see it succeed, even at a time when many immigrant families are leaving the prairie.
This Xist Classics edition has been professionally formatted for e-readers with a linked table of contents. This eBook also contains a bonus book club leadership guide and discussion questions. We hope you’ll share this book with your friends, neighbors and colleagues and can’t wait to hear what you have to say about it.

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LanguageEnglish
Release dateApr 20, 2015
ISBN9781623959081
Author

Willa Cather

Willa Cather nació en Winchester (Virginia) en 1876, de una familia de origen irlandés, y pasó su infancia en Nebraska, en los años de la primera gran colonización de inmigrantes checos y escandinavos. Siempre activa y de espíritu independiente, estudió en la Universidad de Nebraska, donde se presentó, vestida de hombre, con el nombre de William Cather. Fue viajera, periodista, maestra, dirigió revistas; vivió durante cuarenta años con su compañera, Edith Lewis; y, cuando hubo ahorrado lo suficiente, se dedicó exclusivamente a la literatura. Admiradora de Flaubert y Henry James, así como de Turguéniev, Conrad y Stephen Crane, su primera novela, Alexander’s Bridge, se publicó en 1912. Al año siguiente, con Pioneros (ALBA CLÁSICA núm. L) introdujo el que habría de ser uno de sus temas centrales: el mundo vitalista de los colonos en el que transcurrió su infancia. A ésta siguieron otras novelas como Mi Ántonia (1918; ALBA CLÁSICA núm. XXXV), One of Ours (1922), que mereció el premio Pulitzer, La muerte y el arzobispo (1927), Shadows on the Rock (1931) o Lucy Gayheart (1935; ALBA CLÁSICA núm. ) y algunas exquisitas nouvelles como Una dama extraviada (1923; ALBA CLÁSICA núm. LX) o Mi enemigo mortal (1926; ALBA CLÁSICA núm. XXXII), ejemplos de un modo de escribir complejo y personal que se ganaría la admiración de escritores como William Faulkner y Truman Capote. Es autora asimismo de un gran número de relatos, reunidos en Los libros de cuentos (ALBA CLÁSICA MAIOR núm. ), y de un delicioso libro de recuerdos y ensayos, Para mayores de cuarenta (1936; ALBA CLÁSICA núm. LV). Murió en Nueva York en 1947.

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Rating: 3.8827361636807822 out of 5 stars
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  • Rating: 3 out of 5 stars
    3/5
    The story of French/Bohemian immigrants to the American West in the late 19th century. I have read much about western settlement and this book did not live up to it's hype. This was mostly a book about interpersonal relationships and not about actual settlement. By this time they had mechanized farming (except tractors) and telephones; not really pioneers, in my mind. This certainly was not on the level of The Little House Books or Sara Donati books. This was my 2nd (and last) Cather book I've read that really wasn't interesting. 198 pages
  • Rating: 4 out of 5 stars
    4/5
    An engrossing story to lose yourself in, well read.
  • Rating: 4 out of 5 stars
    4/5
    This book was a pleasant surprise -- I didn't expect to enjoy it as much as I did. Written 100 years ago, its observations of human foibles are still apt.
  • Rating: 4 out of 5 stars
    4/5
    A character piece. What happens in this book isn't particularly interesting, but the people it centers around is. There isn't anything particularly mesmerizing about any of the characters - they're just so real and wholesome and pleasant that I'd like being friends with them, but they have conflict just enough that they're intriguing to watch from afar as well. I love Alexandra most, of course. A feminist icon.
  • Rating: 4 out of 5 stars
    4/5
    Meh, Cather. I read My Antonia sometime in my teens and didn't care for it. Read O! Pioneers in masters degree school and didn't care for it. And I still don't care for it. The descriptions of the land are pretty amazing, and I like some of the characters okay, but for the most part I'm just not gripped or intrigued or fascinated or angered or annoyed or anything really until the end, when Frank shoots his wife, Marie, and Emil and Alexandra is all "well, you know, it's more their fault than yours, Frank, because, you know, carrying on and doing the what-not." Aside from my general "sorry, can't" re: "it's okay to murder your wife and her lover because adultery," Alexandra's reaction to it given her otherwise quite (proto-) feminist attitudes about everything else make me all verhoodled in my brainmeats. This is one of those books I feel is far more important to literature than it ever will be entertaining, enlightening, or appealing to me.
  • Rating: 5 out of 5 stars
    5/5
    This book was written in 1913, but it is set in 19th century Nebraska. At that time, a large number of immigrants had made their way to the United States and they came because they knew that land was being offered for free to settlers. This particular settlement is Hanover, Nebraska, and the book is about the Bergstrom family who were immigrants from Sweden. Hard work is definitely not foreign to these people and Alexandra and her family (mother, father, three brothers, and Alexandra herself), Alexandra's father is taken from the family at a fairly young age, but he leaves a sizeable homestead and a house for his family, and he entrusts his daughter to look after it all. He recognizes that she is the most capable of the lot. Alexandra faces this challenge head-on, and she increases her landholdings, and ensures that her family are much better off than when she began. She does this at great sacrifice to her own personal life. This is a story about the strength of the human race; about love and loss; and about great tragedy. It's a wonderful and realistic portrayal of colonial life in the untamed American prairie. I highly recommend this book.
  • Rating: 4 out of 5 stars
    4/5
    Worth a trip to Nebraska.
  • Rating: 4 out of 5 stars
    4/5
    Alexandra is incredible. She was strong, and suffered at the hands of all of her brothers. The story was beautiful, even in it's sadness. The writing was poetic and kept me reading.I loved the ending. The scene where Alexandra realizes it was Jesus who she had been dreaming about for much of her life. I loved it. I was still happy when Carl came back and they agreed to get married, but I also liked the idea of Alexandra becoming a nun (it was implied that was what she was considering this.)The one thing that I didn't like was the victim blaming. Frank Shabata hurt his wife, not physically, but emotionally, for years and years. It was wrong of her and Emil to commit adultry, but two wrongs make more wrong, and I didn't like that first Frank, and then Alexandra essentially blamed Emil and Marie for Frank's murdering them. Besides the fact that this action was a mortal sin for Frank, it also prevented the two of them from repenting their own. Whether he had a temper or not, Frank should not have kept saying that it was her fault for letting him catch them. It was his fault for letting himself become bitter and suspicious. It was his fault for trying to make Marie as bitter as he. It was his fault for taking the gun with him to the orchard when he did not truly think that there were any intruders. And it was his fault for raising the gun to his shoulder and firing. The murder may not have been premeditated, but it was murder none the less. Ivar believes that the Emil and Marie are in Hell for their actions. I don't know whether they are (or whether non-fictional people in their place would be,) but they didn't deserve to die so quickly and without the chance to ask for God's forgiveness.So, basically I really enjoyed the book, but I didn't like the fact that Marie and Emil were blamed for their own murders. They were to blame for the sins they committed, yes, but not for the sins Frank committed. I do think I will be reading more Willa Cather in the future.
  • Rating: 2 out of 5 stars
    2/5
    I feel obligated to say that it wasn't by any means due to the writing, references, or classic applicability of this book that it got a two star rating (I'm calling it a 2.5). It is simply because, although interesting, it was hard pressed to keep my attention for long periods of time. I would still recommend it if you are interested in early colonial mid-west historical fiction!
  • Rating: 5 out of 5 stars
    5/5
    The story of a strong female pioneer. It must have really hurt to have her brothers dismiss her contribution because she was a women.
  • Rating: 4 out of 5 stars
    4/5
    Somehow, I managed to make it through 64 years of life and an MA in American Literature without ever having read any of Willa Cather's novels. So I picked up O PIONEERS and found it to be very good. Cather shows the same passion for the American landscape that John Steinbeck does, but in a less flowery manner.
  • Rating: 4 out of 5 stars
    4/5
    I loved Alexandra and the way she could see the true beauty of the land even as she struggled to harness it. Sad, beautiful, luminous.
  • Rating: 2 out of 5 stars
    2/5
    Best summed up by the word "Eh." This books starts flat and ends flat, with nothing special happening in between. I'm shocked that so many people gave this high ratings. Personally, I think this one should be avoided. Nothing was gained from reading it.
  • Rating: 1 out of 5 stars
    1/5
    Had to read it for an American Lit class in college. So boring.
  • Rating: 4 out of 5 stars
    4/5
    This is probably the fourth or fifth Cather novel I have read. I cannot say it is my favorite, probably because the plot was not nearly as engaging as it was in her later works. However, I don't think anyone captures the essence of the American plains like Cather can. Her protagonist in this book is basically an incarnation of mother earth herself. At one point, Alexandra recounts the history of the farm and says the wheat only flourished when the land was ready. For Alexandra, life is much the same. She was not ready for love until she had fully matured. There were several characters who were quite engaging; Alexandra's brother, Emil and Ivar, the man of nature, along with Marie the beautiful butterfly of a woman comprise a very interesting cast of characters. It was a really good read, but just not as marvelous as Cather's future works.
  • Rating: 5 out of 5 stars
    5/5
    Having tried and failed to read My Antonia a couple of times, I didn't expect to like this book a lot. So I was shocked when I started to love it. Cather's prose is tight, and her characters are gracefully drawn. Even an eccentric like Ivar doesn't get the Faulkner treatment; these people appear in strokes, gradually, and they are all the more real for it. I was enraptured by this book, almost all the way to the end. [It does really start to unravel in the final exchange between Alexandra and Carl--I don't know what that was in the service of, exactly.]
  • Rating: 4 out of 5 stars
    4/5
    This is a great little novel about the plight of the immigrant farmers in Nebraska toward the end of the 19th century. I liked that the main protagonist was a woman, and a strong woman of course, who was given responsibility of managing the homestead by her dying father and used this advantage to realize her vision. It's very placid going for the first half and very pleasant as such, but the dramatic elements come in during the second half and move the story along in ways one would not at all have expected from what came before. Very well done. Makes me want to read more work by Willa Cather, and while I liked this novel very much, in the end I can't say it really moved me. Perhaps this has something to do with the ending and the moralistic attitude taken by the characters of the after a tragic outcome, which I hope was not the stance taken by the author as well.
  • Rating: 4 out of 5 stars
    4/5
    The book starts out VERY slowly -- as in, the first half of it is not particularly engrossing reading. After those first two sections, I put it down thinking that it was just a bunch of sketches of vaguely connected scenes, with no overarching plot, and that Cather gave us no reason to care about the overly-stereotypical characters at all. But the novel really picks up in the second half. I can't quite put my finger on what changes, beyond the introduction of more lasting conflict and of something more approaching an actual story. I'm not sure that that's all that is different. Whatever it is, though, most of the end of the book is quite affecting. I do have quibbles with the book: the first half could be condensed so that the reader doesn't have to slog through so many apparently-random, somewhat dull scenes; the gist of many of the characters' longer speeches that show their interior thoughts could be gotten across to us in their actions rather than making us read stilted, artificial dialogue; and I am frankly disgusted by the judgments that Alexandra and the novel make regarding Emil's and Maria's fates. Nevertheless, this isn't a bad read. It's worth picking up for Cather's beautiful prose and for the story of the book's second half. I give it 3 1/2 stars overall, though if the first half of the book had been handled better this easily would've been at least a 4.
  • Rating: 4 out of 5 stars
    4/5
    classic Cather--probably a good one to start out with--not sure if it's my favorite one but still it is very good
  • Rating: 3 out of 5 stars
    3/5
    I always had in the back of mind while I was reading this book that it had been written in a much more conservative time. I suspect that it pushed the limits more back then than it feels to be doing now, especially in regard to women's rights. I was struck by how undated the writing was, not stiff in any way, but not exactly free-spirited either. At times, the narrative is quite eloquent, but it had too many wordy, bland passages for me to forgive its variable quality. For the most part, I chock that up to this being an early work for a gifted writer. I expect to enjoy My Antonia even more.
  • Rating: 4 out of 5 stars
    4/5
    O Pioneers, the first of the Great Plains Trilogy by Willa Cather, tells the story the Bergsons, a Swedish family who immigrates to the plains of Nebraska at the turn of the 20th century. The main character is Alexandra Bergson who begins the novel as a young girl and the novel ends with her as a middle age woman. Alexandra eventually inherits the family farmland when her father dies and devotes her life to making the farm a viable enterprise at a time when other immigrant families are giving up and leaving the prairie. The novel is also concerned with two romantic relationships, one between Alexandra and family friend Carl Linstrum and the other between Alexandra's brother Emil and the married Marie Shabata. The novel really feels like a series of short stories about these immigrants and the land of Nebraska. As with many of Cather’s novels the writing is beautiful—she makes you feel like you are standing on that prairie. Though not my favorite Cather novel (that would be Death comes for the Archbishop) I did enjoy the novel. 4 out of 5 stars.
  • Rating: 4 out of 5 stars
    4/5
    Uncharacteristically, I managed to read more than half of this novel without reading the back of book blurb. When I did and saw the word "murder" I laughed. How could such a quiet, deliberate book lead to such a harsh, unforgiving word? Masterfully, it turns out.

    Cather's strength is description. Her descriptions of nature are especially detailed and evocative. But, she's at her best when she is underplaying events, using a few well chosen words to pinpoint emotions. Beautiful and surprising, O Pioneers! will stay with me for a while.
  • Rating: 5 out of 5 stars
    5/5
    O Pioneers is the story of Alexandra Bergsons, the daughter of Swedish immigrants who settle in Nebraska at the turn of the century. Farming life is hard work and when Alexandra’s father passes away, she is left in charge of the household and the land. Alexandra works hard to turn the farm into a successful business and put Emil, her youngest brother through college. As a result, Alexandra sacrifices her social life and finds herself alone. Many years later, Alexandra is reunited with Carl, a childhood friend who comes back to Nebraska from the big city to visit. Having achieved success, Alexandra finds that she yearns to share her life with Carl. Carl has always been in love with Alaexandra but feels he must go to Alaska to seek his fortune before asking for Alexandra’s hand. Alexandra waits patiently for his return. In the meantime, Emil has returned from a year in Mexico and finds himself still hopelessly in love with Marie, a childhood friend who is now married. News of a tragic event cause Carl to return to Nebraska where he is reunited with Alexandra, this time for good.
  • Rating: 4 out of 5 stars
    4/5
    Beautifully written and elegantly paced. Willa Cather's talent for description and dialogue make it clear why her fans adore her. Personally, I liked Death Comes for the Archbishop more, though I haven't yet read My Antonia.
  • Rating: 4 out of 5 stars
    4/5
    I have read excerpts of this book over the years, and it was wonderful to read the full book at last. It's a short read (my copy was a little over 200 pages) and it reads fast as well--much more so than many other novels of the period. Cather is a master of lyrical reason. For that alone, she should be studied and modeled by writers, but her story construction is likewise fascinating. Cather's characters are well-rounded and evocative and utterly relatable. She does follow some conventions of the time, such as tragic, transformative deaths of major characters, but O Pioneers! is actually more positive than other period books in this regard. This is in keeping with the nature of the book's heroine, Alexandra, who is a strong, assertive woman in a male-dominated world. I was bothered by some of Alexandra's actions at the end, but I'm also aware that her reactions were in keeping with a woman of faith in her time.
  • Rating: 4 out of 5 stars
    4/5
    Cather was simply brilliant at painting a picture of Nebraska as the country became tamed and the people that tamed it.
  • Rating: 4 out of 5 stars
    4/5
    Cather is a wonderful writer, painting a hard-edged world in beautiful strokes. I didn't enjoy this one as much as others by her because I don't handle depressing stories especially well.
  • Rating: 4 out of 5 stars
    4/5
    Some of the most beautiful nature writing I've ever come across. She can make you feel the land. Story is also interesting, but the ending is a bit offensive to modern sensibilities. How exactly does Marie "deserve" to be killed by her loutish husband. Why would Alexandra feel sympathy for the man who killed . . . killed! . . . her brother. Has me scratching my head.
  • Rating: 4 out of 5 stars
    4/5
    This was Willa Cather´s first great novel, and to many it remains her unchallenged masterpiece. No other work of fiction so faithfully conveys both the sharp physical realities and the mythic sweep of the transformation of the american frontier and the transformation of the people who settled it. Cather´s heroin is Alexandra Bergson, who arrives on the windblasted prairie of Hanover, Nebraska, as a girl and grows up to make it a prosperous farm. But this archetypal success story is darkened by loss, and Alexandra´s devotion to the land may come at the cost of love itself.
  • Rating: 5 out of 5 stars
    5/5
    Alexandra Bergson, a strong, brave, intelligent woman with a love of the land, born for management, kind to others, not kind enough to herself. It takes a tragedy for her own feelings to come through. I very much liked this novel which brings together people from different origins at the end of the 19th century and shows how the American nation was forged. This westvaco edition is simply beautiful.

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O Pioneers - Willa Cather

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PART I. The Wild Land

I

One January day, thirty years ago, the little town of Hanover, anchored on a windy Nebraska tableland, was trying not to be blown away. A mist of fine snowflakes was curling and eddying about the cluster of low drab buildings huddled on the gray prairie, under a gray sky. The dwelling-houses were set about haphazard on the tough prairie sod; some of them looked as if they had been moved in overnight, and others as if they were straying off by themselves, headed straight for the open plain. None of them had any appearance of permanence, and the howling wind blew under them as well as over them. The main street was a deeply rutted road, now frozen hard, which ran from the squat red railway station and the grain elevator at the north end of the town to the lumber yard and the horse pond at the south end. On either side of this road straggled two uneven rows of wooden buildings; the general merchandise stores, the two banks, the drug store, the feed store, the saloon, the post-office. The board sidewalks were gray with trampled snow, but at two o'clock in the afternoon the shopkeepers, having come back from dinner, were keeping well behind their frosty windows. The children were all in school, and there was nobody abroad in the streets but a few rough-looking countrymen in coarse overcoats, with their long caps pulled down to their noses. Some of them had brought their wives to town, and now and then a red or a plaid shawl flashed out of one store into the shelter of another. At the hitch-bars along the street a few heavy work-horses, harnessed to farm wagons, shivered under their blankets. About the station everything was quiet, for there would not be another train in until night.

On the sidewalk in front of one of the stores sat a little Swede boy, crying bitterly. He was about five years old. His black cloth coat was much too big for him and made him look like a little old man. His shrunken brown flannel dress had been washed many times and left a long stretch of stocking between the hem of his skirt and the tops of his clumsy, copper-toed shoes. His cap was pulled down over his ears; his nose and his chubby cheeks were chapped and red with cold. He cried quietly, and the few people who hurried by did not notice him. He was afraid to stop any one, afraid to go into the store and ask for help, so he sat wringing his long sleeves and looking up a telegraph pole beside him, whimpering, My kitten, oh, my kitten! Her will fweeze! At the top of the pole crouched a shivering gray kitten, mewing faintly and clinging desperately to the wood with her claws. The boy had been left at the store while his sister went to the doctor's office, and in her absence a dog had chased his kitten up the pole. The little creature had never been so high before, and she was too frightened to move. Her master was sunk in despair. He was a little country boy, and this village was to him a very strange and perplexing place, where people wore fine clothes and had hard hearts. He always felt shy and awkward here, and wanted to hide behind things for fear some one might laugh at him. Just now, he was too unhappy to care who laughed. At last he seemed to see a ray of hope: his sister was coming, and he got up and ran toward her in his heavy shoes.

His sister was a tall, strong girl, and she walked rapidly and resolutely, as if she knew exactly where she was going and what she was going to do next. She wore a man's long ulster (not as if it were an affliction, but as if it were very comfortable and belonged to her; carried it like a young soldier), and a round plush cap, tied down with a thick veil. She had a serious, thoughtful face, and her clear, deep blue eyes were fixed intently on the distance, without seeming to see anything, as if she were in trouble. She did not notice the little boy until he pulled her by the coat. Then she stopped short and stooped down to wipe his wet face.

Why, Emil! I told you to stay in the store and not to come out. What is the matter with you?

My kitten, sister, my kitten! A man put her out, and a dog chased her up there. His forefinger, projecting from the sleeve of his coat, pointed up to the wretched little creature on the pole.

Oh, Emil! Didn't I tell you she'd get us into trouble of some kind, if you brought her? What made you tease me so? But there, I ought to have known better myself. She went to the foot of the pole and held out her arms, crying, Kitty, kitty, kitty, but the kitten only mewed and faintly waved its tail. Alexandra turned away decidedly. No, she won't come down. Somebody will have to go up after her. I saw the Linstrums' wagon in town. I'll go and see if I can find Carl. Maybe he can do something. Only you must stop crying, or I won't go a step. Where's your comforter? Did you leave it in the store? Never mind. Hold still, till I put this on you.

She unwound the brown veil from her head and tied it about his throat. A shabby little traveling man, who was just then coming out of the store on his way to the saloon, stopped and gazed stupidly at the shining mass of hair she bared when she took off her veil; two thick braids, pinned about her head in the German way, with a fringe of reddish-yellow curls blowing out from under her cap. He took his cigar out of his mouth and held the wet end between the fingers of his woolen glove. My God, girl, what a head of hair! he exclaimed, quite innocently and foolishly. She stabbed him with a glance of Amazonian fierceness and drew in her lower lip—most unnecessary severity. It gave the little clothing drummer such a start that he actually let his cigar fall to the sidewalk and went off weakly in the teeth of the wind to the saloon. His hand was still unsteady when he took his glass from the bartender. His feeble flirtatious instincts had been crushed before, but never so mercilessly. He felt cheap and ill-used, as if some one had taken advantage of him. When a drummer had been knocking about in little drab towns and crawling across the wintry country in dirty smoking-cars, was he to be blamed if, when he chanced upon a fine human creature, he suddenly wished himself more of a man?

While the little drummer was drinking to recover his nerve, Alexandra hurried to the drug store as the most likely place to find Carl Linstrum. There he was, turning over a portfolio of chromo studies which the druggist sold to the Hanover women who did china-painting. Alexandra explained her predicament, and the boy followed her to the corner, where Emil still sat by the pole.

I'll have to go up after her, Alexandra. I think at the depot they have some spikes I can strap on my feet. Wait a minute. Carl thrust his hands into his pockets, lowered his head, and darted up the street against the north wind. He was a tall boy of fifteen, slight and narrow-chested. When he came back with the spikes, Alexandra asked him what he had done with his overcoat.

I left it in the drug store. I couldn't climb in it, anyhow. Catch me if I fall, Emil, he called back as he began his ascent. Alexandra watched him anxiously; the cold was bitter enough on the ground. The kitten would not budge an inch. Carl had to go to the very top of the pole, and then had some difficulty in tearing her from her hold. When he reached the ground, he handed the cat to her tearful little master. Now go into the store with her, Emil, and get warm. He opened the door for the child. Wait a minute, Alexandra. Why can't I drive for you as far as our place? It's getting colder every minute. Have you seen the doctor?

Yes. He is coming over to-morrow. But he says father can't get better; can't get well. The girl's lip trembled. She looked fixedly up the bleak street as if she were gathering her strength to face something, as if she were trying with all her might to grasp a situation which, no matter how painful, must be met and dealt with somehow. The wind flapped the skirts of her heavy coat about her.

Carl did not say anything, but she felt his sympathy. He, too, was lonely. He was a thin, frail boy, with brooding dark eyes, very quiet in all his movements. There was a delicate pallor in his thin face, and his mouth was too sensitive for a boy's. The lips had already a little curl of bitterness and skepticism. The two friends stood for a few moments on the windy street corner, not speaking a word, as two travelers, who have lost their way, sometimes stand and admit their perplexity in silence. When Carl turned away he said, I'll see to your team. Alexandra went into the store to have her purchases packed in the egg-boxes, and to get warm before she set out on her long cold drive.

When she looked for Emil, she found him sitting on a step of the staircase that led up to the clothing and carpet department. He was playing with a little Bohemian girl, Marie Tovesky, who was tying her handkerchief over the kitten's head for a bonnet. Marie was a stranger in the country, having come from Omaha with her mother to visit her uncle, Joe Tovesky. She was a dark child, with brown curly hair, like a brunette doll's, a coaxing little red mouth, and round, yellow-brown eyes. Every one noticed her eyes; the brown iris had golden glints that made them look like gold-stone, or, in softer lights, like that Colorado mineral called tiger-eye.

The country children thereabouts wore their dresses to their shoe-tops, but this city child was dressed in what was then called the Kate Greenaway manner, and her red cashmere frock, gathered full from the yoke, came almost to the floor. This, with her poke bonnet, gave her the look of a quaint little woman. She had a white fur tippet about her neck and made no fussy objections when Emil fingered it admiringly. Alexandra had not the heart to take him away from so pretty a playfellow, and she let them tease the kitten together until Joe Tovesky came in noisily and picked up his little niece, setting her on his shoulder for every one to see. His children were all boys, and he adored this little creature. His cronies formed a circle about him, admiring and teasing the little girl, who took their jokes with great good nature. They were all delighted with her, for they seldom saw so pretty and carefully nurtured a child. They told her that she must choose one of them for a sweetheart, and each began pressing his suit and offering her bribes; candy, and little pigs, and spotted calves. She looked archly into the big, brown, mustached faces, smelling of spirits and tobacco, then she ran her tiny forefinger delicately over Joe's bristly chin and said, Here is my sweetheart.

The Bohemians roared with laughter, and Marie's uncle hugged her until she cried, Please don't, Uncle Joe! You hurt me. Each of Joe's friends gave her a bag of candy, and she kissed them all around, though she did not like country candy very well. Perhaps that was why she bethought herself of Emil. Let me down, Uncle Joe, she said, I want to give some of my candy to that nice little boy I found. She walked graciously over to Emil, followed by her lusty admirers, who formed a new circle and teased the little boy until he hid his face in his sister's skirts, and she had to scold him for being such a baby.

The farm people were making preparations to start for home. The women were checking over their groceries and pinning their big red shawls about their heads. The men were buying tobacco and candy with what money they had left, were showing each other new boots and gloves and blue flannel shirts. Three big Bohemians were drinking raw alcohol, tinctured with oil of cinnamon. This was said to fortify one effectually against the cold, and they smacked their lips after each pull at the flask. Their volubility drowned every other noise in the place, and the overheated store sounded of their spirited language as it reeked of pipe smoke, damp woolens, and kerosene.

Carl came in, wearing his overcoat and carrying a wooden box with a brass handle. Come, he said, I've fed and watered your team, and the wagon is ready. He carried Emil out and tucked him down in the straw in the wagonbox. The heat had made the little boy sleepy, but he still clung to his kitten.

You were awful good to climb so high and get my kitten, Carl. When I get big I'll climb and get little boys' kittens for them, he murmured drowsily. Before the horses were over the first hill, Emil and his cat were both fast asleep.

Although it was only four o'clock, the winter day was fading. The road led southwest, toward the streak of pale, watery light that glimmered in the leaden sky. The light fell upon the two sad young faces that were turned mutely toward it: upon the eyes of the girl, who seemed to be looking with such anguished perplexity into the future; upon the sombre eyes of the boy, who seemed already to be looking into the past. The little town behind them had vanished as if it had never been, had fallen behind the swell of the prairie, and the stern frozen country received them into its bosom. The homesteads were few and far apart; here and there a windmill gaunt against the sky, a sod house crouching in a hollow. But the great fact was the land itself, which seemed to overwhelm the little beginnings of human society that struggled in its sombre wastes. It was from facing this vast hardness that the boy's mouth had become so bitter; because he felt that men were too weak to make any mark here, that the land wanted to be let alone, to preserve its own fierce strength, its peculiar, savage kind of beauty, its uninterrupted mournfulness.

The wagon jolted along over the frozen road. The two friends had less to say to each other than usual, as if the cold had somehow penetrated to their hearts.

Did Lou and Oscar go to the Blue to cut wood to-day? Carl asked.

Yes. I'm almost sorry I let them go, it's turned so cold. But mother frets if the wood gets low. She stopped and put her hand to her forehead, brushing back her hair. I don't know what is to become of us, Carl, if father has to die. I don't dare to think about it. I wish we could all go with him and let the grass grow back over everything.

Carl made no reply. Just ahead of them was the Norwegian graveyard, where the grass had, indeed, grown back over everything, shaggy and red, hiding even the wire fence. Carl realized that he was not a very helpful companion, but there was nothing he could say.

Of course, Alexandra went on, steadying her voice a little, the boys are strong and work hard, but we've always depended so on father that I don't see how we can go ahead. I almost feel as if there were nothing to go ahead for.

Does your father know?

Yes, I think he does. He lies and counts on his fingers all day. I think he is trying to count up what he is leaving for us. It's a comfort to him that my chickens are laying right on through the cold weather and bringing in a little money. I wish we could keep his mind off such things, but I don't have much time to be with him now.

I wonder if he'd like to have me bring my magic lantern over some evening?

Alexandra turned her face toward him. Oh, Carl! Have you got it?

Yes. It's back there in the straw. Didn't you notice the box I was carrying? I tried it all morning in the drug-store cellar, and it worked ever so well, makes fine big pictures.

What are they about?

Oh, hunting pictures in Germany, and Robinson Crusoe and funny pictures about cannibals. I'm going to paint some slides for it on glass, out of the Hans Andersen book.

Alexandra seemed actually cheered. There is often a good deal of the child left in people who have had to grow up too soon. Do bring it over, Carl. I can hardly wait to see it, and I'm sure it will please father. Are the pictures colored? Then I know he'll like them. He likes the calendars I get him in town. I wish I could get more. You must leave me here, mustn't you? It's been nice to have company.

Carl stopped the horses and looked dubiously up at the black sky. It's pretty dark. Of course the horses will take you home, but I think I'd better light your lantern, in case you should need it.

He gave her the reins and climbed back into the

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